Installation Description

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1.)  The Barge:  Les Enragés

Note: In mid-September we received the Barge, Les Enragés, through a generous donation from The Invisible Committee. Lancaster and Young occupied Les Enragés just north of Fort Bragg, and sailed it to its current location in SF. During the voyage, we unfortunately lost part of the Barge in a storm outside the Golden Gate Bridge.

Les Enragés was originally planned as an installation on a full-sized barge, based on the concept of a floating Passagenwerk (Walter Benjamin’s notion of the Arcades.)  It is a platform (in all senses) against the Neoliberalism of a technological corporate spatial violence which forced the exile of the once vibrant San Francisco avant-garde art scene. Now meant as a fluid location in search of berthing, its conception launched an appeal to the Swiss Government (October 2015) for cultural and artistic asylum, as was provided to the originators of Cabaret Voltaire in Zurich.  What remains of the Barge’s components now represents the inside-out shipwreck, with an engine room, navigation room, library, magazine, and pump room.  After being haunted by the convolutions of Dada, and its relationship to global, national, state, and municipal institutions, it has been miniaturized (due in large part to a storm) but retains the range of originally planned features. In other words, it retains a radical ethico-political conjuring of Dada in relation to the structural violences of institutions and war.

During the Dada World’s Fair it will be present as an interactive installation at the Sea Scout Base on the west side of the Aquatic Park.

2) The Fleury Colon (Polyphibious Dory).

The Fleury Colon is a Banks dory named after an enigmatic French architect of Swiss heritage. According to his entry in the  Dictionary of the Avant-Gardes (Routledge 2000), “[Bruised by the politics of Lettrism”, Colon changed “his name to Le Regarder Plus (To look further)”, fled the volatile Parisian scene, and established an avant-garde artist commune in the woods near Montreal.  His work was obsessed with finial forms and, later, aeronautics, especially rocketry.  He died during the construction of a rocket after falling on one of his dog shaped spires. Most of Fleury Colon’s work is available at Ohio State University Special Collections/Avant-garde library. For a more probing look at Colon, see scholar and artist, Dr Michael Peters, and his web site. http://www.michael-peters.com/the-fleury-colon-biography/

Banks dories are best known for their work on the East Coast, but the Fleury Colon is a replica of a famous example that fell from the deck of Her Majesty’s Canadian Ship Rainbow and was recovered on the California Coast during WWI (https://en.wikipedia.org/wiki/HMCS_Rainbow_(1891).

3.) The Orgone Cannon: Technico-Poetics Against the Mass Psychology of American Corporate Crypto-Fascism.

 Although self-explanatory, it is worth mentioning this Orgone Cannon (OC) is based of Reichian plans. Reich’s seminal theoretical work, The Mass Psychology of Fascism, plays a role in his later practical Orgone Cannon. We have made a few crucial adjustments to Modernize the OC in order the combat the imminent threat to 21th Century utopia, no longer the Nazi Fascism Reich faced, but rather American Corporate Crypto-Fascism. The French philosophers Deleuze and Guattari remind us ‘capital is the limit’, and also to watch for our ‘inner fascisms.’  We bear witness to such problematics in the current modality and concentration of Techno-Hipster-Casual-Friday dress, and their spatial politics.  Only this homunculus Dasein of a vapid instrumentalism and venture cunning can now afford to pay the rent. Our Modern Orgone Cannon (MOC), will shoot benevolent Orgones into Vichy occupied San Francisco, opening up of flows of bohemian immanent critique.

(It may be noteworthy that Orgone Cannons are also referred to as “cloud busters” based on their ability to dissipate the effects of meteorological engineering and the materialization of energetic flows from non-benevolent astralities).

4.) The Orgone Accumulator (Navigation Room): Burroughs, Reich and the impossible Futures. From Barge to Animal Spaceship: Telepathic Connections to Fleury Colon.

Based off of Wilhelm Reich’s Orgone Accumulator (OA), our OA is also shaped and serves as the captain’s helm to steer our barge, Les Enrages into San Francisco’s futures. This modernized OA captures orgones from the atmosphere, but in addition to curing illness within the self, it opens up creative and collective healing formations for future spatial configurations of San Francisco.  When placed within a certain proximity of the Fleury Colon dory, the OA begins to gently vibrate opening telepathic signals to a future ‘to-come’, in which the impossible event is engaged. We must remember that Fleury Colon, in a feverish utopian haze shortly before his tragic death, also spoke of an animal spaceship that will have come to us in an anterior future. And that Burroughs’ time spent in OA’s has strangely brought his ‘algebra of need’ into these telepathic future ventures within San Francisco’s ‘deconstruction’ of the present Vichy techno-capital within it.

5.) The Sails

The narrative on canvas sails documents the passage from previous projects that have lead up to Dada@Sea including Listening to Animalities, Soils, and Shipwrecks (http://www.intellectbooks.co.uk/journals/view-Article,id=13248/)  and Radio Free Benjamin (http://www.hauntedreflections.net/radio-benjamin/).  

6.)  The Radios

These are hand-built, sculptural radios based on a Cornell Foxhole design from WWII.  They are thematically referential to the work of Walter Benjamin, and the circumstances of his death at Portbou in 1940.  They operate with no external power source but convert radio waves into just enough voltage to vibrate the diaphragm in the earphone.

7.) The Speaker Panel (Election Day): Of Toilets and Urinals

Participants will address a range of radical political transitions that will have implications for both local, national, and international political, cultural, and intellectual processes.

8) Can(n)on For Dada@ Sea (fired at the sea.)

As an art making implement, especially in a maritime project, the cannon offers a level of efficacy that is too compelling to ignore.  The black powder cannons were made as opening moves towards subtler orgone cannons that operate on a liminal rather than pyrolytic level.  It is through the magazine that explosives and libraries share their etymological commonalities.  In the Canons For Dada@Sea musical compositions, the cannons were filled with round shot and fired at oversized musical notation paper.  Shot that hit within instrument range created the notes, and to some extent the tempo of the compositions.  These are being played by a variety of musical groups, and are being incorporated into the documentation of the project with the cannon blasts themselves as punctuation for the musical performances.  Thus, the cannons are both claxons and “brushes” in integrated sound art pieces that will continue to develop up to and beyond the anniversary events for the Dada World’s Fair.

To learn more about the Dada World Fair visit: www.dadaworldfair.net

 

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