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Krasis (Ennoia)

  • Monika Weiss
Conference paper
Part of the Edition Angewandte book series (EDITION)

Abstract

I lie inside a rectangular container, which resembles a stone tomb. Inside, hundreds of thin sheets of paper move gently under the pressure of my body. My hands hold chunks of graphite. I mark the sheets, cutting through their delicate surfaces as lines appear gradually around my body. The viewers have been asked to remain silent. One hears the paper crackling, shimmering like the waters of a remote river. The radius of my perception is enclosed within the container, yet I perceive from beyond its walls, the walls of koimeterion 3, the walls of flesh.

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Notes

  1. 1).
    Monika Weiss “Lethe Room,” (2004), concrete, wood, metal, paper, electric motor, the artist. Courtesy Lehman College Art Gallery, City University of New York.Google Scholar
  2. 2).
    “Aletheia: Girl in River Water” by Meena Alexander. Composed after seeing the performance “Lethe Room” by the author [Monika Weiss,] December 13, 2005, New York City, Lehman College Art Gallery, in Meena Alexander “Quickly Changing River”, Northwestern Univ. Press, Evanston, Illinois, 2008, p. 28.Google Scholar
  3. 3).
    Greek koimeterion “sleeping chamber, burial place,” akin to koiman “to put to sleep”; English home akin to, Greek koiman, WEBSTER’S New Collegiate Dictionary, G. & C. Merriam Co., 1977, pp. 179 and 546.Google Scholar
  4. 4).
    Jacques Derrida “Aporias. Dying—awaiting (one another at) the ‘limits of truth’” (“Apories: Mourir-s’attendre aux ‘limites de la vérité’,” in Le Passage des Frontières: Autour du travail de Jacques Derrida, Editions Galilée, 1993) English translation by Thomas Dutoit, Stanford Univ. Press, Stanford, CA, 1993, p. 33Google Scholar
  5. 5).
    Ibid, p. 8.Google Scholar
  6. 6).
    Ibid, p. 7Google Scholar
  7. 7).
    Ibid, p. 11.Google Scholar
  8. 8).
    Ibid, p. 14 in reference to Heidegger’s “vulgar concept of time”.Google Scholar
  9. 9).
    Ibid, p. 20Google Scholar
  10. 10).
    Ibid, p. 21.Google Scholar
  11. 11).
    Monika Weiss “Ennoia”, (2002), cast-concrete vessel, water, the artist, sound environment. Sound in collaboration with Stephen Vitiello. Courtesy Diapason Gallery, New YorkGoogle Scholar
  12. 12).
    Bodmer Papyri, 27, 1–36, 15, as quoted by Kurt Rudolph in “Die Gnosis. Wesen und Geschichte einer spatantiken Religion,” Vandenhoeck & Ruprecht, 1990. Polish translation by Grzegorz Sowinski, Zakład Wydawniczy NOMOS, Kraków, 1995, p. 73Google Scholar
  13. 13).
    Hildegard of Bingen “Opera, lib. 2, visio 7, p. 555, in Lina Eckstein’s Woman Under Monasticism, Cambridge: At the University Press, 1896, reproduced by Elibron Classics, 2006, p. 265Google Scholar
  14. 14).
    Lina Eckstein “Woman Under Monasticism”, Cambridge: At the University Press, 1896, reproduced by Elibron Classics, 2006, p. 265Google Scholar
  15. 15).
    Clement of Alexandria, Ex Theodoto, 22, 7Google Scholar
  16. 16).
    Emmanuel Levinas, 1987, 9 as quoted by Claudia Benthien in “Skin. On the cultural border between self and the world”, England translation by Thomas Dunlap, Columbia University Press, New York, 2002, p. 99Google Scholar
  17. 17).
    Amelia Jones, “Decorporealization” in Sensorium. Embodied Experience, technology, and contemporary art edited by Caroline A. Jones, the MIT Press, Cambridge, MA and London, UK, 2006, p. 134.Google Scholar
  18. 18).
    Amelia Jones, Ibid, p. 135Google Scholar
  19. 19).
    Henri Bergson “Matter and Memory” (“Matière at Mémoire,” Presses Universitaires de France, 1988), English translation by Nancy Margaret Paul and W. Scott Palmer, Zone Books, New York, 1991, p.61Google Scholar
  20. 20).
    Martin Jay “Ocularity” in Sensorium. Embodied Experience, technology, and contemporary art, edited by Caroline A. Jones, the MIT Press, Cambridge, MA, London, UK, 2006, p. 193Google Scholar
  21. 21).
    Joanna Lowry “Performing Vision in the Theatre of the Gaze” in Performing the Body, Performing the Text, edited by Amelia Jones and Andrew Stephenson, Routledge, London and New York, 1999, p. 277.Google Scholar
  22. 22).
    Julia Kristeva “Black Sun. Depression and Melancholia”, (“Soleil Noir: Depression et Melancholie, Editions Gallimard, 1987) English translation by Leon S, Roudiez, Columbia University Press, New York, 1989, p. 110.Google Scholar
  23. 23).
    “The underlying coat bears the date 1521” Ibid, p. 107.Google Scholar
  24. 24).
    Ibid, p. 114.Google Scholar
  25. 25).
    Ibid, p. 127.Google Scholar
  26. 26).
    Gray Hill, “Wall Piece,”, 2000, courtesy Donald Young Gallery, ChicagoGoogle Scholar

Copyright information

© Springer-Verlag/Wien 2009

Authors and Affiliations

  • Monika Weiss
    • 1
    • 2
  1. 1.Washington CollegeChestertownUSA
  2. 2.Planetary Collegium-CAiiAUK

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