What Now — Achiving, Thanks to Valie Export?

For the past year and a half, the death of my mother and ensuing illnesses have left me incapacitated. Four weeks in the hospital this summer made me more aware than ever of my diminishing ability to reach goals. Cooking and laundry have become day-consuming activities.

Geography, demographics, the 20th century moment in herstory my professional life occupied, unsolicited mental illnesses all combined to present my life with unique opportunities for getting ahead, for surviving. So much planning, so much education, so much suffering, and seemingly so little accomplished. The pitiless way relatives tossed my mother's (and some of my) belongings onto the trash heap last year shook me. With so little energy remaining at my disposal, what to do at age 64 with my vast writing projects and personal goals? With my collection of documents and memorabilia? Take them to the dump myself? Will I manage to complete even one novel? And if I do, what of the rest?

Wracking my brain with this reality and these questions, I stumbled upon an exhibit at the Lentos museum in Linz this fall.

View from Lentos Museum Linz, looking across Danube toward Ars Electronica Museum

It was the exhibit "Valie Export. The Archive as a Place of Artistic Research". It purported to provide insights into her thinking, research and development of ideas, thus making her comprehensible through experimental presentation using diverse media. Oh, how heavenly, to be rendered comprehensible! I dream on, but the exhibit inspired me to think of my writing project (which began as an interactive concept for tablet, "iPopLit") in a new way. Here is a glimpse of the exhibit:

Valie Export Archive Exhibit, Lentos Museum, Linz 2017

What is my project? Protean, anyway. So at present I am thinking, play things safe, abandon artistic expectations, and content myself with something like "the experimental archive project".

...And Something New

Continuing efforts to overcome fissures and seeking integration in my identity, I would like to tackle professional fissures. I post here an attempt: a page from a new project, an archive (Beta version). (I am inspired by the exhibit of Valie Export's archive currently running at the Lentos Museum in Linz.)

The work involves the recording of a young soloists concert I conducted on 22 June 1986. On the program was Ambroise Thomas' Aria (based on Goethe's text) "Connais-tu le pays" [Do you know the land] (hear Marilyn Horne on YouTube). Here I use it to express Heimweh for my profession.

Do you know the country where the orange flowers bloom?
The land of golden fruit and crimson roses,
Where the breeze is fresh and the birds fly in the light,
Where in any season bees are seen foraging,
Where radiant smiles are a blessing from God,
An eternal spring under a deep blue sky!

... / ...

Alas! Why can I not follow you
To this happy shore, here the fates have exiled me!
There it is! This is where I want to live,
Love, love and die!

Connais-tu le pays où fleurit l'oranger?
Le pays des fruits d'or et des roses vermeilles,
Où la brise est plus douce et l'oiseau plus léger,
Où dans toute saison butinent les abeilles,
Où rayonne et sourit, comme un bienfait de Dieu,
Un éternel printemps sous un ciel toujours bleu!

... /...

Hélas! Que ne puis-je te suivre                  Vers ce pays lointain d'où le sort m'exila!
C'est là! c'est là que je voudrais vivre,
Aimer, aimer et mourir!

Created in an excellent course led by Katharina Lichtenscheidt at the Frei Kunstakademie Gerlingen 30.11.-3.12.2017. Mixed media on Steinpapier Karton. 

upload.jpg

And Something Old ... The Personal Is Political

Autobiographical note: After stipends, diplomas from best schools and 25 years of professional activity, I'd never had a 'position' as conductor, nor earned more than 12.000 DM in a year from conducting. At 43, and after pneumonia, hearing loss and long periods of illness, I faced a disagreeable reality: Conducting offered me no financial basis for the future. I took a desk job at a music publisher and shortly thereafter conducted my last concert. For the following 10 years I had nightmares of loss. And from beginning to end, I never ceased hearing the question, "Can a woman really conduct?" Was I a bad conductor?

Women will be equal to men when a mediocre woman can achieve as much as a mediocre man. (I thought this was a quote from a second-wave feminist, but I can't find a reference. If you have one, please let me know.)

There's something else...

Mother died last year. Intensified my pain syndrome, blocked my writing. 4 weeks of rehab in hospital in July/August. Since then only pictures.

2018

2017

SELF-PORTRAITS

ca. 1982 - 2014

2010 - 2011

2002 - 2003

2002 STILKOPIEN

Re-boot: Becoming an Author?

Perhaps we are always gradually becoming ourselves. In the three years since I launched this website, I notice how my sense of myself is changing from 'someone who writes' to 'an author'. After the long-hoped-for publication of two stories last year, my goal this year is to finish one of the novels I began in 2008. To this end, I have embarked on a round of coaching from a publisher in London, and there, the 'whys' and 'hows' of my writing have again come under discussion. I am revamping the website to accommodate relevant thoughts. The website gets a make-over. Old blog-posts remain. Write me — I'm glad to hear from you. Cheers!

WEBSITE RELAUNCH

Glossary for Road Girl

Zafu. A high, round cushion filled with kapok, typically used in zazen Zen meditation.

Juni-chan. 'Chan' is a diminutive, endearing suffix, often used for young children.

Futomaki. A hearty sliced sushi roll, typically filled with rice (white) and bits of cucumber (green), omelette (yellow), kanpyo (marinated gound; brown) and shrimp flakes (pink); rolled in nori-seaweed (black). When sliced, all the colors should meet and please the eye.

Benjo. Toilet.

Kombanwa. Good evening.

Kawai-i, desne? She’s cute, isn’t she?

Mochi. Sweetened rice cake for festive occasions. Special gooey rice is cooked, then pounded to a sticky paste, and pieces are squeezed off and eaten. A family might pound the mochi all together, with father pounding, grandmother reaching in between each stroke to turn the mass over, and other family members looking on in gleeful anticipation.

Obon. A three-day, Japanese, Buddhist festival to honor the dead. In Japanese-American communities, it was a chance for young girls to wear traditional costumes and head decorations and to show the graceful Obon dances they had learned.

Shoyu. Soy sauce.

Skiyaki (sukiyaki). Traditional Japanese hot pot stew based on thinly sliced beef simmered in a broth made of tuna fish fond (dashi) or beef broth, shoyu, sake (rice wine), and sugar. Traditional ingredients dipped into the broth and cooked are: thread noodles, bamboo shoots, scallions, mushrooms, tofu, greens of some type. Bites of the cooked skiyaki may be dipped into raw egg before eating.

Hashi. Chopsticks. Children's chopsticks are smaller. Note: Japanese has an extensive grammatical system to express politeness and formality. When one wishes to express respect for an object, one can add ‘O’ before the word, making, for example, Obon out of Bon festival, Ohashi out of hashi. Typically, women pay deference in speaking and use the ‘O’ form. (See more on Wikipedia in the article Honorific Speech in Japanese.)

Futon. Traditional Japanese bedding consisting of padded mattresses and quilts that are folded and stored away during the day.

A Nightmare

I was in a house, in some house that was my house, doing stuff. The decor was reminiscent of the mother’s house in Lena Dunham’s Tiny Furniture. I saw green, brick-red, white, brown, etc. (i.e., the dream was in color).

Two other females were with me in the house. One was a tall woman, an adult, dressed in slacks. She was doing her stuff. She was not evil or threatening. She felt like my husband: a supporting presence in the background. The other was a child, about the age of my child alter – perhaps seven; she was in her room, came out with her blanket in hand to see what was going on, and the first woman gently shushed her back.

I was busy trying to accomplish some task, but I had just nicked my finger on something again (like the paper-puncher that keeps biting and bloodying my fingers). I was trying to put a band aid onto the wound. But two things were impeding me. First of all, the band aid was of a new material and had a new method of application, with thin strips of plastic to pull off on all sides. (This has actually happened to me in recent months. I regard this as a metaphor for today’s head-spinning technological development. Every time I buy a new batch of band aids, there is new material and a new way of putting them on. I mean, you put band aids on for decades in one specific fashion. And suddenly, every few months there’s something new. The new developments, while beneficial, are almost impossible to keep up with. So do they help or hinder?)

The second problem was that I already had band aids on three other fingers. I pointed this out to the tall woman. I even showed her how the new wound had exactly the same shape as an older wound I had on the opposite hand in the same place (serial neurosis). The band aids I was already wearing were impairing my dexterity to such an extent that I couldn’t get the new band aid on. I ended up with my entire hand wrapped in a huge band aid like plastic wrap.

My fumbling turned into acrobatic gyrations, and I ended up on the floor in the doorway, one knee in the air over my head, the other knee and my head on the ground. In the meantime, the child had come out of her room, the woman had gently shushed her back, and she said something to me like, “I just need to finish this up and I’ll be out of your way.”

Then she left, and there was a close-up of me lying on my back in contorted, agonized thought, trying to figure out answers to my problems. (19 June 2014)

Finitude

Thursday, 19 June 2014, 4:15 a.m. I have been awake since 2 a.m.

People keep dying off around me. This week it was a piano teacher from the conservatory, whom I also knew fleetingly in personal circles, and Casey Kasem, the voice of LA radio in my youth. A couple of months ago it was Abbado. The last few years I lost Cécile, Jessie, and Karen.

I feel death near me. I must prepare and get my stuff in order.

Returned from New York

Desperate I awake from a nightmare, frantically searching to define the theory and find the media for performing the kind of fiction I strive to create. Lygia Clark's blind, silken smell hoods with speakers in an obscure darkened balloon box?