Baldessari Blueprint

Would we use the setup in the auditorium of the Jan van Eyck as a blueprint for the exhibition in the Bonnefanten as a kind of physical evidence of the situation in which the B-masterclass and our B-Blueprint was presented? As traces of actions taken place?

Since some time now we have been introducing spaces to each other. By speaking about them, visiting (sharing experience in) them choreographing a performance in them.

Let's say that Gallery 4 dimensions' are 6.50 x 10 m. The setup of the auditorium would take up quite some part of the total size. What are the qualities we'd like to convey (with it)? Certainly it'll look awkward and institutional. If we're not allowed to borrow the tables from the JVE or if it is somehow better to imitate the setup with slightly different furniture, like the tables from the Hoffman catalogue, what kind of qualities should those tables ideally have? Flexible/ collapsible/ new/ smaller then real size..?

Could you post the 'abstract' that I borrowed from you on the blog, if you still think we can do something with it. I find the text interesting and totally ridiculous. It mixes up and creates a big knot of words: embodied passion, demotivation, work behavior management / motivation management, emotional situations, expressive/emotional processes, emotional realities, embodied passion, passionate processes -of the organization, it's members and workers.

"Some thoughts, even when it's hard to think"

REPLY SITUATION WANTED

Thus the absent presence (of a man who doesn't bother) forms the drive to bother us to stage anything at all. One could already detect him in our earlier presentation/ proposals. Yet we didn't get any further then addressing him or interpreting his thoughts through the use of a passive voice. Now that you framed him or rather have a vision of him through the text of M.Duras I wonder if we'd stage his absent presence in other ways. If this would be of any interest at all? Already with this blog we are performing for a passive mass audience and a few friends we might invite to have a look if everything works out.

SEXY

Today you'd wished to make a really sexy artwork. Mentioned having once photographed animal's vital parts, or any other body part for that matter, kept in strong (?) water, to later construct a new type of creature.- Instantly let to the idea of making poetry. Which could be called "sexy poems with body parts". (A continuation of "poems about nature documentaries")
Continuing this line of thinking I must admit that the machine/ the drive we propose to work 'from' has quite a sexual undertone. Not surprisingly, cause it's vital to Duras' story. (NOTE: it would be good to have a copy of this chapter with stage directions on the blog)

I can't remember exactly: what role did the man who doesn't appear play in 'The malady of death'? Is he only mentioned in the part where she describes the actors, the stage, the play?