I'm convinced that you cannot describe nature, not philosophically, nor in a scientific manner and, not in the last place, not from an aesthetic point of view either. The moment you start describing it, studying or painting it, nature is undone and becomes something different altogether: a dissertation, a story, or an art work, anything that fits into a human framework of understanding. It's a Bermuda triangle of philosophy, science and culture in which nature disappears.
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This "manifesto", which emerged in its first version six years ago, was initially intended to become an agitatorial sound-piece consisting of ambiguous voices in several languages. It ended up a backdrop and an insistent reminder while I was pondering other less agitatorial pieces relating to gender, gender neutrality and transgression of gender.
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Part 2 of “All Talk, No Action” (see below).
To handle and act within art today is to choose between ìwith usî, or ìagainst usî!! And we all know that "against us" is not really an option. There is no such thing as "against us", we are all onboard from the get go and possibly all the way to the end.
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What is the difference between practicing and preaching, and what does it have to do with themes?
ñ My name is Fredrik Gunve and I work as an artist. Iíve had several exhibitions,
performances, situation based happenings, installations, teaching projects, texts, and I have often been asked:
ñ What themes do you work with??
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17.09.2000. The Red Light District in Amsterdam is 700 years old and at a distance looks rather charming, with all the red lamps, cobblestones and picturesque bridges. Unaccustomed as I am to the area, I study the surroundings and watch how others act and move. Several people window-shop.
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If you look at a map of Petersburg, you will immediately see that Narvskaya Zastava is an isolated zone, surrounded by a ring of factories, railroad tracks and shipyards. Before the revolution, it was part of the city's proletarian outskirts, an historical hotbed of dissent. The historical decision to begin the October Revolution was made here.
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I am at an art exhibition in Germany, watching an educational fi lm on how to use a condom for protection against AIDS. The film is from South Africa. One of the women at the lesson giggles and smiles shyly, as she pulls a condom over a wooden phallus. Her friends are in stitches and the situation exudes lust and powerlessness. I am watching the film, surrounded by happy German art lovers. But they are no longer looking at the film. They are looking at me with well-meaning expressions on their faces.
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