Discoteca Flaming Star    Discoteca Flaming Star        www.discotecaflamingstar.com

Johanna Billing    You don’t love me yet    www.makeithappen.org/johannabilling.html

Alfonso Gil + Francis Gomila   Guantanamera    www.alonsogil.com   www.digitalartsgallery.co.uk/FG.ARTISTSpage.html

Ben Frost   I lay my ear to furious latinwww.ethermachines.com

Dan Perjovschi    Off www.perjovschi.rowww.lombard-freid.comwww.gregorpodnar.com

Dirk Vollenbroich    Short circuit / Cortocircuito www.dirkvollebroich

Mandla Reuter Pictureshttp://www.mandlareuter.com/

Susan PhillipszFollow Me

Anikka Ström    The missed concert    www.annikastrom.net

Dora García    Rezos/Prayers    www.doragarcia.net    www.rezosprayers.org

Nexus Art Group    Proyecto[NEXUS*]Jose Luis Delgado Guitart Ricardo EchevarríaMajorie KanterAchilleas Kentonis María Papacharalambous

Oswaldo Macià    Cuando los perros ladran     www.oswaldomacia.com

Leopold KesslerAlarm bikehttp://www.leopoldkessler.net/www/index.html

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 MADRID ABIERTO is an international artistic initiatives programme which is held throughout the month of February in the junction Paseo de la Castellana-Recoletos-Prado since 2004. It is an avenue for approaching the interpretation and comprehension of how the public space is constructed from the sphere of art. Since its first open invitation announcement it has received more than 1.200 proposals. Out of all the projects presented, 29 were exhibited in the previous three editions and 13 will be exhibited this year, selected by different juries comprised by international experts.

Organised by the Cultural Association MADRID ABIERTO, the 2007 edition of the programme is promoted by the Altadis Foundation, the Department of Culture and Sport of the Autonomous Community of Madrid and the Governing Department for the Arts of the City Council of Madrid, with the collaboration of the Telefónica Foundation, La Casa Encendida of Obra Social Caja Madrid, the Ministry of Culture, ARCO, Radio 3 of RNE, Círculo de Bellas Artes, Canal Metro, Cemusa, Centro Cultural de la Villa of Madrid, Remo, Mediazero and Metro.

For this fourth edition, which will be held from the 1st to the 28th of February, a total of 658 projects were presented; 471 for the general invitation, 61 for the façade of La Casa de América, 28 for the façade of Círculo de Bellas Artes, 74 works for Canal Metro and 24 sonorous initiatives for Radio 3. The breakdown by countries of the projects presented is as follows: Spain (174), Italy (46), USA (46), Mexico (40), Argentina (33), Germany (28), Colombia (28), France (25), Brazil (18), Canada (16), Cuba (16), Ecuador (14), Chile (13), The Netherlands (13), Portugal (12), Ireland (9), Sweden (9), United Kingdom (9), Venezuela (9), Japan (7), Austria (6), Yugoslavia (6), Australia (5), Peru (5), Belgium (4), Costa Rica (4), Finland (4), Norway (4), Poland (4), Turkey (4), China (3), Croatia (3), Slovenia (3), Russia (3), Switzerland (3), Uruguay (3), Bulgaria (2), El Salvador (2), Georgia (2), Guatemala (2), India (2), Iceland (2), Israel (2), New Zealand (2), Czech Republic (2), Cyprus (1), Denmark (1), Estonia (1), The Philippines (1), Greece (1), Hungary (1), Latvia (1), Lithuania (1), The Dominican Republic (1), Serbia (1) and Singapore (1).

The selection committee was comprised by Juan Antonio Álvarez-Reyes (curator of Madrid Abierto 2007), Ramon Parramon (director of Idensitat), Cecilia Andersson (director of Werk) and Guillaume Désanges (co-ordinator of art projects in Les Laboratoires D’Aubervilliers, Ille de France). We declared the project for the façade of Círculo de Bellas Artes unfulfilled and pre-selected thirty projects, from which the curator finally selected Fernando(We were young. Full of life. None of us prepared to die) by the collective Discoteca Flaming Star; proyecto_nexus* by the collective [nexus*] art group; I Lay My Ear To Furious Latin by Ben Frost; Rezos/Prayers by Dora García;Pictures by Mandla Reuter; Guantanamera by Alonso Gil and Francis Gomila and Short Circuit/Cortocircuito by Dirk Vollenbroich. In addition to these seven selected projects, the current edition is complemented by other projects from artists invited by the curator: Dan Perjovschi, Susan Philipsz, Johanna Billing, Leopold Kessler, Oswaldo Maciá and Annika Ström. Through this mixed selection model our intention is to continue to make progress in our objective of broadening each annual proposal of MADRID ABIERTO.

In this year’s edition, for the first time, two specific invitations for audiovisual and sonorous works were announced, which were selected by the curator, myself, Arturo Rodríguez and José Iges. The following 11 works were selected for projecting on Canal Metro: Rothkovisión 3.0 by Daniel Silvo; Mierda de caballos y príncipes by Fernando Baena; Rest by Carolina Jonsson; Every Word is becoming by Alexander Vaindorf; Alpenflug (Alpine Flight) by Juan Carlos Robles; Himno by Cristian Villavicencio; PlasmaLux06-7 by Tanja Vujinovic-Zvonka Simcic; Mis Quince by Alfredo Pérez; Lucía by Pere Ginard and Laura Ginés; Candy by Mai Yamashita and Naoto Kobayashi and The Toro’s Revenge by María Cañas. For broadcasting on Radio 3, the following 8 works were selected: Am I walking by Jouni Tauriainen; Bendicho juez de la verdad by Eldad Tsabary; Reiterations (Elizabeth Street) by Sonia Leber and David Chesworth; Postal Densa. Postal Sonora. Madrid-Bogotá by Mauricio Bejarano; Alkaline by Paul Devens; Funkenspiel by David Halsell; Poema Jazz (a Clara Gari) by Luis Eligio Pérez and BihotzBi by Zuriñe Gerenabarrena.

Likewise, following on with the work of the previous editions, E451 continues to develop the graphic image and web page and, for the second year running, together with various debate tables on public art, the selected artists will present their work in La Casa Encendida on the 1st and 2nd of February.

We are continuing the process of creating an initiative of a scale manageable by a small team without a permanent or continuous structure, based on an open invitation announcement geared towards the production of ephemeral or temporary projects for the public space of the city of Madrid.

Jorge Díez

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  TECHINCAL DETAILS OF THE READYMADE KIOSK

Sice: 2,6 x 4,2 x 2,6 (approximate size)

• Structure made of cold tubular and angular laminated profiles forming panels that are assembled to each other with zinc coated screws. All the elements are collapsible. • A segment made of open profiles that forma a Pratt type of lattice.• Tubular profile straps transversely fixed with screws.• Galvanized profile cover done with the Sendzimir de 275 grs/m2 process on each cover. Undulating of 0,06 mm thick.• Exterior locks 30/209 of 0,6 mm thick galvanized by the same process as the previous.• Metallic door made of a perfrisa type of profile of 0,9 m light x 1,96 m high. With a security lock of the Azbe brand with two bolts and a set of three keys, the opening, towards the exterior.• Kiosk foldaway made of carpentering frames prefisa type with 1,3 m. Opening in the foldaway done with an adjustable tubular telescopic guide. • Anchorage system, with screwed handrails in the kiosks basis.• Degreasing cleaner is applied to every component.• Foam rubber profile joints located on corners of foldaway doors. • It includes four frontal foldaway openings and door adjusted for passers-by.(INFORMATION PROVIDED BY THE PREDES COMPANY (BARCELONA)

INSTALLATION REQUIREMENTS

4 people x 1 dayThe assembly is basic: according to PREDES “it works like a meccano” and no crane is needed.Basic electric installation to supply the audio equipment.

FLAMING STAR DISCO TRANSFORMATION

PaintPaint with relief to write texts (to integrate – and maintain readability when graffiti has been done, etc)Audio installation.DFS x 1 day

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Near the book stands of Cuesta Moyano

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PRECEDENTS OF PROJECT

DISCOTECA FLAMING STAR

Since 1998 the Discoteca Flaming Star has been staging performances-collaborations with other artists in different artistic contexts. In the last few years, the production of audiovisual projects associated with the performative experience has been on the increase. The group has produced banners or backdrops, carpets, collages, audio projects and video works.

The project proposed here seeks to give a sculptural-physical dimension of a public nature to the search for the group. A search carried out in the fields of spontaneous song expression, understood as an individual response to/in specific historical moments and, through it, investigating methods of organic acting and interpreting in contrast with the global imperatives of the entertainment industry. www.discotecaflamingstar.co

BASES OF REFLECTION AND INSPIRATION FOR DEVELOPING THIS PROJECT

THE HUTS OF THE NEW AND SECOND-HAND BOOK FAIR

Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project Madrid Abierto.

Currently, the huts are temporarily situated in Paseo del Prado until they are relocated to the remodelled Cuesta de Moyano – which will become pedestrian- in 2007. We find the issues inherent in this change especially interesting: To what extent and how does culture, as an event, affect urban planning and real estate interests? Will the new ‘Cuesta’ pose a change to the content of the huts?

DESCRIPTION AND GOALS OF THE PROJECT

Creation of a sculpture-stand of similar size and structure as the book stands in Cuesta de Moyano. The sculpture, located near the stands, contains an audio element inside.

The Flaming Star disco will modify and indicate the kiosk-stand-book store so that it seems damaged, strange, abandoned, exposed – externally – to vandalism.

Thanks to the audio equipment – story + music for about 15 minutes – emphasizes the mysterious character of the sculpture-stand. (The audio content will be chosen after researching in the realm of literature and history of the area in which the book stands are (were) located). ---this element gives us an ample margin to explicitly introduce questions of literalness, (i)rationality, passion, dialogue, walks, public context and collective expression through cultural products, enabling us to integrate reflections on the diversity of relations between different ideological and cultural projects of a city.

If the weather conditions are favourable the Flaming Star Disco would like to use its interior for performance activities by “opening the kiosk”.

PERSONAL JUSTIFICATION

RELEVANCE OF THE PROJECT

Apart from the points mentioned above, we believe our proposal adds an element of artistic deliberation during the ARCO Contemporary Art Fair. As the book stands are also some type of fair – not only in its structure, but also in defining itself new and second-hand book fair -, they offer a subject to reflect on in which the Flaming Star Disco has been active since its foundation; a reflection on the qualities and relevance of contemporary artistic activity and investigation, and questioning of forms of interaction with the audience.

INSIDE THE ARTISTIC DEVELOPMENT OF THE FLAMING STAR DISCO

In previous occasions we have done projects that have put us in contact with a public that is not specifically into art: performances in clubs and in the village square of Viandar de la Vera. But the opportunity offered by Madrid Abierto enables us to investigate on a rapprochement with the public of passers-by, based on an audiovisual project similar to a performance.

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Paseo de Recoletos, central boulevard.Performance February 3, 22:00H

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 DESCRIPTION OF THE PROJECT - - - MOTIVATIONS- - - INTENTIONS

“Fernando. (We were young. Full of life. None of us prepared to die)”.

It is a sculpture –a metallic hut- which the public does not have access to; the passer-by hears music and a voice that comes from inside the hut. The sculpture articulates a presence associated with forms of informal commerce and architecture. The audio element gives way to the mysterious and enormous music box nature of the hut. The audio element was developed with the collaboration of the Chilean composer, Álvaro Peña (biographic data of Álvaro Peña provided below).

-mixing different spatial categories: inside-outside, private-public-artistic, visible, inaccessible, seemingly functional but not in operation. ---generating a space that promises nothing and seeks to offer nothing; thus, in this manner, we hope to encourage a reflection on the political nature of what is public, its vulnerable nature and the confrontational substance of the public space.

- audio element – voice + music --- literality issues, (i)rationality, passion, dialogue, promenade, public framework and collective expression through cultural products. Integrating reflections on the diversity of the relationships of the different cultural and ideological projects of/in the city.

BASES OF REFLECTION and INSPIRATION FOR DEVELOPING THIS PROJECT

-THE HUTS OF THE NEW AND SECOND-HAND BOOK FAIR Since 1925, 30 bookshop-huts have been placed in the Cuesta de Moyano. While small, therefore of a picturesque nature- the outdoor structures are associated with forms of informal economy which, except in their illegal street vendor version, are outside the areas demarcated by the project MADRID ABIERTO.

Currently, the huts are temporarily situated in Paseo del Prado until they are relocated to the remodelled Cuesta de Moyano – which will become pedestrian- in 2007. We find the issues inherent in this change especially interesting: To what extent and how does culture, as an event, affect urban planning and real estate interests? Will the new ‘Cuesta’ pose a change to the content of the huts?

-FERNANDO’S ‘PACHANGA’ ROWDY ESTABLISHMENT IN GUADALIX DE LA SIERRA (Madrid) AND THE CHIC STAND IN POWERS STREET (Brooklyn – NY):As places built for combating loneliness, for establishing themselves as gathering and conversation points based on commercial interchange, both have sought (Fernando died and his rowdy establishment was torn down in 2005) and seek methods of providing offers that go beyond the purely commercial and ignore the aesthetic imperatives established by large companies, generating their own presentation and advertising methods for their ‘products’.

-THE VALPARAISO TRAIN (Chile):Popular public transport of the city of Valparaíso disappeared as a result of its transformation into a subway train.

-THE VERSES, LYRICS, STORIES, ESSAYS and POPULAR SONGS of: ÁLVARO (more information below), Dorothy Parker, W.G. Sebald, Virginia Woolf, Albert Camus, Quentin Crisp, Karl Valentin, Jack Smith, Pasollini, The process of Joan of Arc, Avery F. Gordon, Estrella de Diego, Mary Shelley, Yvonne Rainer, Jorge Semprún, Guy Debord, Ingeborg Bachmann, Ostermayer/Phettberg, the script of C. Th. Dreyer for ‘Joan of Arc’.

FLAMING STAR DISCOTHEQUE

Since 1998 the Flaming Star Discotheque has been staging performances-collaborations with other artists in different artistic contexts. In the last few years, the production of audiovisual projects associated with the performative experience has been on the increase. The group has produced banners or backdrops, carpets, collages, audio projects and video works.

The project proposed here seeks to give a sculptural-physical dimension of a public nature to the search for the group. A search carried out in the fields of spontaneous song expression, understood as an individual response to/in specific historical moments and, through it, investigating methods of organic acting and interpreting in contrast with the global imperatives of the entertainment industry.  http://www.discotecaflamingstar.com/

ALVARO PEÑA

Chilean composer born in Valparaiso in 1943. Already in the decade of the sixties Álvaro Peña was a member of various popular music bands, namely LOS BUMERANGS and LOS CHALLENGERS, in Chile. In London, at the start of the seventies Álvaro formed the now the legendary THE 101'ERS, with Joe Strummer (THE CLASH).

It is worth mentioning that despite all the musical tendencies, from the sixties to now, Alvaro´s TRANSITORY MUSIC continues to remain as fresh and up to date as on the first day, mainly his piano style as well as the strong singularity of his voice. Alvaro currently lives in Germany and regularly tours Europe, Latin America and the USA.  http://www.don-alvaro.net/

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LIVE AND WORK IN BERLIN WWW.DISCOTECAFLAMINGSTAR.COMFOUNDED IN 1998

IS FORMED BY:CRISTINA GÓMEZ BARRIO, MADRID, 1973WOLFGANG MAYER, KEMPTEN, DEUTSCHLAND, 1967

WORK EXPOSED IN MADRID ABIERTO: FERNANDO (WE WERE YOUNG. FULL OF LIFE. NONE OF US PREPARED TO DIE)

PERFORMANCES / EXHIBITIONS / OTHERS (selection)2006         ·    Terraplane Blues. Curated by Kamen Nedev. La Casa Encendida, Madrid (e,p)·    What a Great Space You Have…. Curated by Marc Glöde. Luxe Gallery, New York (e) Aladlona 2 (I love you green).  The Kitchen, New York (p)·    Whitney Independent Study Program-Exhibition. Chelsea Museum, New York (e)·    À Rebours. Escapism and the Terror of the Sublime. Curated by Michael Schultze. General Public, Berlin (e)

2005     ·    With all our love for the love of Orlando. Artist Space, New York [in partnership with Performa 05] (p)·    'I beg your pardon.' or The Reestablishing of Cordial Relations. Curated by Andrea Geyer. Vera List Center for Art and Politics at The New School. New York (e)·    Videoarte contemporáneo de Berlin. Curated by Kathrin Becker. Museo Tamayo, Mexico-City (e)·    With all our love for the love of Orlando. Ausland, Berlin (p)·    Love Party. Goethe Institute-Ojo Atomico, Madrid (p)

2004     ·    Dance Dance Revolution!. Curated by Matthew Lyons & Lanka Tattersall. Leroy Neiman Gallery, Columbia University, .New York (e)·    Audiovisual Injuve 2003. Sala Amadís, Madrid. (e, c)·    Sexy Bloody Cat. CD. Monsters & Miracles Musikproduktionen. (o)·    Discoteca Guitarrera Funkstorm (DFS + El Arroyo Los Cagaos), Plaza del Pueblo, Viandar de la Vera (p,o)·    Aladlona (I love you green). Ausland. Berlin. (p)·    o.T. Big Eden. Berlin. (p)·    Sexy Bloody Cat (I hope everything you love dies in your arms). Galerie Wieland. Berlin. (e,p)

2003     ·    Sexy Bloody Cat on the occassion of `Public Affairs’. MUMOK. Vienna. (p,c)·    Radio Radio. exhibition. radioprogramm. curated by Mel Brimfield. (CD published by Revolver Verlag) (o)·    AACB/BDAC. Parlour Projects. New York. (e, p)·    Hardcore Karaoke. Studio of  Rita McBride & Glen Rubsamen. Cologne. (p)

2002     ·    DFS plays Kenneth Anger. Praterinsel. Munich. (p)·    o.T. Cheap Club. Berlin. (p)·    Königreich eine andere Welt (DFS + Dorothy Vallens) . Opernpalais. Berlin. (p)·    o.T. (about Rock’n Roll) (DFS + CIB). Circo Interior Brutto. Madrid. (p)·    o.T. at Stardust Deluxe. Lisa Lounge. Berlin. (p)

2001     ·    Roses and Paradise. Kunsthall. Oslo. (p)·    Crossing The Line, Cruel but Fair – Soundtrack for the Installation “Waikiki” by Rita McBride·    Queens Museum. New York. (o)·    Waveform: Teresa Seemann & David Galbraith, Media Z Lounge at New Museum of ·    Contemporary Art. New York (e)·    Discoteca Flaming Star & Ignaz Schick. Take a look at me now. Galerie Wieland. Berlin. (e,p)·    Songs of love and hate. Side A. Bastard. Berlin. (p)·    55. De Sade – Reading. Juliettes Literatursalon. Berlin. (p)·    The Bridal Kiss. Studio of Tom Früchtl. Munich. (p)

2000     ·    Discoteca Flaming Star plays Kenneth Anger. Siberia. New York. (p)·    Discoteca Flaming Star loves to love you baby. Bar XVI. New York. (p)·    Discoteca Flaming Star plays Kenneth Anger in “Arena seatings” by Rita McBride.·    Neuer Aachener Kunstverein. Aachen. (p)·    Discoteca Flaming Star does Electric R’NR. Club 2. Munich. (p)·    Discoteca Flaming Star & Le Oktobre love to love you baby. Kunstverein. Munich. (p)·    Love & Avantgarde. CD. White Label (o)

1999    ·    Flaming Star at Band Wi(d)th 2000. Atomic Café. Munich. (p,o)·    Unter Umständen mit Frank Reinecke und Helge Slaatto. Atelier von Olaf Probst. Munich. (p)·    Forget Me Not #3. Bourbon Street Bar. Munich. (p)·    o.T. (Rote Single). Vinyl-Single. White Label (o)

1998     ·    o.T. Schalterhalle, “Elektro Festival”. Schalterhalle. Ulm. (p)

p=performance, e=exhibition, o=others, c-catalogue

EDUCATION

CRISTINA GÓMEZ BARRIO2005-06         ·    Whitney Independent Study Program, New York

2005        ·    Fundacion Marcelino Botin Grant, Spain.

2003        ·    ISCP. New York (supported by INJUVE. Spain)

1998 - 99     ·    DAAD-Caixa. Grant for the Akademie der Bildenden Kuenste. Munich

1997 – 02    ·    PHD Program. Departamento de Historia del Arte. Bellas Artes. UCM. Madrid.

WOLFGANG MAYER 2006 – 07     ·    Pollock-Krasner Foundation Grant

2005 – 06     ·    Whitney Independent Study Program, New York

2005        ·    Prinzregent Luitpold Scholarship, Munich

1998        ·    Debutant 98, Munich

1996 – 97     ·    DAAD-Scholarship for New York City (School of Visual Arts. Department for Photography and related media)

1993        ·    Scholarship for the Summeracademy in Salzburg to study with Nan Goldin

1990 – 95     ·    Academy of Fine Arts, Munich

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MODEL

REFERENCES

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PHOTOMONTAGE

REFERENCES

Cuesta de Moyano

MODEL   

(November 2006) 

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HATE-SCRIPT (KIOSK)

I pity the young fascists,

and the old ones, whom I consider forms

of the most horrible evil, I oppose

only with the violence of reason.

I hate people removing the dust from houses. They make my world unbearable.

I hate translations from French, which notoriously loses its flavour in translation.

I hate people saying “I was meant to be a ballet dancer,” while running a pig farm.

I hate not knowing whether a non-smoker, not smoking is a smoker or a non smoker.

I hate those who always know where they are.

I hate people dying a natural death;  I paid to much for them.

I hate knowledge; it cherishes hope.

I hate Women; They get on my nerves.

I hate Men; They irritate me.

I hate Actresses; they get on my nerves.

I hate Relatives; They cramp my style.

I hate order; it cheats on the apokalypse.

I hate Slackers; They get on my nerves.

I hate Bohemians; They shatter my morale.

I hate the Office; It cuts in on my social life.

I hate Actors; They ruin my evenings.

I hate Bores; They take the joy out of my life.

I hate the Drama; It cuts in on my sleep.

I hate Parties; They bring out the worst in me.

I hate Movies; They lower my vitality.

I hate Books; They tire my eyes.

I hate fat corpses; they have no ghosts.

I hate rich people; they are in my way.

I hate the Younger Set; They harden my arteries.

I hate Summer Resorts; They ruin my vacation.

I hate wash; it’s the beginning of dictatorship, without wash no hitler.

I hate the tongues of  the slanderer, they poison my kitchen.

I hate Wives; Too many people have them.

I hate Husbands; They narrow my scope.

I hate College Boys; They get under my feet.

I hate praise; its brutal and an obligation.

I hate people without gardens; they water my weed.

I hate people who do not bath their frogs; they dry my politics.

I hate readers; they read so that a lot might stick in their minds.

I hate charts; they make me dissappear.

I hate fences, they all look the same.

I hate newspapers, they pretend to have a lot to say.

I hate interviewers, they always want to know what my opinion is.

I hate the internet, it brings out all the boredom in me.

I hate schools, they are full of children.

I hate security, it speaks all the time.

I hate professors, the all want to teach me something.

I hate cosmetic products, the oversize my luggage.

I hate illegal sellers, they get in my way.

I hate tourists, they narrow my scope.

I hate the future, it is too based on promises.

I hate investors, the constantly need new markets.

I hate the rain, it washes my make up away.

I hate militars, the move too constantly.

I hate diagrams, the insist on relationships.

I hate buses, they let me wait.

I hate exhibitions, they tyre my feet.

I hate restaurants, they smell like candles.

I hate buildings, they are too big.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate the subway, it darkness my perspectives.

I hate cakes, they enlarge my size.

I hate boutiques, they are not able to protect their maniquies.

I hate bars, they bring out my lust.

I hate dogs, their smell is too strong.

I hate the police, they insist on being in movies.

I hate cars, they make me look out of 6 windows.

I hate menus, they make me confused.

I hate graffities, they all look the same.

I hate politicians, they narrow my scope.

I hate growth; it’s too vulgar.

I hate wonders; they freeze my possibilities.

I hate chewinggum; it brings out my contempt for others.

I hate stars; they do not smell.

Inspiriert durch:

Dorothy Parker “Hate Verses”W.G. Sebald “Die Ausgewanderten”Virginia Woolf “Orlando”Albert Camus “Die Pest”Quentin Crisp “The Wit and Wisdom of Quentin Crisp”Karl ValentinJack Smith “Wait for me at the bottom of the pool”Pasolini “I work all day…”W.G. Sebald “Die Ringe des Saturn”Jeanne d’Arc “Der Prozess der Jeanne d’Arc”Drehbuch zu “Jeanne d’Arc” von Joseph Delteil und C.Th. DreyerMary Shelley “Frankenstein”Guy Debord, preface to “Jorn / Le jardin d’Albisola”Das Bilderbuch vom Karl ValentinIngeborg Bachmann “Malina”Ostermayer/Phettberg “Hermes Phettberg räumt seine Wohnung zamm”Franzobel “Phettberg”Gregg Bordowitz “The AIDS crisis is ridiculous and other writings”Avery F. Gordon “Ghostly Matters”Estrella de Diego “Travesias por la incertidumbre”Yvonne Rainer “Feelings are facts”

------------------------------------------------------------------------------------------------------ Zweite Wahl:

I hate those who apply the rules established by previous successes by others.

I hate women dressing like women while they are with men.

I hate destiny with its it little jokes. It makes me throw up with its stupid  cheerfullness.

I hate comfortableness; it produces recidivists.

I hate societies made by and for creatures who, when they are not grim and depressing are utter bores.

I hate computers, they tyre my wrists.

I  hate smiles, I do not bear to see all those teeth.

I hate risk, it makes me feel desea.

I hate cellphone ring tones, they get on my nerves.

I hate cities, they have too many windows.

I hate loneliness, it leaves me alone with myself.

I hate museums, they are too clean.

I hate speculants, they want my interest.

I hate the suburbs, they miss the center.

I hate menus, they make me confused.

I hate cancer, it attacks people I love.

I hate autobiographies, they are pretencious about the truth.

I hate wonders; they freeze my possibilities.

I hate people who cannot decide what makes them happy; they poison my blood.

I hate ambulances; they remind me of my fathers death.

I hate birds; they eat my crumbs.

I hate repetition; it kills.

I hate taxis; they all look the same.

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