jager The Incredible Shrinking Mercury Terremotoocmatours.net/wp-content/uploads/2018/09/Jager-Valentina.pdf*Including fragments from the following books and articles: The Physicist

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December 17, 2016 — Blog

The Incredible ShrinkingMercuryValentina Jager

Travesía CuatroGuadalajara, Jalisco, México

12/03/2016 – 01/21/2017

Valentina Jager, The Incredible Shrinking Mercury, Scene II, 2016, performance. Courtesy of Travesía Cuatro, Mexico

City.

Valentina Jager, The Incredible Shrinking Mercury, Scene II, 2016, performance. Courtesy of Travesía Cuatro, Mexico

City.

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Valentina Jager, The Incredible Shrinking Mercury, Scene I, 2016, performance. Courtesy of Travesía Cuatro, Mexico City.

All human affairs, with no exception, are products of failed perception.

While the idea of the dancing sun is widespread and explicitly expressed, the idea of the dancing Moon seems to be strikingly rare,

a fact which I cannot explain at this stage and which will perhaps change in the course of further investigation of ethnographic

literature.

In the years that followed their meeting, the philosopher and physicist became engaged in numerous other disputes that would

touch on just about everything. Some of their differences were highly abstract —about the nature of time, the role of philosophy,

and the reach and power of science. Others were more concrete, such as the role of the government, the place of religion in modern

societies, and the fate of the League of Nations. But almost anywhere that we look —from vegetarianism to war, from race to faith

— we find that the two men took pretty much opposite stands on almost all pertinent issues of their time.

Two of these figures were painted jet black with charcoal and grease, whom they called “the night”, and the numerous white spots

dotted over their bodies and limbs they called “stars”. The other two, who were painted from head to foot as red as vermilion could

make them, with white striped up and down over their bodies and limbs, were called the “morning rays”.

The Mandans believed that the Earth rests on the backs of four tortoises. They say that “each tortoise rained ten days, making forty

days in all, and the waters covered the earth.”

Tragic actors cannot and do not take control over their own actions for granted. It may even be positively dangerous to claim full

sovereignty over one’s own words and actions: statements about one’s own powers, even if true, may well cause resentment among

other people or among the gods.

But since lower bodies participate in the form of the higher bodies, the lower body because it participates in the same form as the

higher body, receives its motion form the same incorporeal power of intelligence or soul, which moves the first and highest sphere

with a diurnal motion, moves all the lower heavenly spheres with this same diurnal motion. But in proportion as these spheres are

lower they receive this motion in a more weakened state, because in proportion as a sphere is lower the purity and strength of the

first corporeal light is lessened in it.

From an algebraic point of view all [of Einstein’s work] is correct; from a human point of view all is puerile.

http://travesiacuatro.com/

(Note: The paragraphs above are various excerpts, from sources mentioned below the images).

*Including fragments from the following books and articles: The Physicist and the Philosopher: Einstein, Bergson, and the Debate

That Changed Our Understanding of Time by Jimena Canales; O-Kee-pa: a religious ceremony; and other customs of the

Mandans by George Catlin; On Light by Robert Grosseteste; Katharsis, Greek and Arab Style. On Averroe’s Misunderstanding of

Aristotle’s Misunderstanding of Tragedy by Michiel Leezenberg; Cosmic Dance. Correlations Between Dance and Cosmos-Related

Ideas Across Ancient Cultures by Barbara Rappenglück.

Tags: December 2016, Guadalajara, Jalisco, México, Travesía Cuatro, Valentina Jager

article source: http://terremoto.mx/the-incredible-shrinking-mercury/

Eleven Poems by Valentina Jager Eleven Poems is a collection of 11 poems printed on single sheets that can be used as page markers to interrupt whatever else you are reading. Each poem is based on descriptions of natural phenomena, to talk about everyday situations of human social behavior. Valentina Jager’s work is primarily related to the world of actions approached via sculpture, written and spoken word, furniture design, and installation.

Language: English Size: 290 x 85 mm Pages: 32 Format: glued ISBN: 978-3-943514-94-0

Designer: Santiago da Silva with Jean-Baptiste Normand

Artist: Valentina Jager

https://bomdiabooks.de/product/eleven-poems/

for english scroll down) Parallel Oaxaca se complace en presentar Nyma Graphia Cifra, exposición y publicación de Ayami Awazuhara,Valentina Jager y Anna M.Szaflarski. Nyma Graphia Cifra combina formas escultóricas con la naturaleza maleable del lenguaje, lúdicamentetransformando las habilidades lingüísticas de los oficios populares.El proyecto ha iniciado a partir de una correspondencia visual entre las artistas, la cual ha incluido historias yarquetipos de pensamientos del avant-garde temprano, influenciado por los trabajos de los surrealistas,futuristas, Apollinaire y Mallarmé; como ejemplos que han atentado a la ruptura del lenguaje con su pasadohistórico, así como de igual forma, han destacado su estructura y fundamentos.Inevitablemente, el lenguaje y por lo mismo el sentido, cambia de un individuo al siguiente al mismo tiempo enque es regulado por un set de reglas que han sido aceptadas por una sociedad que las envuelve. Las obras en la exhibición han sido producidas con artesanos en talleres populares en Oaxaca, de textil y decerámica, creando construcciones híbridas que combinan la investigación original de las artistas con influenciasy contextos locales en Oaxaca. Interesadas en las formas que han sido desarrolladas por los oficios artesanales, entendiéndolos como unaacumulación de Historia, cultura y comunicación, Nyma Graphia Cifra busca parámetros en los patrones queestudia, al mismo tiempo que descubre cuando y donde estas reglas se vuelven flexibles. A partir de unejercicio lúdico, las artistas exploran posibilidades de las formas y demuestran las maneras fundamentales, enlas que como el lenguaje lo material, está en constante correspondencia con un sistema aceptadoanteriormente. Las obras en la exhibición son catalizadores de la publicación, Nyma Graphia Cifra y funcionan como unaexpansión narrativa de los trabajos.Publicado por AKV Berlin (www.akvberlin.com), en una edición de 300 ejemplares. V.J.- http://www.valentinajager.com/A.M.S.-http://www.suspicious/-non-events.com/A.A.-http://www.ayamiawazuhara.com/ ------------------------------------ Parallel Oaxaca is delighted to present Nyma Graphia Cifra, an exhibition and publication by Ayami Awazuhara,Valentina Jager and Anna M.Szaflarski. Nyma Graphia Cifra pairs sculptural form to the ambiguous and morphable nature of language, playing andtransforming the linguistic abilities of crafts.The project was initiated as a visual correspondence between the artists, which has been informed by collectedstories and thought constructions of the early avant-garde and is influenced by works from the Surrealists,Futurists, Apollinaire and Mallarmé; examples of direct attempts to break language from its historic past, as wellas, bring light to its framework and construction.Inevitably, language, and therefore meaning, is shifting from one individual to the next, but is at the same timeregulated by a set of rules that are agreed upon by society as a whole. The artworks in the exhibition were produced together with local artisans in Oaxacan ateliers namely textile andceramic to create hybrid constructions that combine the artists previous research with local influences fromOaxaca.Interested in forms that have been developed in craft, and understanding them as visual records of history,culture and a form of communication, Nyma Graphia Cifra searches for the parameters of the patterns studied,as well as, uncovers when and where those rules can become flexible. By way of play, the artists explore theplural possibilities of those forms and bring attention to the fundamental way, in which, like language, materialcan be shifted and changed, yet only retains meaning when is in constant correspondence with an agreed uponsystem. The pieces in the exhibition are catalysts for the publication, Nyma Graphia Cifra and functions as a narrativeexpansion of the shown works.Published by AKV Berlin (www.akvberlin.com), edition of 300. V.J.- http://www.valentinajager.com/A.M.S.-http://www.suspicious/-non-events.com/A.A.-http://www.ayamiawazuhara.com/

PENETRATION / Valentina Jager, Rodrigo Hernández /Schirin Kretschmann's Studio, Berlin

RODR I GOHERNÁNDE Z( YARMUK )

Penetration

Don't dictate

Penetrating voices going through my head

I haven't listened to a thing they said

Always they removed the answers

I won't suffer the consequences

Torn between the two

Right or wrong there is no answer

Don't tell me what to do

It's my choice I'm taking a chance yeah

Don't dictate

Don't dictate

Don't dictate

dictate to me

(Music and lyrics, by Penetration, 1977)

What a common place: the idea of a needle entering my flesh, whatever the reason

is, tends to be both appealing and fearing at the same time: remember ‘A perfect day’

song?. I like the feeling of some substance inflowing me, like when I got a tattoo, or

when I was anemic and I needed lots of iron my blood lacked of. I went out of red

corpuscles after a very aggressive stomach surgery –again something inside me:

micro-robotic hands and knifes, fixing the disaster my entrails were for so many

years. So they injected me iron every day, for two months without success, but my

buttocks still have the bruises that commemorate unexercised needles. Then, they

went into my veins; it was a sort of Coca-cola thick liquid that made my arteries

greenish again, and my energy came back inside me, as an invader I almost forgot it

was part of myself.

This sort of intruder experiences, having a strange presence that might produce odd

feelings, generate consciousness on ourselves, about our individual identities, mainly

those that come from our own minds and bodies. Entering a new house,

conversation, seduction, opening our mouths to eat, putting our tongues in a mouth,

having one in ours, is perfectly piercing our egos, making monsters out of chemical,

physical, mental and emotional identity structures: they change us.

From all our imaginary friends, and from our conversations with ourselves (many

times aloud and in public) we can track our own plurality, also our intolerance.

Strange presences invading our comfort zones, endangering known structures,

rituals, crazes, prejudices and stupidity, force us to negotiate, to accept, and to think

we can make things work together. But: is this possible?

Nothing stronger than fear, then, possibly defense. That’s the very argument of

borders, limits, security and safety policies around the world. Fear is perhaps the

most powerful energy nowadays. People trespassing –penetrating- lines that separate

are prosecuted by court-appointment, no matter the reasons of these persons to

escape their lands, their life, their families and cultures. Penetrating borders, passing

through them is the origin and the force transforming the world since ages, every

day.

Material or symbolical fences or fortifications are to be trespassed, to jump on them,

to face and to destroy them, when necessary; but many times only with our gaze, not

breaking through, is possible to do so: inframince. My own borders are to be broken,

to have things passing through, in and out; I hope my language might change, to be

more unstable and fragile, so its borders can eventually weaken to become more

affective, more contradictory and open: transparent. The very act of coming and

going from one discipline to another one implies a destructive, aggressive, violent,

amorous, sexual activity. Sometimes I think I’m my own profligate, dissolute old

auntie.

Attempting to make things work, accepting diversity, and even looking for the

perfect intruder, can be a life lasting enterprise: building an ever changing piece of

time and space that measures exactly the same as our dreams and nightmares,

inventing a game in which the checkers are permanently expanding and

compressing, building something that has to be necessarily definitely unfinished, like

accepting, as a desired task, someone caressing our bottom crack all day long, all

night long, forever.

Valentina Jager (Puerto Vallarta, 1985) and Rodrigo Hernández (Mexico DF, 1983)

present new works at artist Schirin Kretschmann’s studio in Berlin. Both of them

studied in Mexico City, at La Esmeralda art school. Then she went to Braunschweig

and him to Karlsruhe, both German cities. Friends for a while, both of them only-

childs, they allow themselves to be the other intruder in this exercise of dialogue and

generosity. Also, both of them have been into tracing particular missing parts of life

and experience that ideally (or not) could exist in this universe. Both of them make

drawings, videos, sculptures, and they are not partners.

Abraham Cruzvillegas

2010