is a project together with Julieta Aguinaco. By her gallery CYDONIA, Julieta was commissioned to take part in ABC – Art Berlin Contemporary. Following The Limits of My Language, the project we wrote and performed together in July, Julieta invited me to collaborate again, but now at an art fair. On the condition that my name would not show, we worked jointly under Julieta’s name and made the collaboration clear through the work. I saw it as an opportunity to get actively involved in the interplay between art and capital, without the need to conform to the institutionalization of it.
Let me add that friendship is also the truth of the disaster. The thought that you were ill was extremely distressing to me and was like a threat aimed at something that both you and I would hold in common. It seems to me that in these days of distress […] something has been given to us in common, to which we also have to respond commonly. That something which one may call misfortune, but which one also has to leave nameless, can, in a certain way, be common. Which is mysterious, maybe a delusion, maybe unutterably true.”
It exists! I’ve been there but I could not stay. I realized I was only a visitor. Maybe because I gave up way too fast. Maybe I accepted that it was not what I expected. It is mysterious, It is a delusion, It is unutterably true.
This is a conversation between two friends that are trying to make sense out of world and a time. It’s a search for that which is always bound to disappear: friendship as a base for a sensible world. Is it only a mirage? The title refers to Ludwig Wittgenstein known statement “The limits of my language are the limits of my world”, and the question asked is how can the limits of one person’s subjectivity explore or imagine new possibilities for exiting those limits by engaging with the limits of another person’s subjectivity? Is to know each other also to destroy each other?
The project stages three parts that deal with the individual’s relationship to the world differently, following the three main chapters of Die Blendung, a novel by Elias Canetti: A Head Without a World, Headless World and The World in the Head. Each part is an act within what could be experienced as a script for a play. In this script, the art-objects are merely actors within the discourse, for what really matters is the conversation between the two friends as the enduring attempt to discover ways out, possibilities, or new forms. Together. Friendship could offer a renegotiation of the limits of an individual’s subjectivity (the heads) and the place/landscape/reality (the worlds).