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Khhhhhhh Slavs and Tatars.Pdf Khhhhhhh S AR T AND TA AND S SLAV SLAVS AND TATARS THE MORAVIAN GALLERY IN BRNO / MORAVSKÁ GALERIE V BRNĚ MOUSSE PUBLISHING Khhhhhhh by Slavs and Tatars Khhhhhhh ← 3 → Khhhhhhh ON HLEDÁ JEHO: ← 7 → WANTED: Svobodný tmavý foném hledá Single Phoneme of Color Seeks Dependable spolehlivý grafém pro dlouhodobý vztah Grapheme for LTR Maximalismus méně je více ← 10 → Less Is More Maximalism [Kh] dal ← 16 → [Kh] Giveth [Kh] vzal ← 20 → [Kh] Taketh Away Gnow thy Gnuminous Gnumbers ← 26 → Gnow thy Gnuminous Gnumbers or: or: Hattrick našeho drahého [Kh] The Hat-Trick of Kabbalists, Gematrians, s kabalisty, gematristy a abdžadiány and Abjadians by our beloved [Kh] and its Bitch Ass ח a jeho Kurevská ← 31 → The [Kh] aka X aka ח Kh] alias X alias] parta: Q alias қ [gh] a samozřejmě: Crew: Da Q aka қ [gh], and Of Course: jediné a jedinečné H Da One, Da Only H H jako Hex ← 33 → H is for Hex Q, [gh], nebo қ ← 36 → Q [gh] or қ Rozděl abecedy a opanuj společný ← 38 → Divide Alphabets and Conquer Common jazyk Language Ať žije lingvistický šaman ← 40 → From Khere to Eternity Dodatek A ← 43 → Appendix A Nejlepší posvátná hostitelka The Sacred Hostess with The Sacred Mostest Dodatek B ← 51 → Appendix B Zrcadlová mozaika, zrcadlová Mirror-mosaic, mirror-mosaic, mozaika, na stěně... on the wall... Z a jeho okolí Velemir Chlebnikov ← 54 → Z and its Environs by Velimir Khlebnikov Český překlad popisek k vyobrazením ← 60 → Czech translation of image captions Bibliografie ← 62 → Bibliography Tiráž ← 64 → Colophon 2 3 Khhhhhhh If the times they are a-changin’, then surely so too should the «Усадьба ночью, чингисхань! scales we use, as the once steadfast weights and measures of urgency have begun to sway of late and, on the rare occasion, Шумите, синие березы. to rock . In an effort to understand the hubris of our present, we resort to the shortcuts at our fingertips. Like an eager Заря ночная, заратустрь! child, we press firmly on the zoom button, which thrusts us up close — and too personal — before returning us to a more А небо синее, моцарть!» discreet distance. Flung back and forth a couple more times, we throw up our hands, give up on finding a happy medium Khhhhhhh and settle for asymmetry, for occupying the ends, the macro and the micro, the near and the far at once, to hell with the Jestliže časy se mění, pak by se – Велимир Хлебников* nepochybně měly měnit i váhy, jež middle ground. používáme, neboť kdysi pevné veličiny After devoting the past five years to two cycles a měřítka naléhavosti se přestaly of work, namely, a celebration of complexity in the kymácet a začaly se otřásat. Ve snaze pochopit naši mlhavou současnost Caucasus (Kidnapping Mountains, Molla Nasreddin, Hymns se uchylujeme ke zkratkám, které jsou of No Resistance) and the unlikely affinities of Poland and Iran po ruce. Jako dychtivé děti tiskneme (Friendship of Nations: Polish Shi’ite Showbiz, 79.89.09, tlačítko přiblížení, které nás vymrští do příliš malé a příliš osobní vzdálenosti, A Monobrow Manifesto), Slavs and Tatars present Khhhhhhh, než nám vrátí diskrétnější odstup. Vrženi the latest installment in our third cycle of work, The Faculty of několikrát tam a zpět rozhodíme ruce, Substitution. * «Čingischáň mi, usedlosti noční! * «Genghis Khan me, you midnight plantation! Modravé břízy, šumte mi dál. Dark blue birch trees, sound in my ear! A ty úsvite noci, zarathustři! Zarathuse me, you twilight horizons! Obloho nachová, mozarti!» Mozarticulate me, dark blue sky!» – Velemir Chlebnikov – Velimir Khlebnikov, Tvoreniia. Ed. V. P. Grigoriev and A. E. Parnis. Moscow 1986, p. 99. Slavs and Tatars, Mystical Mano a Mystical Mano (Muharram), still from Reverse Joy, lecture performance, 2012 4 Slavs and Tatars 5 Khhhhhhh rezignujeme na nalezení zlatého středu Replacing one thing with another, telling one tale through a spokojíme se s asymetrií, s obýváním another, The Faculty of Substitution questions the received konců, makra a mikra, blízkosti a dálky zároveň, k čertu se střední pozicí. notion that the shortest distance between two points is Po pěti letech věnovaných a straight line. At the heart of this research is an attempt to dvěma cyklům děl, konkrétně oslavě rethink the very notion of self-discovery via the slow burn komplexnosti na Kavkaze (Kidnapping Mountains, Molla Nasreddin, Hymns of of syncretism, be it linguistic, religious, or ideological. No Resistance) a nepravděpodobné Our Reverse Joy, the first installment in the current cycle of příbuznosti mezi Polskem a Iránem work, examines the need for a metaphysics of protest, and for (Friendship of Nations: Polish Shi‘ite Showbiz, 79.89.09, A Monobrow the role of mysticism in social revolutions. Where Not Moscow Manifesto), představují Slavs and Tatars Not Mecca at Vienna’s Secession resuscitates a progressive Khhhhhhh, nejnovější instalaci našeho agency for Islam through the flora (and not fauna) of Central třetího uměleckého cyklu s názvem Schopnost substituce. Asia, Khhhhhhh shoves us down from the nosebleed seats Nahrazováním jedné věci of ideology and religion to a fire-side chat around a single, jinou, vyprávěním jednoho příběhu wily phoneme. prostřednictvím jiného zpochybňuje Schopnost substituce vžitou představu, [Kh] goes under different names — sometimes x, other and on lesser-known occasions қ — but manages ﺥ or ח že nejkratší vzdálenost mezi dvěma times body je část přímky. V jádru tohoto to put forth a common front on the numinous potential výzkumu je pokus o přehodnocení samotného konceptu sebepoznání of language and wisdom. Our Khhhhhhh investigates the prostřednictvím pomalého spalování archetypal patterns of the aforementioned, quasi-homophonic synkretismu, ať už jazykového, letters, and what their corresponding grapheme, sound, or náboženského či ideologického. Reverse Joy, první instalace root have to say about the sacred role of language in a world současného cyklu, zkoumá potřebu beholden to a secular rage to know it all. Despite being tugged metafyziky protestu neboli roli in different directions by the Semitic, Cyrillic, Turkic, and mysticismu v sociálních revolucích. Jestliže Not Moscow Not Mecca ve Arabic alphabets, Khhhhhhh pours the first drops of concrete vídeňské Secesi oživuje pro islám into new foundations before becoming the brick thrown at the Slavs and Tatars, Not Moscow Not Mecca (installation view), Secession, 2012. Photo courtesy of Christine Wurnig působení pokroku prostřednictvím flóry, increasingly delicate edifice of the present. a nikoliv fauny Střední Asie, Khhhhhhh nás postrkuje na opačný konec spektra: z horských vrcholků ideologie a náboženství dolů k přátelskému povídání o jediném potměšilém fonému. [Kh] se objevuje pod různými názvy a méně ﺥ nebo ח někdy jako x, jindy — známěji jako қ —, ale stále ukazuje stejnou tvář numinózního potenciálu jazyka a moudrosti. Náš Khhhhhhh prozkoumává archetypální vzorce výše uvedených kvazihomofonních písmen a to, co jim odpovídající grafém, zvuk nebo kořen vypovídá o posvátné úloze jazyka v dnešním světě jinak ovládaném světskou honbou za poznáním. Přestože ho semitské, cyrilické, turkické a arabské abecedy táhnou různými směry, Khhhhhhh lije první kapky betonu do nových základů, než se stane cihlou vrženou Slavs and Tatars, Long Live Long Live! from Friendship of Nations: Slavs and Tatars, A Monobrow Manifesto (Qajar vs Bert), na stále křehčí stavbu přítomnosti. Polish Shi’ite Showbiz (installation view), 10th Sharjah Biennial, 2011. 10th Sharjah Biennial, 2011 [Kh]: homophonic, heterographic. The Hebrew chet, the Cyrillic kha, the Arabic ḥāʾ, Photo courtesy of Elizabeth Rappaport the Georgian xan and the Armenian letter xeh. Source: graphemica.com 6 Slavs and Tatars 7 Khhhhhhh WANTED: Single Phoneme of Color Seeks Dependable Grapheme for LTR If breathing is the stuff of life, then [kh] is borne on an alluring whisper of turbulence. Merely to pronounce it requires constricting the passage of air in the vocal tract. It’s difficult Diagram of where the uvular fricative Khhhhhh originates. “Its manner of to overlook or miss the fricative indulgence of the rasp, the articulation is fricative, which means it is produced by constricting air flow through friction at the back of the throat. While the Germans (see a narrow channel at the place of articulation, Bach), Spaniards (see joder) and Scots (see loch) have an causing turbulence. Its place of articulation is uvular, which means it is articulated with approximation, it is perhaps the Anglo-Saxons who suffer the back of the tongue (the dorsum) at the most when trying to pronounce this pesky phoneme, as if uvula.” Source: french-linguistics.co.uk it were an affront to the guttural skills of fading empires: “Khhhhhhhhhhhhhhhhhhhhhhhhhhh.” ON HLEDÁ JEHO: Svobodný tmavý foném hledá spolehlivý grafém pro dlouhodobý vztah Jestliže dýchání je základem života, Sonic turbulence caused by the voiceless uvular fricative pak [kh] je zrozen ze svůdného dechu turbulence. Samotné jeho vyslovení vyžaduje omezení průchodu If [kh] were single and dating, it would be draped in red, vzduchu hlasovým traktem. Těžko lze waving flags: the color growls at our linguistic loins, while přehlédnout či vynechat požitkářské the fabric’s frenzied whipping warns all interested parties frikativní chraptění vznikající třením v zadní části hrdla. Zatímco Němci of baggage, be it phonetic or more fundamental. Even true paramours of transliteration like us must acknowledge the frightening complexity when it comes to introducing a grapheme, the smallest unit in a written language, to this particular phoneme. For starters, it
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