Talk

Con la participación de: Carolyn Christov-Bakargiev & Georges Didi-Huberman

Moderadora : Madja Edelstein-Gomez

Desde la ingeniería genética, donde significa el trasplante de genes de una especie en las células de un organismo de otra especie, el concepto de recombinance es tomado por la lingüística y la semiótica para denotar, especialmente en Leonard Talmy una sistema en el que las unidades discretas con diferentes identidades se combinan de forma permanente en un determinado tipo de arreglo (iterativo) y bajo diferentes restricciones. El recombinance, mientras que la interacción con la atención, de acuerdo con el trabajo de Martina Lampert, ayuda a entender el proceso no sólo de la formación (y la adquisición morfogenética) del lenguaje, yendo y viniendo en las funciones de fonemas y fonemas los morfemas, sino también de la percepción. La naturaleza dinámica de la recombinance parece particularmente – o se hace visible y por lo tanto problemática – y por escrito digital, que sigue a una serie de efectos, que a su vez pueden ser llamados recombinante, como la identidad de la acerca de convertirse en acción intra múltiple, inter o humano / máquina y la creación artística (re-apropiación, re-mix, citationnism …), en particular la Web (meme, interferencia, etc.). Desde una perspectiva post-humanista, la muerte se abre un espacio y un tiempo recombinance. ¿Por qué estos artistas tienen que cometieron suicidio? Tal vez porque eran conscientes de la recombinance que así por la vida, la creación – el mundo del arte – y la muerte? Tal vez estos suicidios son entonces un acto de la creación misma, presuponiendo que la creación es tanto en el lado de la vida que la muerte?

(inglès) The concept of recombinance comes from genetic engineering, where it means transplanting genes from one species into the cells of the organism of another species. This concept is taken up by linguistics and semiotics to denote a system where discrete units with distinct identities combine permanently in a certain type of arrangement (iterative) and under different constraints (in reference to the works of Leonard Talmy) .
In linguisitics, according to the work of Martina Lampert, the recombinance in interaction with verbal attention, helps to understand the process of training of language (morphogenetic acquisition), the functions of processing phonemes into morphemes back and forth but it also helps to understand the act of perception.
The dynamic nature of the recombinance appears particularly – becomes visible and therefore problematic – in digital writing. Consequently, a number of effects, which themselves may be called recombinant, such as the becoming multiple of the subject, human/machine inter- or intra-action and artistic creation (re-appropriation, re-mix, citationnism …), particularly on the web (memes, glitches, etc.).
From a post-humanist perspective, death opens a space and a time of recombinance.
Why have these artists committed suicide? Perhaps because of their awareness of recombinance principles that run through life, creation – the world of art – and death? Perhaps is suicide an act of creation in itself, assuming that creation iself is as much on the side of life than of death?

(francès) Issu du génie génétique, où il désigne la transplantation de gènes d’une espèce dans les cellules d’un organisme d’une autre espèce, le concept de recombinance est repris par la linguistique  et la sémiotique pour désigner, notamment chez Leonard Talmy, un système où des unités discrètes possédant des identités distinctes se combinent entre elles de façon permanente selon un certain type d’arrangement (itératif) et selon différentes contraintes. La recombinance, interagissant avec l’attention, selon les travaux de Martina Lampert, permet de comprendre le processus non seulement de formation (et d’acquisition morphogénétique) du langage, allant en va-et-vient des fonctions aux phonèmes et des phonèmes aux morphèmes, mais aussi de la perception. La nature dynamique de la recombinance  apparaît particulièrement – ou devient visible et donc, problématique – dans et avec l’écriture numérique, de laquelle découle un certain nombre d’effets, qui eux-mêmes peuvent être qualifiés de recombinants, comme l’identité du sujet devenant multiple, les inter- ou intra-actions humain/machine et la création artistique  (ré-appropriation, re-mix, citationnisme…), particulièrement du Web (mème, glitch, etc.). D’un point de vue post-humaniste, la mort ouvre un espace et un temps de recombinance. Pourquoi ces artistes se sont-ils suicidés ? Peut-être parce qu’ils étaient conscients de la recombinance, qui traverse aussi bien la vie, la création – le monde de l’art – et la mort ? Peut-être ces suicides sont-ils alors un acte de création en tant que tel, présupposant que la création soit tout autant du côté de la vie que de la mort. (Madja Edelstein-Gomez)

Actividad gratuita. Interpretación simultánea al español.
Lugar y hora: Auditorio El Aleph. 10 de junio – 18:30 h

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Bio:

carolyn-christov-bakargiev-148040_tnCarolyn Christov-Bakargiev (born December 2, 1957, in Ridgewood, New Jersey, US) is an American writer, art historian and curator. Her work is focusing on the early 20th century avant-garde and contemporary art. In 1999, she published a book about the Italian Arte Povera movement with Phaidon Press, London. She wrote the first monographs on the work of South African artist William Kentridge in 1996/97 (Brussels, Palais des Beaux Arts). After working as an independent exhibition curator for many years, she is the Senior Curator at P.S.1 Contemporary Art Center in New York, an affiliate of the Museum of Modern Art.

georges didi-hubermanGeorges Didi-Huberman (born June 13, 1953) is a French philosopher and art historian. He is a french He has been a scholar at the French Academy in Rome (Villa Medici) and resident in the Berenson Foundation of Villa I Tatti in Florence. He teaches at the School for Advanced Studies in the Social Sciences, where he has been a lecturer since 1990.

Last publications :
Phasmes. Essais sur l’apparition, Minuit 1998.
L’Étoilement, sur Simon Hantaï, Minuit, 1998.
La Demeure, la souche, sur Pascal Convert, Minuit, 1999.
Ouvrir Vénus. Nudité, rêve, cruauté, Gallimard, 1999.
Devant le temps, Minuit, 2000.
Être crâne, sur Giuseppe Penone, Minuit, 2000.

madja edelstein gomez buenos aires

Madja Edelstein-Gomez (born in 1960 in Montevideo) is a French-Uruguayan independent curator. Imprisoned at the age of 13 under Bordaberry dictatorship and released in 1984, she got involved in investigative journalism and as an art critic. She married in 1988 with a french diplomat and became mother of two. She travelled in Africa and in India, engaging in cultural activities. She made several exhibitions crossing emerging or “amateur” talent and famous contemporary artists. Her husband and children died in the plane crash of Egypt Air near New York in 1999. Since, she has been dedicated to humanitarian organizations and directed several large thematic exhibitions. She is curating the current exhibition Committed Suicide.