/ no video / about the – linguistic? – codability of the gesture (there are apparently more signs than meanings) / 2003

CODED, embroidery photography, 2003

The gesture intended as an issue of instant (of interruption, of break); the gesture as destiny.
Between picture and text: gesture as speech disorder.
The gesture is the infinitive of a message.

The figure as code.
The gesture of advertisement.
Philosophy and Gender.
Masquerade and Coquetry.

CODED reveals something about the gesture as far as it designs it as a lie. The imagination of a false gesture, which is designed at purpose as something that will not work, refers in a way to Giorgio Agamben’s diagnosis of loss of gesture: negation as indication of being missing.

a b/w photo by VALIE EXPORT, showing a woman in a body re-enactement posture a photo of a girl in stamped paints staring ahead a photo of a girl in stamped paints staring ahead a photo of a girl in stamped paints staring ahead

from left to right: Nonpareille, 1976 by VALIE EXPORT; CODED #1-2-3, 2003 by susanna schoenberg.

setting, staging, installation, panorama photography, 2003

Movies made of gestures instead of pictures
Cinema is bringing pictures home to the land of gestures

About the four dimensions of narration
About simultaneity
Drama as performance
Tableau vivant

setting is a concept made of parameters: spatial conditions between 5 stages, running time, but no story apart of the fixed simultaneities. The performers–4 women and 3 men– were forced to reflect for themselves about reality, and to use the artificial spontaneity of the gesture not for representation but “just” for presence.

the sketch of the installation Setting by susanna schoenberg

setting, installation sketch, 2003.

panopticum, camera-projection-system, installation, database, 2003

Transferring gestures
Some notes about the reason why Flusser is wrong arguing that we do have to understand how we decode gestures.

Coding the reproducible gesture
Intuitive re-enactment
The mirror and panopticon

About the reason why Agamben isn’t so wrong arguing that the gesture is that what remains after having decoded and removed all the coded meanings.

a b/w self-portrait photo by Claude Cahun, showing a woman in pretty pose four photo takes, showing the same woman in different installation Panopticum by susanna schoenberg

from left to right: Self portrait, Barbe bleu, 1929 by Claude Cahun; panopticum #blaubart_GEN1_ID00001, 2003 by susanna schoenberg.
//////////////////// relatives ///
michael zepter
georg rosenthal, michael zepter und ansgar jerrentrup (courtesy m. zepter).
ruben malchow
four ages of men, 2005
(courtesy ruben malchow).
UNTITLED by friedrich blume
untitled, 2011
(courtesy Friedrich Blume).
homometer, 1973
(courtesy VALIE EXPORT).
julia scher
wonderland, Andrea Rosen gallery, 1998
(courtesy julia scher).

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