Glausnitzer-Smith, Dagmar I. (2016) Discussion of reading on writing in a public space, transcript from a possible live situation at Five Years, May 11, 2015, 2 pm. In: Dorrian, Edward, (ed.) How to read : writing groups. How to write : reading groups. London, U.K. : Five Years. pp. 79-95. (Public Series, (7)) ISBN 9781903724170

Abstract

How to Write: Reading Groups (published Image Book) How to Read: Writing Groups (published Text Book) Collaboration with Five Years Publications: Public Series No.7 The Reading Group is a curated by Dagmar I. Glausnitzer-Smith Live Performance Reading Group with Participants: Anniken Weber, Sikarnt Skoolisariyaporn, Sadegh Aleahmad Part 1: How to write: The reading group, : Three Artists, Anniken Weber (Norway-UK), Sadegh Aleahmad, (Iran-UK), Sikarnt Skoolisariyaporn (Thailand-UK) will examine the idea of reading about writing in a live situation over the time span of the allocated two hours. The artists may not collaborate or interact with each other however they occupy the space as three separate entities. Prior to their appearance in the space, they are not aware of the content or concept of each other’s work. The margins and formats of their ‘reading’ will be set as a time frame agreed on location amongst the three artists. Discussions will be initiated by an unpredictable common denominator Part II: How to Read: Writing Groups The mentioned artists will issue three an un-prescribed reports, open format, functioning as the base for the text of how to read: ‘writing about reading’ transcribed by artist, Dagmar I. Glausnitzer-Smith (Germany – UK) The objective is to examine multiple, simultaneous states of mind brought into notional thinking processes (projected, imagined, read) on the account of the action of the reading group. The writer is the reader of ‘writing’, the reader of images and documentation, the reader of states of mind. The writer is translator. Positions are altered, ‘slipping’ into a ‘Doppelbesetzung’*. The writer examines the irrelevance of narrative. The acknowledgment of emotional states during the action of writing and reading cannot be ignored. The operation and the making of text is reclusive and solitary. When momentary reading and reflection of writing happens, it is undisclosed. The writing of the writer’s text is disposed for ‘publication’. The speculation of interchanging positions between the artist, the author, the performer, the publisher, the curator expand to non-transparent and non-sensical relations. The writer and performer has to negotiate with signs of a paradoxical ‘Triple-agent’ by modeling a de-coding system. The performance of writing about the reading is not-public (a Five Year’s Concept and Term) and the moment of active writing addresses an undiscerning audience. A secret portrayal imbedded in a process with a regard to become public. * German, multiple deployment of roles diluted in one moment

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