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Live Streaming This Work Radically Deals with the Fact That the Only Way to Liberation Is Inward

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Live Streaming This Work Radically Deals with the Fact That the Only Way to Liberation Is Inward LIBERATION IN PANOPTICON "We live in the panopticon. There is no way out. The only passageway is the way IN." Barbara Kowa Liberation in Panopticon - Live Streaming This work radically deals with the fact that the only way to liberation is inward. While the artist sits alone in a completely dark cell in Berlin for seven weeks, she is permanently filmed with an infrared camera and streamed to the internet. Thus, Foucault's panopticon, which has long since become a reality on the Internet, is brought in line with a spiritual practice that is used for initiation, enlightenment and overcoming of the fear of death by numerous cultures. Explanatory drawings of the brain's biological changes in a darkness- retreat, explain an inner process, that no control-center could ever detect. The live streaming is projected into a model of the panopticon, made as an installation of printed circuit boards, which adds to the interior-based action and the diffuse size of the Internet, also a concrete outside perspective in virtuality. The Panopticon was developed in 1791 by Jeremy Bentham as a model for a prison or a factory. From the central observation tower, everyone can be monitored in the panopticon, while they can not see the guard themselves. The structure corresponds to that of an eyeball. At the end of the twentieth century, Michel Foucault developed a philosophy of Western Liberal society, the so called Disciplinary Society, which essentially describes the current structure of secret services and military states. The digital age has perfected the concept. We are all living in the panopticon. Starting on the 21th of Oct 2019, the artist Barbara Kowa is filmed for seven weeks in a completely dark cell by a theremal infrared camera and projected via an online streaming into a panopticon of printed circuit boards. Thus, Foucault's panopticon, which has long since become a reality on the Internet, is brought into line with a spiritual practice practiced in various cultures for the initiation, enlightenment and overcoming of the fear of death. The darkness dramatically affects the chemistry of the brain. The transformation of a hormone (melatonin) by the pineal gland triggers a cascade of hormone metabolism inhibiting reactions until the brain continues to synthesize the so-called mind molecule DMT, leading to the transcendental experience of universal love. The mind molecules are made of the amino acid tryptophan in a row synthesized by biochemical steps that are simplified : tryptophan> serotonin> melatonin> pinolines> 5-MeO-DMT> DMT. So, when artist Barbara Kowa is filmed for seven weeks in a completely dark cell with a thermal imager and projected via online streaming, a hologram of inner and outer reality emerges: while she can not see anything at all, anyone online has access to it see everything she does, but never what appears inside her due to the neurochemical reactions she creates. At the entrance to the panopticon, drawings and plans of the surveillance system and explanatory drawings of the brain's biological changes hang as a result of the dark retreat. THE INSTALLATION The Panopticon stands in the middle of the showroom as an accessible octahedron with seven partitions made of circuit boards and a door with molton. The livestream from Berlin is projected onto a triangular mirror in the middle of it, where Jeremy Bentham's plans are the watchtower. It would be wonderful to have an extra room near the installation that is completely dark, like the room Kowa is in, so that visitors can experience complete darkness themselves The impression of a control center arises, as windows are cut-out in the partitions, witch show the back-side of photos, also writings and drawings that represent each chapter of the performance-cycle. Everything is turned around here, it is not possible to read the text or understand the sketches, as you can when you are outside the panopticon.The attempt to control, is turning reality around in this work. That digital innovations have become a lifestyle object in ever newer versions and with an ever shorter half-life, is therefore an unpredictable kamikaze act, comparable to atomic use.The videos for both versions will not be exactly the sections I send you, but sometimes longer. They are played as loops. All videos used, will receive a professional post production. All videos will receive periodically occurring image noise. To show that external control is always subject to practical limitations, and reflect on the shadowiness of the phenomenal world. While entering the panopticon, everything turns around, it is no longer possible to read the text or to understand the sketches as it is possible from outside the panopticon. By entering the control center, trying to control, reality around in this work LETTING GO "Our lives and all our efforts inevitably lead to death. Consequently nothing seems as important to me as learning surrender and letting go. Every loss is liberating." ​ Barbara Kowa A special feature of Barbara Kowa´s art is that she works in cycles. She brackets video performances, site-specifics and live-art together over the time span of many years. This allows her to achieve a broad view with a constantly deepening perspective containing many facets. The following describes a cycle she has been working on since 2015. The individual chapters contain videos, prints and drawings. The individual chapters LETTING GO OF EGO LETTING GO OF GREED LETTING GO OF PREJUDICE LETTING GO OF PRIDE LETTING GO OF BORDERS LETTING GO OF PAIN AND PLEASURE LETTING GO OF LOVE There are video performances, prints of video stills and drawings The quintessence of this cycle is that last chapter: LETTING GO OF FEAR (LIP) A profound live Art process that can be followed live online. On each of the seven walls of the panopticon, a chapter of the cycle is presented. In the center of the cut-outs in each wall a triptic of videostills from the particular videoperformance for each chapter is shown. On the other windows you can read texts on the individual chapters as well as mental sketches, drawings, and a QR code with which every visitor can watch the videos on their own mobile phone. Likewise, one can get through QR codes to informal pages and the permanent private online account for performance. The codes avoids a permanently running video installation - as well as the upcycling of the printed circuit boards to indicate a conscious use of the digital resources. This recycling of circuit- boards is re-interpreting of a commodity that is used on a daily basis without question, directs the attention to the fact that very valuable substances are processed here,whose extraction is just as environmentally unfriendly due to their rarity, as their scrapping is. The previous Chapters of the Performance Cycle are: Chapter 1 Letting go of Ego (V.U.P: very unimportant person) The performance “V.U.P.”, in which the artist interviews bystanders on the red carpet at the Berlinale Film Festival, addresses the subject of importance in complex, ironic ways. To whom do we attribute importance - and why? This work is also a very personal exploration of a “perceived meaning trauma” and forms the starting point for further questions of this cycle. "What V.I.P. means? Very insignificant person." Dada Devatananda V.U.P. short-film and video-loop​ ​https://vimeo.com/214245193 As part of this live art piece, Kowa interviewed the people in the role of a television journalist, in order to trigger a certain "awareness of importance" in the interview partners. This resulted in an almost classical docu-feature with surprising cross-references. https://vimeo.com/194336821 (​password: vup-20161117-vup) Chapter 2 Letting go of Greed (Hommage to Richter) This video performance, in which Barbara Kowa licks out a candle, refers to Gerhard Richter's painting 'candle', which made Richter the most expensive contemporary artist at the time and induced a new era of the art market. Richter himself said: "the sum is scary and incomprehensible. Today it's all about the sum, not about the art anymore. " "Since usually only those have money who do not want the revolution, those who do not really want the revolution naturally must pay for it. Hahaha. This shows the importance of art." Joseph Beuys https://vimeo.com/213925122 Chapter 2 Letting go of Prejudice (shame shame shame) The video performance, in which the artist is painted white, as she gradually wraps herself in black veils and strokes a silver fox that covers her private parts, ironically addresses her feeling of shame as a caucasian in regards to global injustice and the unreflected idiocy of racism. "You are talking politics and that is nonsense. My whole life was about making art, and that is political. Use your intelligence" Nan Hoover https://vimeo.com/264749701/782954fe87 Chapter3 Letting go of Pride ( Homage to Marcel Duchamp) During her performance “V.U.P.”, in which she tried to interview the toilet staff of the Berlinale Gala (but no one agreed to be interviewed), Kowa was inspired for this long-term, live-art piece. In it, she looks after people suffering from dementia in geriatric daycare. The low appreciation of this culturally important work is based on our unwillingness to deal with the permanent process of decay and death. And yet this process transforms into fertile humus for new and powerful growth. "The Art-world, well, I was in it all my life and I'm still trying to get rid of it." Marcel Duchamp live-art- documentation h​ ttps://vimeo.com/292605607/02a62f9cf0 An endless sequence of cleaning the same toilet is shown from different perspectives Chapter 3 Letting go of Borders (abstract bodies / body language) In this site-specific video performance set on the border between Israel and Jordan the body of the artist becomes an abstraction with some of its parts sticking out of the Dead Sea and reflected in its mineral-rich, oily water.
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