{"id":5871,"date":"2022-09-16T14:06:48","date_gmt":"2022-09-16T14:06:48","guid":{"rendered":"http:\/\/www.art-3.org\/art-contemporain\/?page_id=5871"},"modified":"2022-09-16T14:12:54","modified_gmt":"2022-09-16T14:12:54","slug":"always-crashing-in-the-same-car","status":"publish","type":"page","link":"http:\/\/www.art-3.org\/art-contemporain\/always-crashing-in-the-same-car","title":{"rendered":"Always crashing in the same car"},"content":{"rendered":"
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Texte fran\u00e7ais<\/strong>
\nLes \u0153uvres de Sarah Degenhardt s\u2019interrogent sur ce a\u0300 quoi peut ressembler une toute autre expe\u0301rience de l\u2019espace. Une expe\u0301rience qui n\u2019e\u0301tablit pas d\u2019abord un syste\u0300me de coordonne\u0301es, une boi\u0302te-monde, pour de\u0301duire de sa grille les plus petites unite\u0301s du paysage, du lieu et des corps. Ses \u0153uvres sont au contraire conscientes, au meilleur sens du terme, du vertige qui frappe tous les voyageurs. Ce le\u0301ger tremblement des horizons, lorsque des points fixes clairs deviennent des seuils de transition.<\/p>\n

Ce qui apparai\u0302t comme surfaces spatiales dans ses travaux vide\u0301o est ralenti, lique\u0301fie\u0301, de\u0301place\u0301, et avec eux nos corps qui tentent de se retrouver. Les \u0153uvres nous invitent a\u0300 prendre au se\u0301rieux le bruit incessant du ressac, a\u0300 nous exercer a\u0300 penser notre place dans le monde a\u0300 partir de notre propre situation, de nous voir ensemble comme porte\u0301s et rejete\u0301s par des courants. Et d\u2019accepter les repe\u0300res fixes, tels que nous les avions grave\u0301s dans l\u2019espace, comme des moments fragiles. 3<\/p>\n

Il est donc approprie\u0301 que l\u2019exposition cite dans son titre une chanson de David Bowie
\n\u00ab Always crashing in the same car \u00bb, une chanson dans laquelle un e\u0301ve\u0301nement traumatique du chanteur ne fait pas seulement sortir le temps de sa line\u0301arite\u0301 et l\u2019envoie dans une re\u0301pe\u0301tition incessante, mais au fil du temps l\u2019espace s\u2019effondre e\u0301galement, le re\u0301duisant a\u0300 un garage dans lequel Bowie continue a\u0300 tourner a\u0300 toute vitesse autour de son propre globe effondre\u0301. Sous une forme moins dramatique, nous connaissons peut-e\u0302tre tous le sentiment qui nous touche ainsi e\u0301galement dans les travaux de Sarah Degenhardt, la recherche d\u2019une relation, d\u2019une localisation de nos expe\u0301riences par rapport aux ge\u0301ographies anonymes.
\nLukas Picard<\/p>\n

Lukas Picard a e\u0301tudie\u0301 l\u2019art libre a\u0300 Karlsruhe et Reykjavik, ainsi que l\u2019histoire de l\u2019art et les sciences des me\u0301dias a\u0300 Francfort. Il s\u2019inte\u0301resse principalement aux the\u0300mes de la tendresse, de la fatigue et des mondes nume\u0301riques.<\/p>\n

1 Serres, Michel : Les cinq sens
\n2 Flusser, Vilem : Ra\u0308ume, dans : Heidemarie Seblatnig (e\u0301d.) : au\u00dfen ra\u0308ume innen ra\u0308ume. L\u2019e\u0301volution de la notion d\u2019espace a\u0300 l\u2019e\u0300re des me\u0301dias e\u0301lectroniques.
\n3 La situation et le savoir situe\u0301 sont des concepts de\u0301veloppe\u0301s par Donna Haraway. Il s\u2019agit pour elle de montrer que ce que nous pouvons savoir, demander et percevoir est toujours marque\u0301 par nos propres conditionnements, pre\u0301juge\u0301s et contextes sociaux. Le savoir ne peut pas e\u0302tre transcendant et universel, il ne peut e\u0302tre saisi et rejete\u0301 que dans le cadre d\u2019une re\u0301vision permanente et d\u2019une discussion commune.<\/p>\n

English text<\/strong>
\n\u00abThe traveller recounts the details, challenges and discoveries of their wanderings over local trails, naming contingencies, trickling away like time itself.\u00bb 1<\/p>\n

There is no box that the sea fits into<\/p>\n

Rocking on the moving surface of the sea, in the azure murmur and hiss of the waves, tossed here and there, I learned as a child: when you feel dizzy, keep your gaze fixed on the horizon! Anchoring your vision there, the agitated spray calms down. The horizon becomes the secure axis of a coordinate system, the foundation of a space over which we span, a space like a pale box that houses the sea. The dizziness vanishes.<\/p>\n

My mundane attempt to escape seasickness stands for a mode of thinking that locks space \u00abinto a low box\u00bb, as Flusser calls it; a box \u00abthat sits on thefloorandthroughwhichtimeblowstowardsthefuture\u00bb.2 Flusser does not want a world of congealed geometries through which linear time, history, rushes forward like an incessant wind. For in such a world, the inhabitants think of themselves as uninvolved observers, independent of their place.<\/p>\n

Sarah Degenhardt\u2019s work is concerned with the question of what a very different experience of space might look like. An experience that does not first apply a coordinate system, a world box, in order to infer from its grid the smaller units of landscape, place and bodies. Instead, her works are aware, in the best sense, of the vertigo that afflicts every traveller. That slight tremor of horizons when clear fixed points become thresholds of transition.<\/p>\n

What appears as a spatial surface in her videos is slowed down, lique- fied, shifted, and with them our bodies that try to find themselves again. The works ask us to take seriously the incessant sound of the surf, to practice what it means to think of our place in the world from our own situatedness, to see ourselves collectively as carried and discarded by currents. And to accept the fixed orientations we carve into space as fragile moments. 3<\/p>\n

It is fitting that the exhibition\u2019s title quotes a song by David Bowie, \u00abAlways crashing in the same car\u00bb, a song in which a traumatic event
\nof the singer not only lifts time out of its linearity and sends it into repetition, but also collapses space with time, shrinking it to a garage in which Bowie continues to circle his own collapsed globe at full speed. In less dramatic terms, perhaps we all know the feeling that so touches us in Sarah Degenhardt\u2019s work, the search for a relationship, a location of our experiences in relation to the anonymous geographies.<\/p>\n

Lukas Picard
\nLukas Picard studied free art in Karlsruhe and Reykjavik, as well as art history and media studies in Frankfurt, he is primarily concerned with the themes of tenderness, fatigue and digital worlds.<\/p>\n

1 Serres, Michel: The five senses
\n2 Flusser, Vilem: Spaces
\n3 Situatedness and situated knowledge are concepts developed by Donna Haraway. Her aim is to show that what we know, ask and perceive is always shaped by our own conditions, prejudices and social context. Knowledge cannot be transcendent and universal, but can only be grasped and discarded in constant revision and shared conversation.<\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Texte fran\u00e7ais Les \u0153uvres de Sarah Degenhardt s\u2019interrogent sur ce a\u0300 quoi peut ressembler une toute autre expe\u0301rience de l\u2019espace. Une expe\u0301rience qui n\u2019e\u0301tablit pas d\u2019abord un syste\u0300me de coordonne\u0301es, une boi\u0302te-monde, pour de\u0301duire de sa grille les plus petites … Continuer la lecture →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5871","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/5871","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/comments?post=5871"}],"version-history":[{"count":3,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/5871\/revisions"}],"predecessor-version":[{"id":5876,"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/pages\/5871\/revisions\/5876"}],"wp:attachment":[{"href":"http:\/\/www.art-3.org\/art-contemporain\/wp-json\/wp\/v2\/media?parent=5871"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}