Plaquette 'The True Story', destroyed.
Don't Forget Anything! 2008
Cooperation with Istvan Ist Huzjan
The collaborative project Don’t Forget Anything! by Tudor Bratu (RO/NL,1977) and Istvan Ist Huzjan ( SLO,1981), both resident artists at the Rijksakademie van Beeldende Kunsten in Amsterdam, deals with the notion of ‘a book’ in it’s broadest sense – the transmission and remembrance of any kind of knowledge, the word as an active and passive tool of communication and linguistic image as anamnesis, the recalling to mind of latent memories, information and data.The total project consists out of seven works, in various media, ranging from mural drawing to performance and writing.
Installation vieuw: The True Story plaquette on the wall
The True Story
The True Story is a childhood memory written out. As an announcement of the objectification of memories, it starts out in the third person, recalling an afternoon in my own life. For a moment the narrative switches to the first person, thus denouncing 'objectification' or 'coming to terms' as an impossibility, after which, the narrative turns back to the third person, thus creating a paradox: Objectification fails, one understands the impossibility and turns back to recognize oneself, but this turning back fails as well, for the memory comes alive again, forcing the individual either to relive, or to forcefully attempt formal reconciliation - the third person which the narration turns to.
In thinking about the exact process that takes place when one attempts at remembering, a decision was made to incorporate the process of remembrance in the formal experience of the work: plastered as a sheet upon the wall, thus recalling a real sheet of paper, The True Story is hardly readable, due to the use of white lettering on a white background. The spectator has to 'search' the wall in order to be able to grasp the text, just as a human being has to search his mind to grasp a memory. The memory-text fades in and out, just as real as the reality of fading thoughts and memories.
Link to 'The True Story' Full Text
Publication of Kurt Schwitters 'Ursonate' on 100 empty bottles
When Kurt Schwitters publicly broadcasted his Ursonate, in Frankfurt on the 5th of May 1932, he intented to publish it as well. However, during his lifetime he didn’t manage to do so, although there are some print-outs to be found that post-date him.
Listening to his performance of the text, a transcript has been made, which altered the original setup of a sonet in verse, following the logic of a novel – long sentences made up of the consonants and vocals that Schwitters used. The text thus resulted, has been printed out on empty white and transparent bottles, floating as sound might, some ten centimeters of the floor. The bottles themselves, except for the fact that they are Merz-produkten, as Schwitters himself might have put it, also produce their own sound. When someone would put them to his or her ear, and listen carefully, a similar resonance would occur, as the one experienced on the seaside, when one listens to a shelf and hears the sea.
Witness Framed newspaper article, installation view
When Guy DeBord stated that ‘the spectacle is everywhere’ he was refering to a specific spectacle, related mostly to commerce and merchandise. But his famous sentence still holds value, for everyday each and every one of us, are witnesses to a great variety of facts and happenings. To those grand facts that shake the foundations of the world and go on outside of the personal sphere, as well as to those minor facts, of equal importance, that happen inside human beings and ussually go unnoticed to the outside world. This work emphasises the permanent presence of the eternal witness, without however altering its nature of outsider that is embedded in the general individual. However, it does touch upon the question of how one should position onesself within this repetitive human function.
“ The article found, somehow functions as an escavated reminder of a feeling of guilt, coming from deep within us, telling us that we shouldn’t forget anything. “ Istvan Ist Huzjan
The person in the image, was a witness in the Adolf Eichmann trial, the first trial in history to be broadcasted live on television. To achieve this broadcasting, a transparent glass cage was build around Eichmann. Around the cage, cameras were placed, that filmed the trial from different angles, which were afterwards editted and send the world over.The newspaper article depicting the witness is, equal to the 1960 trial, preserved behind glass, thus formally serving as a reminder.
During the last few years, Gmail, as well as other E-mail providers, developed a function that saves absolutely everything written, as either drafts, or send e-mails.
To write someone a letter, is one of the most private means of communication – one writes to the other, primarily, but as Jaques Derrida pointed out, one always writes in a multitude of layers: of the other, on the other, of the self and on the self, and of the special relation between the other and the self. The notion of privacy in letters, is therefore so high, that they are not meant for anybody else, except the two parties involved.
The collection of E-mails published, aprox. 1800 send emails preserved by Gmail in the period 2004-2008, offers an insight into the thoughts and emotional experiences of an individual.The gesture of opening up the most private corners of ones soul, counterbalances the nature of communication as it is customary in daily life and comments at the same time on the nature of writing and the experience of personal truth.