Belive, Ha Ho or If We All Cut Off Our Ears Who Is Left To Hear?


Belive, Ha Ho or If We All Cut Off Our Ears Who is Left To Hear? is a cumulative google slide show that I developed and updated in “live mode” between March and September 2015 as part of my virtual residency at Studio 47, Amsterdam.


Set up in the grey area between a real-time protocol (documenting the process and different stages of Working Title Working Clothes) and a staging of my artistic production as an ever-accessible growing timeline, Belive, Ha Ho … meanders between theatre play, online exhibitionism, research pool, diary and work protocol, continuously performing a circulating, networked existence.


The digital document, now counting 132 slides, includes images of various prototypes, writing and research materials, screenshots of email exchanges with curators and collaborators, culminating in the launch of the campaign of WTWC (Adore) in June 2015.


Why make one’s process public, as an exercise in permeating one’s vulnerability? As a fetishized deadline, a self-inflicted pressure to perform? Then again, isn’t the decision to publish a work in progress becoming a work in and of itself? As a strategic flirt, leaving one’s vulnerability rather disembodied than exposed? I share what I can afford to circulate in the absence of my voice. Comments from the sidelines. We speak while we think and publish ourselves while processing our thoughts. (March 24)


Etymologically speaking, research comes from Middle French recerche, the act of searching closely. Close as in “hysterically gathering fragments of knowledge with a repetitive motion injury in the copy paste fingers won’t cut it”? As in developing a feeling for knowing the thing that fascinates me? As in proximity becoming intimacy? As in giving the material accumulating in the various folders on my desktop a chance to talk back to me? That’s what it’s asking me tonight: Are you ready? (April 14)


Performative fabrics, impermeable second skins, enhanced enhancement. Bodies in clothes. Clothes on bones are never not corporeal. We are styling our precarity. (June 20)


“Yet Belive, Ha Ho or (2015) does just not serve as a further showcase for a profile performance among the stylized economy of exhaustion, self-exploitation and constant chase for deadlines. It rather speeds up the fragmentary script of a highly subjectivized logic of production, which claims realms like aura and authenticity while never being able to inhabit them … it stages the paradox production of subjectivity, self-awareness and individual creation under conditions of an indispensably scripted self-display.”

(from “On View – interferences of digital and physical re-/ presentations”, Kunstverein Leipzig, 2015)