chapter 3

Firat Imec
K runs a blog named Hospital Porters Against the New World. He needs to share an important information he has acquired on the internet.

“JennyArea51Insider" thinks the world has a right to know what's going on in secret!...

But "Jenny" doesn't exist; K invented her. K is trying to prove a point about something, a forthcoming danger.
He pleads, “I’m making a direct appeal to everybody who has the ability to make fake videos: could you please stop!”

What he means is, we need to publish only information we know to be true. K is in search of the truth, the whole truth and nothing but the truth.
He wants to know only what we know to be true, to find what we don’t yet know to be true.

Hadaly Villasclaras

Everything must be rendered perfectly.

Adrian Ghiman
The corrupted videos
The bugs
The missing tapes
There is a rift in time

A rift between a frame of a movie, and the frame that follows.
It is an ever-flowing world constituent of an average of 24 worlds per second, where present is always and nowhere.

Simone Scandrett

Position and velocity of an object cannot be measured to its full certainty simultaneously. The more accurately you know the position, the less accurately you know velocity and vice versa. You are either certain of one or the other, never both.

Imagine a car moving along a linear road. If you want to see the exact place where the car is, you must pause time (because it's always moving). You pause time, you mark its place. While it is paused (imagine it like a photo), you CAN'T know its speed. It's a picture. If you want to find out the speed, you must un-pause and measure it. But if you un-pause, it's impossible to know the exact position of the car because it's changing.

Michelle Homonylo

The unbearable incommensurability creates an itch,
a tingle in the chest
at a moment of the death of someone I’ve had yet to cross paths with
In my world we’re all living in, but our lives are not our own

Abipa, the Promised Planet

Daniel Stroh

We’ve been told numerous times, in fact we’ve known all along
that we are many, and we are one and the same; that all of us are nobodies and all of us are everything.
...and then we repeat All of us are nobodies and all of us are everything.

This is an invitation-
to a life, not of your own making, but as a main character of a movie, a world constructed by unanimous branches of producers, blinded to each other’s makings,

A perfectly rendered montage, a world of certainty.

Ksenia Markelova

S stares at her reflection in the mirror. She is listening to the news on the radio.
“I don’t understand!”, she declares.
The news is always playing in the background.

Noah Travis Philips

We’re all in the kitchen now, a few days later; Sidonie is having her supper and Nicole is working on one for the adults. It smells good – one of Nicole’s fancy variations, with Irish potatoes, fresh sage and gruyere – and I feel a bit guilty about the fact that I’ve not done much of the housework at all. I walk over to the sink and start doing the dishes. We’re talking about the various possibilities for a narrative arc in the new section.

‘I really don’t think there’s a need to go too far back into your personal history. It’ll feel contrived, unnecessary for your larger point,’ Nicole is saying, ‘Perhaps a tension between your academic and art-making selves?’ I shake my head. ‘But there isn’t a tension really there. That’s the whole point.’ ‘Well then make that point within the text itself,’ Nicole says, shaking the spoon in her hand. ‘A story about the mostly constructed tension between writing and making, one that is only there because people say it is'.

Sidonie comes from the next room, holding hands with Nonie. ‘What?’ she asks, shaking her head and laughing. ‘I’m sorry; it’s very hard to hear from the next room, you know, with Nonie and cooking and the TV on.’ I hadn’t even noticed that Sidonie left the television on. ‘I’ve got it,’ I say. ‘It’s a story about the stories that practice and experience enable. About how they form and re-form in their performative telling and re-telling.’

My voice is a litle wishy-washy here, but I keep going. ‘They say their forms include “research as performative, research as provocative, and research as poetic’. Nicole stops me by putting her hand up; it’s a soft gesture, but accomplishes its goal. In her driest voice, with elongated vowels, she asks, ‘And you don’t want to be categorized with them because…?'

I look up and out of the window.


p1 Text: adapted for Solo Show from original text by Jisoo You: Part 1 Part 2
p2 Text: companion, In Production (excerpt)

This archive publishes all of the remaining open-call submissions from the launch of our project.

Solo Show c3.2

Adrian Ghiman Alan Stefano Alice Aster Alicia Adams Ana Chaudneli Andrew Rutherdale Babi Melo Brit Jackson B.R Zumbrun Barbaros Kisakol Car Meyers Claire Goldstrom Cléo Sjölander Coco Clockner Cory Pappalardo Daniel Stroh Elvin Sanders Flora Ferrari Firat Imec Gibran Mendoza Giuliana Diada Guillem S. Arquer Hadaly Villasclaras Hanna Antonsson Henriette Von Muenchausen Hilary Nelson Iana Iuzhanina Igor Foqueray Iñigo Villafranca Apesteguia Juliette Ayrault Jasper Jordan Lang Jane Leipold Johanna Owen & Miles Hendricks Juri Bizotto Lily McRae & Miles Hendricks Martin Mesnier Marie Komatsu & Christian Roncea Matteo Gatti & Carolina Rossi Casanovas Marissa Jezak Noah Greene Noah Travis Philips Pablo Stahl Petra Szilagyi Paul Lepetit Quinn OConnnor Rafael Moreno Rhea In Ricardo Trigo Rachel Rosheger Roos Van Unen Samantha A, Sara Blosseville Sonia Heim Stan D'hane Trikkboi Tudor Radulescu Valerie You Verity Coward Vasiliki Ioannou Vincent Lo Brutto Xhulja Liçaj