Metacritical questionnaire for the use of the fellow artists
Subject, Form, Matter
What are you busy with? Are you trying to find something? What did you find out?
Are you artist? Do you look like an artist? What is to be an artist? Why you want to be an artist?
Who is the author of an “artwork”? Who is its subject? Are you an author? Are you a subject of your art?
Do you think you have a mission? What is your mission?
Are you making a process of subjectivation effective?
Is questioning necessary in order to create?
Is questioning opening more questions? Should we ask questions which lead to more questions? Should we ask questions which can’t be answered? Is questioning reducing or augmenting the potential of the work? Are answers reducing or augmenting the potential of the work? Are answers needed for the questions? Are questions needed for the answers? What are strong questions? What are strong answers?
What are the answers of questions who have never been asked?
Is critique an endless questionings?
What kind of critique we could make of labor relations?
Is there a convention forcing us to perform a critique?
How do you enact a voice? Is there such a thing as a voice?
What is power? What is powerful art?
Does the artist have to make decisions? About what?
What sort of choices/decisions an artist should absolutely make?
How do you work on the kind of decisions you make?
Try to make choices in order to reduce the elements. Only this ecology of creation could raise the energy of the work. There is too much happening anyway.
Reflecting for the sake of reflecting. You have to have invested yourself in the question you are asking. How?
What is a strong decision? What is strong choice? What is necessity in art? What is freedom art?
Is there a condition under which art should stop?
What is the condition under which art should stop?
Does art have to communicate? Why? What? How?
Is the idea staying the same when transferred to other people? What language, what tools?
How to constrain the readings you are trying to research?
What is, if any, the materiality of the afterlife of the (artistic) event?
Do you need audience? What for?
Does audience participation belong to artistic material?
Is the question: “what do you want from me as an audience?”a good question?
Are you working for your audience? Are you giving her a product? Are you selling it a product? Is audience working for you?
Do you think you have an implicit contract with your audience? What is this contract?
What do you want from me? What do I want from you? What is this relationship we are involved in?
Do you need to erase the expectations of you audience?
Are you giving me something beyond the convention of theater/exhibition/concert/reading? What?
Is it your job to give answers to this? There is no way to say what fare exchange is.
Not about people understanding but about offering something?
Is art a form of labor? What sort of labor is art? Who are the workers? What are the forms of production? What is the gain? Who is the capitalist? Who is producing? What is being produced? What is being exchanged? For what? Is there exploitation in art? What economy? What market?
Are artists/performers using the idea of collaboration as pretext in order to enter their own codes or take it over involuntarily – the excuse of the need of respect of other’s creative freedom through collaboration, erasing the deeper artistic necessity to face and follow the necessity of the material, of the formal parameters offered by the author.
Are you analyzing what you are doing when you are doing it?
When everything fits, then something stars to not happen.
The flip out of belief is more interesting that the flip into belief – subvert the expectations, the conditions.
Do you need to control your media / material / creative process? Do you need to ‘uncontrol’ it? If no, why? If yes, how?
Do you need a deus ex machina in order to exist out of your control?
Should you do something to undermine the space of theater/ the art institution/space as a place where you could ask questions like that. Does art deal with the conventions of value?
How does art relate to commodity culture?
How are you are sensible to the conditions in which you are performing/exposing?
Are you interested in the forms of the conventions you use? In how you/we enter this convention and operate within?
Do you want to create a tension in/with your work? To disturb? Do you have sponsors? Do you want to disturb them? Why?
What does critical institution means?
What is the institution of critique?
Is critique normative?
Do you need methods? Is art practice to be learned or it’s a matter of invention? What is learning? What is practice? What is invention?
Do you know how to transpose your intellectual occupations in artistic means? Is this question valid? Do you understand it?
Is there a journey in your work?
What is simplicity? What is complexity? What sort of … you need? Do you need it?
How these moments (stumbling blocks) lead to moments to effective simplicity?
What kind of process you put yourself through in your work? What are your affects?
Do you prefer making the whole process of production of the work visible, or not? Why?
What is random structure? Random generator.
Are you representing? Are you illustrating? Are you expressing? Are you transforming? What? Why?
I want to produce the quality of being unsecure. The quality of spontaneity is very important in it.
How do you “unrehears” the thing you know? What is the opposite to rehears towards perfection?
Do you feel a need to shut up? Do you understand when you should shut up?
Are you scared when deciding to work? Are you scared when working? Are you scared when showing/performing? What for?
What affects drive your creative work?
What affect does you work have on you?
Are your resources limited? What is limited resources? What is expenditure? What is waste?
Does art has something to do with ethics with what sense? Who is the subject of ethical operation?
Is your working process more then performance?
Is wildness a sort of blind spot, a dark place where light of consciousness is not allowed?
The relation between blind spot and absorption: blind spot could not absorb what it could not see. It’s not a vortex? What is a vortex where you could be lost then?
How could excess or wildness happen? For what reason it should (or shouldn’t) happen?
What you could produce which could not be produced? (Waste is entering a regime of production.)
Wildness is constantly constructed, but if you are too strongly constructing it, it’s not there. Something which has been digested, it’s not wild.
– Is wild before-stage? Is it ob-scene: ob-scaena?
Does the work of art have heroic ancestry? – Does the work have to search for a monster? Monster: what I could not explain or know – going inside this area and using this exploration.