CPPM DISPLACEMENTS

These are not skills acquired during CPPM.

They are shifts in the position from which I make art.
They overlap, contradict one another and remain unfinished.

• Theory: from shield to companion.
• Visual: from analysis to generation.
• Body: from execution to living composition.
• Structure: from authority to generative frame.
• Presence: from ideal to multiple conditions.

At MAI, removing script, aesthetic mentoring and predetermined result does not remove responsibility; it intensified it within me.
The resulting morphogenetic frame contains possible forms without selecting which must actualise.

Repetition is also reconsidered: from return to primary loss/trauma toward corporeal trace or phantasm. The image may return obsessively and crystallise into temporary aesthetic form without simply fixing trauma.

Despina Zacharopoulou’s performance-as-surface, trauma as force requiring repetition and transmutation into flesh remain in productive tension with my critique of sacrificial art.

Agamben’s Use of Bodies opens intimacy as use-of-one-self in relation with an inappropriable, raising the question of being used/affected without becoming appropriated.

At MAI, staying with action
rather than adding representational schemas becomes a Deleuzian shift :
protocol sets a structure not yet actualised,
while form/meaning emerge through processes it sets in motion.