the Emergency Room dictionary / version  27/ 01/ 2007


ACTIVE [fr. actif]

Emergency Room is an active space in an art institution.
The emergency artist is the active artist.
An emergency situation calls for activity.

ACTIVIST [fr. activiste]


ADDICTION [fr. addiction]

Once an artist starts to participate in an Emergency Room the artist gets addicted.
The artist discover himself experimenting.
The artist feels himself free from the attitude.
The artist starts to enjoy to do mistakes.
Mistakes that after all are no mistakes.
Artists who do an Emergency Room in one country can not wait for opening another Emergency Room in another country.
When one Emergency Room closes.
The artists can not wait to open a new.
Emergency Room should not close.
Expressing yourself in an Emergency Room is like running.
It is difficult to get started.
But when you get addicted.
Your awareness muscle exude an opinion hormone.
Opinion hormone is strong stuff.


AESTHETICS OF EMERGENCY [fr. esthétique d’urgence]

From experience we have noticed four types of aesthetic approaches.
By Emergency Artists.
The first could be called Vox Pop.
Vox Pop means instead of the artist taking the word.
The artist forwards the word to someone else.
The second could be called Show It Again.
The artist has extracted a piece from the media.
Exhibiting it in Emergency Room.
And thus pointing at it.
“Did you really see that?”
The third form would be the feuilleton.
Or the novella.
The artist follows a case throughout the exhibition.
Or follows a person.
Or observes a street
Or anything which functions like a TV show.
A fourth case would be readymade face lifting.
We don’t like it.
But some artist bring art-on-stock.
Lifting it to look fresh.
Even when it is not from today.
But there are variations of all of the above as well.
Some artists mimick the media images.
But transform the way the medias function.
Like when Sonya Schoenberger  is sewing images from the papers.
In so doing Sonya Schoenberger  changes the sped of the media images.
And make us aware of how the images of the media are functioning.


ALCOHOLISM [fr. alcoolisme]

Alcoholism is a disorder characterised by the excessive consumption of and dependence on alcoholic beverages.
This is leading to physical and psychological harm and impaired social and vocational functioning.
Alcoholism is also called alcohol abuse, or alcohol dependence.
Alcoholism can easily lead to apathy, bad training and deficient precision.
Hence, alcohol is of no good for an Emergency Artist.
Alcohol has traditionally been essential for an artistic attitude.
That is also the reason why the powers of information wish that artists entertain an artistic attitude.


ALIVE [fr. vivant]

The exhibition is alive.
The exhibition is in a mood.
The exhibition breathes.
The exhibition reacts and protests.
The exhibition is sad.
The exhibition has sensibility.
The exhibition has a spirit.
The exhibition is in permanent contact with the world outside.
The exhibition has a nervous system.
The exhibition aliment itself.
The exhibition produce cells.
The exhibition has energy.
It is not just hung.
Hanging is dead.

Gymnastique d’exposition:

ALLIANCE [fr. alliance]

Artists have to stop isolate themselves from others.
Emergency Rooms encourages making alliances.
Artists must instead ally themselves with others in order to improve the precision and the pertinence of their art.
Artist can also ally themselves to each other (artists ally with artists).
Alliances is beneficial for the energy as well.
Alliances can also provide content for form-producing artists.
Alliances can also provide form for content-producing artists.
The alliance can extend to the every group of professionals and non-professionals, and as such could generate communities.
L’alliance fait la force.
Alliances will contribute to the development of a new aesthetic, but it will also contribute to a new kind of journalism and a new way political agenda.


ANODYNE [fr. anodin]

... ces petits rien effrayant ...


ANTICIPATOR [fr. anticipateur]

The artist is not only reflecting on his time
The artist is ahead of his time.
The artist has a capacity for visions.
The artist has knowledge.
(The artist has a lot of knowledge.)
The artist has intuition.
(The artist has a lot of intuition.)
Art is tools for the future.
With these tools the artist mix information with his developed sensibility.
The artist is in advance of the broken arm.
Instead of looking inside the animal.
The artist of today look in the news.
The artist is per definition avantgarde.
What the artist does today will be done tomorrow.


APATHY [fr. apathie]

Apathy is a lack of emotion, motivation, or enthusiasm.
With apathy the artist feel it like a decision, when he is in a state of indifference and unresponsive to aspects of emotional, social, or physical life.
For artists, apathy is a state of being anaesthetised by production, consummation and business.
This make artists function like machines for the cultural industry.
Clinical apathy is considered to be at an elevated level, while a moderate level might be considered depression, and an extreme level could be diagnosed as a dissociative disorder.
The physical aspect of apathy is associated with physical deterioration, muscle loss, and lack of energy.
This state is called lethargy.
Apathy can be object-specific, it can be directed towards a person, an activity or an environment.
It is a common reaction to stress, that when apathy manifests itself as a "learned helplessness", it is associated with melancholia.
Melancholia is neglected exercise.
Artistic melancholia is common among artists.
Art melancholia stems from neglected exercise in art.
Neglected exercise in turn is a common effect of neglected warming up.
Warming up to art is an effective cure against apathy.
Apathy can also reflect a non-pathological lack of interest in things one does not consider important.
Certain drugs are known to cause symptoms associated with or leading to apathy.
Apathy is also very similar to laziness, and may be an extreme form of it.
Detached artists start to be disconnected.
Art-for-art’s sake is lazy art.
Or drunk art.
But definitively disconnected art; art without any social connection.
The concept of disassociation is controversial.
In the practice of Eastern religions, like Hinduism and Buddhism, for example, an advanced meditative state has aspects of extreme detachment, though the religion and ritual of meditation is believed to provide proper grounding such as to properly recover from the detachment and to benefit from its experience.
Hence some critics view ascetics or saints as striving for a level of "apathy", which theologians prefer to call disassociation or detachment.


ARCHIVE [fr. archive]

The archive is not made up of the art works, but of documentation photos of video footage showing the action and psychology in the Emergency Room process.
The archives can circulate in the internet.
The archives does not have an aura.
An archive is flat and mono-dimensional.
After Foucault we denote with archive the invisible structure from and out of which enunciations are made possible.
It is the archive which makes a certain type of utterances possible and other impossible.
But—and this is beyond Foucault and structuralism, and more in line with Aby Warburg and the psychotopology of mnemotechnics—the archive is also an immense database-like accumulation of every imaginable as well as unimaginable, image.
Those potential images are processed to a visible state as pictorial representations through a set of operations and distributed to television, papers, art, commercials, and design.
Other distributions could be named as well.
But the archive, technically speaking, is not this invisible accumulation or collection of potential images.
The archive is rather the filters, operations and other type of “metadata” which processes the transmission from invisible images to pictorial representations.
It is this archive which makes certain images or pictorial elements possible to represent and other images or pictorial elements unrepresentable.
It is this process artists are kept out from.
Emergency Room aims at artists getting access to this transmission.


ART-ON-STOCK [fr. reserve de l’art]

Art-on-stock is the most prohibited for an emergency artist.
Artists usually produces works for exhibitions and occasionally sales by having a already made stock of works.
This constitutes the Art-on-Stock which awaits a rendez-vous with a spectator through an exhibition.
Within the work of art is inherited a fundamental delay (or an disinterested apathy within the work).
This delay serves as fond for the intended interested pathos in the meeting of the spectators’ observations, and the unexpressed intention in the work of art.
Contrary to the usual production, exhibition and perception of art works, the Emergency Artist does not produce works on basis of art-on-stock.
Instead, the Emergency Artist produces works of today for the spectator of today.
First then, at tomorrow, does the works of art go into a stock in the form of an archive or museum of delayed art.
This stock is a kind of demi-stock of art.
Emergency art is not produced to for any Delay Museum.
Emergency art is not produced for a demi-stock.
If one exhibits art on a art-on-stock basis, the result will inevitably be a demi-stock.
A demi-stock is a permanent exhibition.
A demi-stock is hung art.
Most contemporary art museums are demi-stocks.
They are insulting the concept of contemporaneity.
Only emergency art is truly contemporary.
Emergency Room doesn’t stock art.
Emergency Room makes art live.


ARTIST [fr. artiste]

The artist, as we know him, is delayed.
The artist, as we know him, make art that is already historical.
The works of the artist, as we know him, are located in archives, waiting for observations and aesthetic judgements of a future observer.
The archives could be the art-on-stock in the studio or the demi-stock of collections.
Therefore, the artist, as we know him, is busy, or, rather, pretends to be busy.
It is important for the artist to be busy.
It means that the artist rides on the wave of succes.
The typical artist has a lot of projects.
The typical artist is not living today but propulse in the future, where time is taken in advance.
The typical artist is obsessed by networking, going to network parties, establishing contacts, spending more time in creating potential opportunities.
The typical artist does not show art, but exhibit his possible capacity to be invited for potential future shows.
The typical artist does not have the time to make art.
The typical artist is networking to get invited again in other projects, for to get invited in still other possible future projects in an endless circle of invitations and prospects.
A project is the platform for another project. 
But what inspires the artist of today?
What motivates the artist of today?


ARTISTIC ATTITUDE [attitude artistique]

The artist has become a sexy model.
In order to be part of this sexy appearance some people adapt the artistic attitude without caring about the content.
Like going out with a Che Guevara t-shirt.
The model of looking or acting like an artist has been adapted as a common strategy of seduction.
The artistic attitude is taking the scene to fool everyone, and one does no longer distinguish between appearance and content.
Contemporary center does have the artistic attitude as well, by misusing the word contemporary.
On the same register activism has become an artistic attitude, by giving the form of an activism, but essentially remaining graphic design.
The search for sexuality, social recognition, and seduction is to blame for the artistic attitude.


AUTHENTICITY [fr. authenticité]

Firstly: authenticity is impossible.
There is reference all around.
The only possibility will be to eliminate as much as possible of the attitude.
Totally to eliminate the attitude will barely be possible.
This is not the ambition of Emergency Room.
On the other hand (or secondly, or of your choosing) authenticity can in fact be within reach simply by facing the cruelty of hypocrisy.
Working away from, or pointing at the hypocrisy will indeed help reaching authenticity.
Or whatever it helps (we don’t fight about words).
No.
We do fight about words.
Authenticity is closely linked with mistakes.
And errors.
Authenticity only seems to be impossible.
The urgent piece of art comes with mistakes, errors, visions.
Urgent art comes with all these things that are not cleared out.
Authentic is being alive.


ATROPHY [fr. atrophie]

Atrophy is the partial or complete wasting away of a part of the body.
Causes of atrophy include poor nourishment, poor circulation, loss of hormonal support, loss of nerve supply to the target organ, disuse or lack of exercise or disease intrinsic to the tissue itself (hormonal and nerve inputs that maintain an organ or body part are referred to as trophic).
Atrophy is a general physiological process of reabsorption and breakdown of tissues, involving apoptosis on a cellular level.
Atrophy can be part of normal body development and homeostatic processes, or as a result of disease, or loss of trophic support due to other disease is termed pathological atrophy.
Atrophy of art (art atrophy), with loss of precision and energy, can occur after prolonged unawareness or laziness, such as extended improductivity, or having a concept in a cast (living in darkness for the eye, distraction for the ideas, etc.).
This type of atrophy can usually be reversed with exercise unless this exercise is severe.
Astronauts must exercise regularly to minimize atrophy of their limb muscles while they are in microgravity.
Artist must also exercise regularly to minimize atrophy of their visual competence.
There are many diseases and conditions which cause atrophy of art.
For example diseases such as fame and formalism induce an art wasting syndrome called "anaesthesia", which is notable for the severe art atrophy visible for everyone.
Other syndromes or conditions which can induce conceptual art atrophy are apathy and alcoholism.
During aging, there is a gradual decrease in the ability to maintain conceptual art function and formal ability.
This condition is called “conceptitis”, and may be distinct from anaesthesia in its pathophysiology.
While the exact cause of conceptitis is unknown.
Conceptitis may be induced by a combination of a gradual failure in the “alliances”, which help to regenerate conceptual art receptors and a decrease in sensitivity to, or the availability of, critical awareness factors.
These are necessary to maintain visual competence and conceptual art receptors.


AWARENESS [fr. conscience]

Awareness is an active state.
It is a willed state, an effort of receptivity, an intention.
In biological psychology, awareness describes a human or animal’s perception and cognitive reaction to a condition or event.
Awareness does not necessarily imply understanding.
Awareness is just an ability to be conscious of, feel or perceive.
Awareness is a relative concept.
An animal may be partially aware, may be subconsciously aware, or may be acutely aware of an event.
Awareness may be focused on an internal state, such as a visceral feeling, or on external events by way of sensory perception.
Awareness provides the raw material from which animals develop qualia, or subjective ideas about their experience.
Researchers have debated what minimal components are necessary for animals to be aware of environmental stimuli, though all animals have some capacity for acute reactive behavior that implies a faculty for awareness.
Popular ideas about consciousness suggest the phenomenon describes a condition of being aware of one’s awareness.
Efforts to describe consciousness in neurological terms have focused on describing networks in the brain that develop awareness of the qualia developed by other networks.
Neural systems that regulate attention serve to attenuate awareness among complex animals, whose central and peripheral nervous system provides more information than cognitive areas of the brain can assimilate.
Within an attenuated system of awareness, a mind might be aware of much more than is being contemplated in a focused extended consciousness.
When a patient goes for a surgical operation, it is desirable to temporarily make the patient unaware.
Anaesthesiologists specialise in this.
It is also a major responsibility is to prevent awareness during an operation.
This is achieved by giving anesthetic drugs through the veins and through the lungs.
Awareness is also a concept used in CSCW, albeit its definition has not yet reached a consensus in the scientific community.
In art it is maybe the capacity to be present.
Not seldom one can get the impression that artist are a profession which is currently undergoing an operation.
By an anaethesiologist.
Could the anaesthetic used be the notion of conceptual art?
We might be wrong here.
Anyway.
To be aware is to be in contact with everything around.
The ego as well as the public.
To include the search for the oeuvre and the meteorological condition, as well as the emotional and political context.
The awareness is a total disposition to be informed, and to integrate everything at once.
For the artist to redistribute this awareness in an immediate art work (which is a combination of everything which is perceived), an awareness muscle is a good thing to have.


AWARENESS MUSCLE [fr. muscle de conscience]

In the same sense memory can be trained, an awareness muscle can be developed by an effort.
To develop the awareness muscle, the artist has to reduce his business.
When an artist is busy, he is not very aware.
A daily training is necessary. But how to train?
Scanning the news in a critical way could be one exercise.
Daily debating politics with others could be another.
Looking at other point of views usually produces significant improvements.
Fighting prejudice is an excellent exercise.
Many other forms of training could also produce beneficial effects for the awareness muscle.
Continuous and daily training is important.
If not, the awareness muscle can develop into atrophy.
But, to develop the awareness muscle do require will.


BURNING [fr. brûlant]

The artist consumes news like food.
The artist has to burn the news.
This is the artistic metabolism of the Emergency Room.
If the artist doesn’t burn what he is fed with.
The artist get fat.
Fed Up.
The aware artist is moved by what he see: injustice, propaganda, torture, exploitation etc.
The aware artist is then burning to express and point out what he perceives.
The perception is this feeling, unmasking or debate.
The aware artist cannot wait to communicate.
If the artist wait, it is too late.
The artist is inspired by what he sees or knows or feels.
The artist is propulsed by a burning energy which make him produce art.
To communicate.
In the artists way of working this fire is inspiration.
This inspiration is not intoxicating.
It is enlightening.
It is now impossible for the artist to wait until he doesn’t feel anymore, or lying zapping with another beer in his hand in the sofa.
Like a messenger he must quickly alert the rest of society after having given his burning thought a form.
The form-giving process is urgent.
Hence emergency.
This burning artist can of course under no circumstances remain an apathetic.
This burning artist has the energy to criticise, to produce, and also to make public his thoughts and/or visions.
The burning artist has recovered the vital social strength.
The burning artist has recovered the artistic strength.
To be an artist is a profession of inspiration. 


BUSY [fr. occupé]

Busy is the state of being totally occupied.
The state of not having space for anything else other than what is planed in the long term.
The state of being covered and not able to manoeuvre.
A state of immobility.
Busy is a state when your life does not belong to you, but to everything else except yourself.
We did not even say everybody.
Being busy is the state of being occupied to the degree of not having space for something else than what is part of projects.
The artist of today is busy because he has projects making him busy.
Neither the proximity, daily life or the actual can enter in his filed of vision.
The busy artist is perceiving the reality with a teleobjective.
No wide angle on his lens.
No macro.
The artist is busy projecting his ghost in the future.
The busy artist can neither absorb, integrate, nor redistribute immediate impulsive perceptions.
The state of being busy is called business.
The opposite of the busy artist could be the flaneur.
The artist of today has changed from being a flaneur to a busy entrepreneur.
The artist of today has radically changed his way of being.
The artist is not anymore a bohème floating around freely, blown around and inspired.
But a busy person peering at opportunities and running for network and fake parties.

To be busy is not like having caught a virus or a temporarily pathos.
To be busy is a voluntary and fundamental decision of how to live.
One can only be fundamentally busy.
Busy-by-principle.
To be busy is a strategy to close (nearly) all other possibilities (than being busy).
Thus the state of business is as close to a spiritual choice we come today.
This is choice is rarely done with regard at the consequences.

Artists make themselves busy by their own will.
And they don’t even have to.
Maybe some told them business was a cool lifestyle.
Maybe they thought so by themselves.

The result is the same: business is an attitude which is more than a form.
Business also corrupt the content.

Business occupies every available space of the artistic receptivity.

A busy artist cannot even have 10 percent free.
A busy artist is occupied.
Should someone die before his feet, he wouldn’t notice.
He is looking further.
At the projected landscape.

When you are responsible of children, the school can call you at any moment, telling you that your daughter is sick.
Hopefully you will abandon everything in your hands and come immediately.
If you are too busy, she will die alone in the hospital.

Business is the enemy of emergency production.
What would we say if the fire-brigade, policeman or health care were busy?
--Sorry, we can’t take any action in your matter: we are busy with our careers.
Business makes any urgent work impossible.
In who’s interest is it to keep artists busy?
Comme le malade imaginaire l’artiste est busy, malgré lui, but on its own will.


CASTING [fr. distribution]

In Emergency Room meeting with artist is called a casting.
Everything become like a part of a film.
Emergency Room is a film.


CIVIL SOCIETY [fr. communauté]

Civil society is based on public debate.
Artist are usually left out from this public debate.
Artist are supposed to shut up when it comes to political or social issues.
But not only are they supposed to shut up, they aren’t even asked.
It is almost as everyone has forgotten that artists do exist.
Everyone is asked of opinions on civic matter--the bicycle repairer, the striptease girl, the talk-show guest.
Not just not the artist.
Civil society and Public art are of about the same age.
They both date from the latter half of the 18th century.
This was an epoch labeled modernity.
Because of contemporary with each other, civil society and public art are not supposed to be interrelated.
When civil society, in Immanuel Kant’s words, is about “man’s emergence from his self-imposed immaturity,” art became—probably as a counter-weight to this ideal civil subject—man’s submersion in this very self-imposed maturity.
Now, we have to ask ourselves, what kind of matter this self-imposed immaturity is, from which man should emerge ...
... and in which the artist should remain submerged?
Evidently it is a green matter, as it is “immature” or “unripe”.
It is matter in its raw state.
As the emergence from this matter means Enlightenment, it follows that the matter itself is shady or shadowy.
Topologically speaking it is located in the basement or the cellar of the world.
As something not visible or preferably invisible.
Logically speaking public art it is potential, whereas civil society is actual.
It follows that this matter is imperfect, unfinished, unrealized, whereas maturity is realized, finished and perfected matter.
Now, as we all know, civil society is not realized, nor finished, and definitively not perfected.
Civil society nevertheless formally behaves as if it is the perfect, finished realization of civil society.
It formally behaves as if we live in the best of all imaginable worlds—and so with necessity.


COLLECTIBLE [fr. collectible]

A collectible is an already made item, endowed with the proper attributes to be defined as an element in the set of any defined category of objects.
Art is collectibles.
Art is collectibles because there exists a category of objects (any objects), defined as objects being made by artists presented as art.
The funny thing with urgent art, is that it can’t be collected.
Art produced today, exhibited today and received today, can only be observed as emergency art that very day.
The next day the work or piece of art goes into the Delay Museum (Retard).
There it can be acquired as a collector’s price (or go into the dust bin).
But at the same time it can be acquired as a prize for a collection.
It has ceased being urgent art.
If the artist hasn’t collected the piece exhibited in the Emergency Room within 24 hours, that piece is a collectible.


CONDITION [fr. condition de production]


CONCEPTITIS

CONCERN [fr. souci]

The artist has to feel concern.
The artist has to be concerned.
Consterné (shocked) by what is surrounding him.


CONFRONTATION [fr. confrontation immédiate]

Normally art works have an incubation time between the production and the showing.
The artist can hesitate.
The artist can test his work.
In Emergency Room there is no time between the production and the moment of exhibition.
The art work is directly shown to the public as an art work not as a work in process.
The art work is proudly presented the very same day in the round white cube.
Emergency Room is an immediate baptism.
Once entering the Emergency Room the art work is consider as finished.
A questionnaire show that most artist will not correct there art work once it has been shown in Emergency Room.
Emergency Room.
C’est la ligne de l’arrivée.
Le point de non retour.
The artist may ask some colleagues their opinion.


CONSOLATION [fr. consolation]


CONTEMPORANEITY [fr. contemporaité]

Contemporaneity means essentially being in-time.
Thus there can be no archive, no museum, no documents and no monuments of contemporaneity.
Contemporaneity is essentially living.
Or at least moving.
It is being in the sequel of events.
Producing contemporary art means producing art now, today, at this very time.
To produce art for a stock of works, is not contemporaneity.
It is rather anticipating a rendez-vous of a future spectator in an archive of yesterday.
Art is usually produced that way, continually evading the very moment of contemporaneity.
At the same time, this is the moment in which the Emergency Artist wants to work.
Thus the object for the Emergency Artist can be no archive or no museum.
The object for the Emergency Artist is to establish a room or a space for exhibiting the works or pieces at the same day they are produced.
In this sense the Emergency Artist is a performing artist.
The Emergency Artist is performing his piece contemporary with it is being exhibited and it is being viewed.


CONTEMPORARY MUSEUM OF ART [Musée d’Art Contemporaint]

The Museum of Contemporary Art is a fake construction.
There are no such things.
The idea is to fool the audience.
To make the audience believe this hunged delay is “of today”.


CONTEXT [fr. contexte]

When we are reading this, something is happening.
Context is what is happening in the same time.
Context is the simultaneity of events.


CONTINUITY [fr. déroulement]

The Emergency Room format depends upon the continuity of works and pieces produced by artist today.
The works and pieces is continually installed, during the Passage, in the Emergency Room.
And the works and pieces is continually transported from the Emergency Room to the Delay Space.
The exhibition is a kind of real time film with a rather slow frame-rate.
The frame rate of one frame per 24h.
Today is a concept which can only be understood together with continuity.
The concept of today would be unintelligible as an isolated concept, without any yesterday or tomorrow.
Today is the continuity of todays, a continuity in time which does not sum up to eternity.
The continuity of Emergency Room is a flow.
This continuity is the flow of pieces and works which represent the invisible images of social matter.
In that sense the very fast exhibition is similar to the very fast pictures of film.
The difference is that what is a very fast exhibition, is at the same time a very slow film.
This is probably because social matter is of a more plastic nature than pictures.
An Emergency Room Exhibition could then be seen as a “matter film” or “moving matter”.
The Emergency Room exhibitions is like living images.
The film is evolving depending of the context.
If something is happening the script changes.
This continuity is against supericiality.
If you stop developing the awareness muscle you get unaware of lack of training.
Continuity is the need of keeping up.
Continuity is flow.
The flow is growing while it continues.
Life is a stream.
The news is a stream.
So is the exhibition of today.
There is no interruption.
The exhibition is alive.
And cannot stop.


COP AESTHETICS [fr. esthétique du flic]

As the Emergency Artist goes through society as a cop.
As with blue-lights of pure receptivity, the artist assimilates a cop aesthetic.
As the cop, the emergency artist is no individual, but a function.
If the cop is a function in the state (monopoly of violence), the emergency art is a function of civil society.
The artist of today can be compared with a civil cop.
Irritating and annoying as a state employed cop, but entrusted with no monopoly of violence.
Entrusted, in fact, with no monopoly at all, not even of its own specific expertise.
Thus the artist of today wears no uniform.
We can’t see the blue light of artistic urgency.
The emergency artist is only armed with an artistic eye,
The emergency artist is armed with a visually trained consciousness, a reflective mind, and a reacting impulse.
All of which can be subsumed and activated as an awareness muscle.
In cop aesthetics we identify this function with the ophthalmotrop.


CRIME [fr. crime]

Pictures state things.
An image (or a visual representation) is a proposition of a matter of fact, but not the matter itself.
This means—what we all know—that visual representations can lie.
Or that they—as images—are lies in themselves.
This is the same old Platonic controversy.
But more importantly, visual representations, as the events they are, produce new events.
Visual representations are functions which produce events.
An artist is not primarily interested in murder, burglary, rape, violations of copyright law, tax defraud or traffic offences, but rather in crimes which legally may not be recognised as such, in invisible crimes, which the emergency artist identifies and represent as such.
The artist is thus an investigator of unseen crime scenes which are made visible for the public in a represented crime scene.
This representation of the crime scene is the Emergency Room:
CRIME SCENE. DO PASS.


CULMINATION

Emergency Room is a format.
Emergency Room is inhabiting humans.
Emergency Room will grow and grow.
Soon it will culminate and explode.


CULTURE MANAGER [fr. administrateur de culture]

The artist of today has to work as a culture manager.
It is a too important space.
It is too important to be left to administrateurs of cultural propaganda.
The artist with a vision should be orchestrated.
The direction should be given a scenography.
The poetry and the content should be communicated.
Biennales and the like are not made by curators.
Biennales and the like are made by cultural managers.
These cultural managers have always a specific political agenda.
A touristic agenda.
Or an economic agenda.
Curators are the puppets of cultural managers.
Cultural managers are the puppeteers of curators.
And Curators are the puppeteers of artstis.
The artist should take over the job of cultural management.
The artist should take control over the exhibition scenography.
The exhibition scenography determines the meaning of the exhibition.
The exhibition scenography defines the work.


CUT THE CUT

Name of the editing method in use in april 2006.
The news are cut in the editing room.
The artist cut the cut that has to be cut.
The story changes.
Gets a new meaning.
A new dramaturgy.


DARWINISM [fr. darwinisme]

We may have reached a phase where only a certain type of artist will be able to survive.
It could either be artists capable of getting media attention and media coverage or artist skilled at entertaining networks.

This means that artists working with more discreet poetic tools may disappear from circulation.
This is why Emergency Room invites any type of artistic expression or any type of artistic medium to give their share.
We must have a art diversity.
We don’t want a milieu where only web artists, graffiti artists, media artists and provocation artists are getting all the attention.
Emergency Room should be able to keep all kind of practices alive.
Emergency Room could be a kind of Noah’s Arch for art.
The opinion of every kind of artist is important for the public and vital for civic society.


DEADLINE [fr. échéance]


DELAY [fr. retard]

A work can only go in the retard if it has been exhibited before in the Emergency Room.
For the normal contemporary art consumer the Delay Museum must seem very fresh, as a work can be in the retard room only the day after.
What is “declassé” for us by leaving the Emergency Room to the “Delay Museum”, may look very fresh for an art lover.
An art work is, as we know, a delay in glass.
Glass is a substance which floats very, very slowly.
The art work waits for a reflection of the spectator in the glass.
The spectator is delayed.
The art work is waiting.
Time is running.
Sand and silica is floating, slowly.
A portraited lady, a stormy landscape, a group of persons or a still life has either not much likelihood back, or is urbanized, dead, or moulted into potassium carbonate.
The abstraction is gently becoming more and more figurative.
A red square slowly transforms itself into a Russian Babuschka
A cool appropriation piece becomes—without nobody noticing it—rather original in it’s handling.
The art work gets sad and sadder.
One day a spectator notices the sadness of the art work and gets melancholic.
The spectator starts thinking about sand running through hands, water running through rivers and stuff like that.
And the spectator goes on, meditating upon things undone which can never be done, things done which can’t be made undone, the already madeness of art.
In this mood the spectator sees the art work and the art work gazes back to the spectator.
They understand each other, they rejoice with a sad delight in a meeting which is too late.
They are both meditating the meeting which never took place four-hundred years ago, twenty years age, some weeks ago, yesterday.
The are too late.


DELAY MUSEUM [fr. Musée du Retard]

The format of Emergency Room gives the possibility that one could, but doesn’t have to, establish a “Delay” Room.
This Delay Museum contains pieces which have been alive and actual in the today of the discourses of society, but now have turned into yesterday’s works of art.
The transport from the Emergency Room to the Delay Space doesn’t affect the quality of the work itself.
It is a consequence of the very concept of Emergency Art.
The works might still look very, very fresh and new, but aren’t.
They might, or might not, have became great or less great works of art, but this is questions for art history.
Questions of this kind is not especially relevant for the Emergency Artist.
The Delay Museum is mocking the institution.
The Delay Museum is more fresh than any other type of exhibition.
Fresh enough for the normal observer and normal art lover.
For Emergency Art it is yesterday’s art.
Not the art of today.
In a sense it is the retirement of the work.
When the work has done it’s civil duty it has earned a pension to which it retires.
The Emergency Artist wish it the best luck.
Before going on with producing today’s art.
This retirement is the delay.
This retirement is the Delay Museum.
Some of the art works are still very good works, even if they no longer are on show in the Emergency Room.
Some of the work that have been in the Emergency Room will go into a Delay Museum.
The Delay Museum is constituted by art work that have be given it or abandoned by the artist.
An artist who does not pick up his art work within 24 hours gives it automatically to the Delay Museum.
The Delay Museum is a museum.
It is made up of great art that have to be conserved with care.
The role of the Delay Museum is to show this great art.
The art that was shown in Emergency Room is still great art one or ten years after.
It is great art in spite of it’s spontaneity and speed with which it was made.
It is great art because of it’s spontaneity and speed with which it was made.
The art has a timeless life after Emergency Room.
The Delay Museum has a conservative function.
Like any museum.
But the Delay Museum is a defence attorney as well.
The Delay Museum should discourage the enemy of Emergency Room.
Opponents who argue that art can not be produced within the conditions of Emergency Rooms.
That art can’t be produced today.
That artists can’t work fast.
The Delay Museum wants to prove that masterpieces are being produced.
The Delay Museum show that in a period of one year the art of the Delay Museum still has the power to be more contemporary than any contemporary museum.
What is pejoratively called delay for Emergency Room seems to be fresh in the contemporary world.
Like an old auto bus sold to the third world.
What is not good for us is good for them.
Contemporary museum is the third world of art production in the eyes of the Delay Museum.
What is bad wine for us is good wine for them.
The delay museum is a HOOOOOOOUUUUUUUU made in a classroom.
It points out the abuse of the word “contemporary”.
Another exemple of the hypocrite’s abuse of words.
We call the Delay Space the “Delay Museum”.
In this way we wish to mock the museum.
Is piquette (bad wine) OR GOOD WINE?


DERIVATE [fr. derivé]

Emergency Room is a format.
The different exhibitions of Emergency Room are instances of this format.
It is possible to extract other formats derived from Emergency Room.
Excursions.
Street art.
Flash-mobs.
Tuppenware demos.
And innumerable others.


DESIRE [fr. désir]

There is a real desire to know the artist’s opinion about today.
It is a prayer to the artist.
If the artist can give some comfort in front of the loneliness of the media.
If the artist can save us from hypocrisy.
The artist has been at the sideline of the game for a long time enough.
The entrance of the artist on the battlefield is necessary.
Now.
The artist can change everything.
There is a real desire to have the artist arriving fast.
Working precisely.
Like a doctor.
Like a sorcerer.
Or just a bachelor.
Grinding with desire after his hanging nude.
Like the bachelor is desiring his rendez-vous with his even virgin bride, the we desire the opinions of the artist.
Emergency Room desires the opinions of the artist.


DIARY [fr.


DISTURBANCE [fr. perturbation]
Disturbance like the weather can create turbulence in the plane.
The artist can create disturbances in society.
Disturbances which after an initial discomfort will be like massage.


DOCUMENTATION [fr. documentation]


DUCHAMP FACTOR [fr. coefficient duchampien]


DUTY [fr. obligation artistique]

The artistic duty of an emergency artist is to identify and make visible dysfunctional states in society.
An artist has a duty because the artist is part of society.
The artist is not above society.
This is a not a totally uncommon prejudice among artists.
In cop aesthetics the artist’s views, likings and dislikings are partially irrelevant.
As the case is with cops in society, the cop—as well as the bureaucrat—has to differ being a civil person and a state official.
As a cop the artist represents the interests of the state, where the personal interests has to be suppressed by the duties of the function.
For the emergency artist the situation is similar.
The artistic autonomy is replaced with an artistic duty.


DYSFUNCTION [fr. dysfonction]

Dysfunction is a state where a function doesn’t execute properly.
If civil society is a function of human interaction, the dysfunction of human action produces a deficient civil society.
Civil society is a complicated mechanism under constant immense pressure of daily, uninterrupted, and not always caring use.
Therefore it shouldn’t be of no surprise if this mechanism doesn’t always function as intended.
The mechanism gets dysfunctional.
For to avoid this, society has employed social engineers (typically academics, politicians, government clercs) to maintain, restore, and regulate the mechanisms of human interaction.
The problem with social engineering is that the engineers are themselves human and as such part of the mechanism they maintain, restore and regulate.
To observe the mechanism from without means that the observing subject has to cease being human.
The observer has to de-humanize the perception apparatus.
In so becoming a perception apparatus without body and without mind.
A thermometer.
An ophthalmotrope.
A pointing device.
Or something different.
The Emergency Artist is an observation-as-such.
But this might be too theoretic.
Anyway.
This is the function of Emergency Art.
The Emergency Artist as thermometer is thus an kind of pictorial therapist.
An ultra fast and dangerous diagnostic.
A poisonous messanger.
The Emergency Artist as ophthalmotrope is a precise observer of the social and political circulation of images.
Identifying visual dysfunctions.
The Emergency Artist as pointing device is a aesthetic cop.
Arresting abusive representations of reality.
Justice is not self-justice.
Emergency art is a public institution.
Emergency art is social service.


EMERGENCY ARTIST [fr. artiste d’urgence]

An Emergency Artist is an artist taking part in the Emergency Room.
It is an artist that believe that there is a state of emergency.
In a state of emergency, it is paramount that the artist of today is precise and on time.
Therefore is an emergency artist training and preparing his 10 percent of the time.
An artist giving some of his time to point at dysfunctions and communicate those to the public.
An artist in immediate permanent connection with his surrounding.
An artist feeling part of civic society.
An Emergency Artist is not primarily interested in selling his stock of works.
An Emergency Artist works within the concept of today.
An Emergency Artist does not bring items from the stock to the Emergency Room.
An Emergency Room is no flea market, it is a space for urgent art.
Ironically, “contemporary” art institutions work directly against this idea of artistic urgency, but insist in treating art as if it were objects for sale or a shop like a flea market.
The institution is delaying the artist by not giving him a immediate platform.
Without a plattform the artist cannot express.
And this is the fault of the institution.
An artist who is working today has very limited opportunities to exhibit her work as a truly contemporary work.
The exhibitions of the art institutions have since long been scheduled, and there is no room or space for an urgent work of art.
The institutions are way to slow for a fast working artist.
On the other hand, one can’t really criticize the museum for having slow reflexes.
After all, the museum has always been for the dead, in which the fixed gazes stares blindly.
But one could criticize the sea of contemporary institutions, which pop up all over the world, for copying the glaring blindness produced in the museum.
Contemporary institutions do have an obligation to be able to react (today!) to artistic expressions of urgency.
Rarely do contemporary institutions understand this idea.
Instead they want to remain “museums of potential art”.


EMERGENCY ROOM [fr. salle d’urgence]

The format of Emergency Room is established because artists are ignored in the public debate.
Because it would be healthy for society to open up “Emergency Rooms” in contemporary art institutions.
Such emergency spaces would give the artist the chance to comment visually on what’s going on.
Such Emergency Rooms would give the artists an opportunity to express his position and visions about today.
The Emergency Rooms will be updated every day.
The Emergency Rooms will have the important concept of living at the same ultra fast speed as the news.
(And it’s consequences like new wars ...)
The Emergency Rooms will welcome any visual artist with burning visions about the news.
Emergency Rooms ought to be established in every institution of contemporary art.
Emergency Rooms should be established in art institutions, because it is about art.
About the production, exhibition and reflection upon art works.
The most important feature of the Emergency Rooms is that they are equipped with an Emergency Entrance.
This is an entrance for any invited artist to exhibit an art work of today.
Today, and not tomorrow, next week, next month or next year.
The Emergency Room is an ever-temporary exhibition space which establishes itself as a relay or interface between the studio (of whatever sort) and the collection (of whatever kind).


EMPTINESS [fr. vide]
 
Sometimes the emergency room is empty.
None of the artist feel any concern that day.
Or none has found the time.
Or none found the right form to express.
Empty days do happen even if events keep on happening in society.
The emergency room is on pause.
Or on holiday.
Or don’t care any more.
The absence can be a scary sign.
An absence is an opinion.
But at least the absence show the absence.
Not using the Emergency Room is like not using the right to vote.
Sometimes an empty day can come after an empty day.
The passage can be a change from an empty day to an empty day.
Whatever the case, a photo (an exhibition view) of the empty space is taken with the registration of the date.
Emptiness is a statement.


ENERGY [fr. enérgie]

For to produce art fast the artist needs energy.
To point out dysfunction and injustice gives energy.
To produce art fast gives energy.
To be in good producing shape gives energy.
To be confronted to the public gives energy.
To be debating with colleagues gives energy.
This energy is existing inside the artist.
The artist is burning to make art.
The artist is inspired and has something to say.
This is why the artist is an artist in the first place.
The artist has this burning desire to transform what he knows or feel into art.
The artist can not keep inside what is boiling in him.
The artist simply has to express.
If the artist doesn’t the artist becomes like a rat and goes around with lowered head.
For to have the energy the artist just need a transformator or a stimulator.
A transformateur transforming what he sees and feels into art.
Like smoke.
The artist watches the news.
The artist produces smoke and put it in a jar.
The artist shows the jar with the pissed air he has been ruminating, including his opinions, sensitivity and conceptual methods of production.
The artist fills up the jar.
When the artist sees the news that pisses him off, or make observations on the streets, the artist feel a need of saying something.
The way artists say something is by producing visual art.
But the lack of a space for immediate exhibition makes the artist stand still.
Instead the artist gets himself another beer in the fridge.
(See ALCOHOLISM.)
Instead of producing great art. 
The artist just moves the finger.
Zapping.
The artist open the fridge and light up another cigarette.
The apathetic zapping artist is now in search for even more apathy and anesthesia.
With the saliva dropping out of the corner of his mouth.
This is why beer companies sponsor contemporary art.
They sell illusion and mirage.
The sponsor zapping saliva for artists.
The artist who knows that he will have an immediate audience.
An audience for to which to show an immediate production.
Such an artist will suddenly get very motivated.
The opinion of the artist will have a chance to live.
The confrontation with the public will happen.
Breaking the loneliness.
Standing up.
Rising out of the sofa.
Without zapping saliva.
The artist will even have a natural opportunity to be sexy.
The artist can now abandon the artistic attitude.
The perspective of a immediate (and sexy) confrontation will make the artist run to his tools and produce an art work.
Knowing that the opinion of the artist will be desired will generate tremendous energy for the artist.
An energy which spreads among others at the same time.
And not delayed.
The  role of Emergency Room is to transform or canalize the artist’s jump Our Of His Sofa.
To transform it into productive energy.
We could call it electricity.
But Emergency Room’s interest is in art production.
The frustration created by the dishonour of being of abused can be transformed into fighting enthusiasm by the sher level of bull-shit spraying from the media.
We repeat:
Piss off-energy is propulsing the artist out of the sofa.
Existing and exhibiting canalize the initial propulsion energy into more energy.
High energy -- your love is lifting me.
Oh
Oh
High energy --
Your love is lifting me
Lifting me high.
The apathy transformed in empathy will rise energy.


EVENT [fr. événement]


EXCURSION [fr. excursion]

The Emergency Room community sometimes feel like going at excursions.
Excursions outside the Emergency Room.
From time to time some activities are organised outside the Emergency Room.
It could be media hijacking.
It could also be street invasions.
It could be any imaginable excursion.
Just to keep in shape.
Emergency Room within an institution is a concept about art in institutions.
Emergency Room is not a kind of safe protected project.
Emergency Room is not just hidden in the heated rooms of the museum.
The Emergency Room might go at excursions.
Excursions are healthy for Emergency Room.
Excursions give Emergency Room the freedom to be where it is at most functional.
Emergency Room is a platform.
A platform might pivot.
A platform is there for to reach an audience.
Emergency Room is a mobile and pivoting platform.


EXHIBITION [fr. exhibition]

Normally, an artist has to wait months or years to set up an exhibition.
It is necessary to negotiate with an art institution, find funding etc.
This limits the artist with an urge to respond to contemporary matter.
Unless the artist makes graffiti in the street or is a capable hijacker of internet space, the artist cannot comment on the news without delay.
When the phenomenon of exhibitions emerged in a larger scale during the 19th century, it inherited the format of the museum.
An exhibition is a kind museum-without-eternity.
A short-lived museum or a temporal museum.
This museum-without-eternity inherited another aspect as well: the emerging consumerism of the 19th century.
Some characteristics of the art work underwent a significant change with the culture of exhibitions.
The strive for eternity was challenged by the very temporaity of the exhibition in such a way, that at the same time the work appealed for immortality as Very Good Art or as an Important Masterpiece, it could very well see itself as being in Death Row or Cellar of Oblivion.
But maybe more importantly, the strive after aesthetic autonomy was fundamentally challenged by the consumer culture emerging during the 19th century.
The art work could perfectly well see (in that curious way they gaze at us), that it was exhibited as a consumer good, to be bought or aesthetically appreciated/discarded.
The art work was an exhibit.
Today most of us today would say that the art work is an exhibit.
If it is not exhibited, it is no art work.
This illustrates how fast this museological and consumeristic attitude towards the art work has established itself.
The art work should be behind glass, behind a shopping window, in a montre ... to be looked at.
For an Emergency Room the situation is the exact opposite.
In an Emergency Room the art work frames (makes visible) what is invisible outside the exhibition.
In more than a metaphorical sense the art work looks at the spectator while pointing at a visual crime.
The spectator is now interrogated by the shop window or museum montre.
The question posed are of visual and conceptual character by the pointing machine.
To exhibit is to give to the public.
You don’t exhibit on your own.


EXHIBITIONIST [fr. exhibitioniste]

When the artist arrives at the Passage with his piece of today, the artist is an exhibitionist.


EXPERTISE [fr. expertice]

The artist is an expert in visual information and conceptual representation.
Those who are in control of images rules the world.
The importance of production, distribution and consumption of pictures should be obvious.
The artist, who is supposed to have a certain degree of expertise in the production, distribution and consumption of visual information and conceptual representation, is curiously absent from the battlefield in the War of Images or the Clash of Icons.
This, we believe, is no coincidence.
The artist is consciously being withheld from the battlefield.
The artist is put to his isolated studio to produce already made pictures of yesterday to be exhibited tomorrow and viewed when they are already too late.
The visual expertise of the artist is disarmed as a logic in the production of art.
The Emergency Artist can’t obey this imposed logic of art production.
The Emergency Artist has to use his expertise where it is of real use.
This means breaking with the notion of art’s autonomy.
It means breaking with the function of art’s institutions.
And it means breaking with art’s history.
Essentially it means breaking with the very concept of art as it has evolved since the Renaissance.
Don’t you think so too?


EXTRACTION [fr. extraction]

To fish, collect or extract opinions from artists.


FASHION [fr. mode]


FEUILLETON

The exhibition unroll like a feuilleton.
Some artists work with the same method as the novella.
Bringing new works every day like a chapter in a book.
Like an episode in a television serie.
Of course sensitive to the reception of the public.
The exhibition has a chronology.
Some artists can follow a case day after day after day.
Some artists work with the evolution of the case.
Like a Brazilian novella.
The story changes from day to day.
The artist evaluates.
An ultra fast manuscript is done.
With new element breaking in.
The script is always subject of change.
Medias use the same technique.
They decide to run stories in one day or in months.
Depending on the reception.
They write manuscript.
They adapt conclusions.
Once an artist keep on following a case the artist becomes an expert.
The artist begins to gain insight into his subject matter.
As well as of the context.
At this point the the artist starts to be dangerous.
The artist might even produce a new Watergate.
The artist might prove something.
Unveil something.
Working day after day is like to hammer in a nail.
The arm moves.
The nail moves.
To work in Emergency Room like a feuilleton is a progressively growing approach.
Like a warm up.
A regular building up method.
The medias work with manuscripts.
So can the artist.
It is a method.
It is a method of investigating suspect cases and civil dysfunctions.


FINISHED [fr. fini]

When is an art work finished? 
The Emergency Room states:
The work is finished at the PASSAGE.
The moment of the passage is the deadline.
The finishing line.
The passage is the deliverance of the work.
The work is delivered to the public.
The art work has to be ready at a precise time.
There are exceptions.
Performance type of works
Or continuos pieces of art.
Or works which evolves in time.
These work are delivered as well and has to be ready at a precise time.
The artistic decisions have to be taken fast.
The artist is forced to made some choices.
The artist has to be concentrated.
The artist has to make the right moves.
The artist is under the pressure of time.
The clock is ticking.
The artist must breathe.
To include all the air, all the vibrations in the work.
It is late.
The audience are waiting for the opinions of the artist.
The artist is needed.
The artist is wanted.
The artist must run for to be in time at the passage.
Before deadline.
The art work has to be finished.
The art work is finished.
Le coup est tombé.
C’est la delivrance.
The artist is finished as well.
The artist did what he could.
The artist rest and takes a well-earned beer.
Sits down in his sofa.
Zapping around a little.
Before starting with the work of the next delivery of tomorrow.


FORM [fr. forme]

Form is the act of making the invisible observable.
This is made by producing a cast shadow on the wall of already made invisible matter in society.
Reality is made up of matter.
But matter is invisible.
It is something of which we only experiences when bumped into, stumbled on, or otherwise obstructs our daily life.
Of matter we rarely reflect.
Matter is essentially, that is ideally, matter-out-of-place.
Matter in place is in the way and obstructs the way.
Matter is only visible as a trap: the matter-trap.
This is what interests artists.
Artists are obsessed with matter, especially subject-matter.
There is no difference with the emergency artist, only that the emergency artist is interested in social-matter or civil matter.
Social, or civil matter is as invisible as subject matter (or theological matter, philosophical matter, physical matter, or whatever-kind of matter for that sake), and it is this matter the emergency artist projects in an Emergency Room as a visible form.
Form is moving.
Form is a stream.


FORMAT [fr. format]

Format is a new type of art.
Emergency Room is the format of art institutions to be contemporary.
Museum is the format of art institutions to commemorate.
The format of Emergency Rooms, located as a potential space in contemporary art museum, is an attempt to establish a room for visual artist dealing with the issues of today.
Such Emergency Rooms would give the artists the chance to visually comment on actuality—an opportunity to express his position and visions about today ...
(today understood as today without delay).
Format is the parameter of form.
It is the format which actualizes form.
The format itself is the mere potentiality of form.
The Biennale is a format.


FRAGMENTATION [fr. fragmenté]
Fragmentation can also be applied.
As an artistic method.
Coup par coup.
With a break in the middle.
Every day brings a number of people dying in Iraq from car explosions.
Every day the media report it.
Like a weather report.


GRAPHIC DESIGN [fr. design graphique]


GYMNASTICS [fr. gymnastique d’exposition]
The exhibition of ultra-fast art is an act of precision, strength and flexibility.
Ideally it should be like a diving: short, well-formed and to the point.
The more the artist practice Emergency art, the better the artist gets.


HANDICAP TOILETS

Every contemporary museum has handicap toilets.
They ought to have an Emergency Room as well.
Emergency Room should be obligatory by law.


HONEY [fr. miel]


HYPOCRISY [fr. hypocrisie]

Hypocrisy is like a cancer. It is difficult to eliminate it completely.
Hypocrisy is not located in one point.
But one thing is for sure: hypocrisy is not easy to eliminate, when it has found it’s host in a state of privilege.


ICONS [fr. icônes]

Che Guevara is an icon.
Andy Warhol is an icon.
And George Bush and Tony Blairs are icons as well.
Icons are subject to worship of images.
Or to iconoclasm.
Icons doesn’t mean anything.
Icons doesn’t contain any opinion.
Icons are—in the flesh—what they represent.
Therefore icons are kissed.
And therefore are icons burned.
Emergency Room has no interest in icons.
Emergency Room is a space for artists with an urgent opinion.
To share.
Not a space for iconodulia.
Or iconoclasm.


ILLUSTRATOR [fr. illustrateur]


INDIVIDUAL [fr. individu]

The individual is the object of civil society.
This means that society is there for the individual.
Not the other way around.
The public is composed by individuals as the subject of society.
The individual is there for society.
Not the other way round.
It is this spinning both ways at the same time which constitutes the two bodies of man.
And it is this spinning both ways at the same time which constitutes the two bodies of the artist.


INTERRUPTION [fr. interruption d’exposition d’artiste]

Every times the exhibition stops.
The working exhibiting energy drops.
The usual ritual of having one to three month’s exhibition-time is stupid.
The exhibition should never stop.
The exhibition should be streaming, flowing.
A stopped exhibition is a dead exhibition.
It is a disaster.
The artist has to start all over.
The artist loose concentration.
The artist loose credibility for audience.
The works can no longer reflect but only jolt.
The artist is then breathing like a old car.
The artist can not be rolling.
The artist is depressed and dejected.
The artist needs then beer to absorb the chock.
To stop the outrage within the artist’s heart.
If the artist starts getting into a subject the end of the exhibition is interrupting him.
It kills his impulse.
This is why artists sometimes repeat themselves.
They cannot find moving speed.
The Emergency Room is looking for a permanent room without interruption.
A format for a never ending event.
Why should Emergency Room be interrupted?
La cadence créé l’energie.
La continuité.
C’est la trance.


LIFELESSNESS [fr. être mort]


MANIFEST [fr. manifeste]'

The written receipt of format.


MANUSCRIPT [fr. manuscrit]


MASTERPIECE [fr. chef d’oeuvre]


MATTER [fr. matière]
Matter is that invisible stuff of which reality is made.
Matter is what it’s all about.
We can easily hear it in expressions like
--It’s all that matters.
--It doesn’t matter.
--What’s the matter with you?
But we could be mistaken in this.
If so, we have to start all over again.
Matter is the stuff which can’t be created.
Matter is the stuff of which things are made up.
Matter is down there.


METHOD [fr. méthode]


MISTAKE [fr. erreur]

If you work fast, you occasionally make mistakes.
A snapshot is a fast picture.
An artist should be brave.
The message is more important than the self-image of the artist.
The emergency artist has to work with some speed.
The matter is urgent.
The investigation can’t be secret, because the artist judges it as being of utmost civil importance.
It is this urgency which forces the artist to speed up and being precise
And it is at the same time this urgency which forces the artist to accept errors.
To be corrected ...
To be continued ...


MOTIVATION (artiste motivé)

Motivation happens suddenly.
This is characteristic for motivation.
Suddenly an apathetic or busy artist can feel interest in using the Emergency Room.
From one day to another.
Today.

Ne ferma pas la porte.

The scenario of this sudden transformation can look like this:
The artist’s cousin went to jail unjustly accused of terrorism.
The artist keeps observing how the media handles the matter.
The artist observes the dysfunction of the media and simply must have his say.
Or, it could be this way:
The artist suddenly jumps up of his sofa.
A certain story has moved him violently.

Or, it could be that the artist suddenly sees that he can change the world.
It could be that the artist suddenly gets an urge to share.
It could be that the artist creates an community of opinion.
It could be that the artist suffers from loneliness.
It could also be that an artist, who suddenly becomes parent to a child start to feel responsibility of society.
Whatever the reason, motivation is good for art.


MOTOR [fr. moteur]


MOVEMENT [fr. mouvement]

The Emergency Rooms constitute an artistic movement.
This movement is similar to a river or lava.
It is matter charged with energy.
The Emergency Room exhibitions are of the works or pieces themselves moving.
They are exhibitions of moving matter.


NEUTRALITY [fr. neutralité]

The Emergency Rooms have itself no fixed opinion or world view.
The Emergency Rooms are, as such, neutral.
The opinions and world views are the unexpressed intentions of the artist.
These meet with the unintentionally expressed of the spectator.


OBSERVER [fr. spectateur]

The observer is any visitor in an Emergency Room.
It is of no importance if this visitor is an artist during the passage, an art critic, someone seeking temporarily shelter from rain, an art lover, a bored child, or someone trying to avoid an unwanted person, frontally approaching on the same side of the sidewalk.
An observer isn’t something you intentionally set yourself up to.
It is being caught in an experimental setting.
The observer is the unintentionally expressed of the Emergency Room.
The observer is always located on the other side of the Glass and/or Screen.
If matter is invisible in civic space, individuals are ostensibly visible.
In the experimental situation of an exhibition, the setting is turned the other way round.
Now the individual becomes an observer, and in this very moment becomes invisible.
If the individual, in his/her natural surroundings was on the other side of the glass and/or screen of matter and observed and governed by matter, the individual turned into an observer in an exhibition space, finds matter on the other side of the glass/screen of projected forms.
The unobserved intention of the form transforms to the unintentionally observed of the observer.
Now the observer governs matter.


OK

Emergency Room accepts.
Emergency Room doesn’t necessarily stick to the rules.
Emergency Room are open for improvements.
It’s ok.


OPEN ZIPPER [fr. braguette ouverte]

The artists of Emergency Room collaborate.
If you are my friend.
And if I have ma braquette d’ouverte.
Please tell me.
See PASSAGE, ERROR.


OPHTHALMOTROPE [fr. ophthalmotrope]

A mechanical visual device into which the artist transforms while becoming pure vision.
The most sophisticated model of the nineteenth century was the one made by Wundt in Heidelberg.
Wundt called it:
Ein künstliches Augenmuskelsystem zur Untersuchung der Bewegungsgesetze des menschlichen Auges im gesunden und kranken Zustande (1862).


OPINION [fr. communauté d’opinion]

Emergency Room is desperately searching for opinion(s).
Emergency Room is begging for the opinion of the artists.
To start formulating an opinion require a careful observation of the subject.
But this is a dangerous territory.
It is easy to make a fool of oneself.
It is easy to make mistakes.
Opinions are a mixture of personal feelings and facts.
If opinions don’t circulate anymore we don’t have anything to talk about.
Opinions are the breathing of our social and intellectual existence.
To present an opinion is almost like undressing.
Getting naked.
To present an opinion is almost an erotic gesture.
To present air to each other.
Two opinions produce a new opinion.
Without exchange of opinions there would be no existence.
No life.
The exhibition is alive and has to communicate opinions.
Opinions can change.
Opinions can adapt.
Opinions can switch to a contrary opinion.
Opinions can be based on prejudice.
Opinions can be contrary to prejudice.
Opinions can be private.
And opinions can be public.
Opinions are flexible and exchangeable.
Opinions are fertile.
To give an opinion should not be regarded as a sign of stupidity.
To give an opinion should not be judged upon prejudice.
Doubtful opinions should be questioned.
One could ask:
From where does the opinion come?
What are the arguments of this opinion?
Opinions are made to be questions.
Opinions are essentially questions.
If we stop presenting opinions we are dead.


PACKAGING [fr. empaquetage, emballage]


PAIN IN THE ASS [fr. emmerdeur]


PASSAGE [fr. passage]
The passage takes place in Emergency Room at 12.30 every day.
The passage brings fresh works of today.
The passage replaces the works from yesterday.
The artists meet each other at the passage.
The passage is a kind of relay.
The story continues.
New works take over where the works of yesterday left.


PERMANENT [fr. permanent]


POINTING MACHINE [fr. machine à pointer]
The Emergency Artist is a denonciateur, a pointer.
The Emergency Artist hunts for dysfunction.
The visual competence of the artist is not directed by any artistic intention, will or any special form of creative inspiration.
The visual competence is a reflex, much like an awareness muscle or a artistic nerve, trained and developed by the artist himself under a long time.
The artist eventually becomes an machine, trained to spot visual and conceptual dysfunctions to which this muscle responds.
This reflexive response answers immediately to spotted dysfunction by pointing and indexing it.


POOL  [fr. équipe; masse; réservoir]



PRECISION [fr. précision]


PREJUDICE [fr. préjudice]

One could believe that art is one of the most unprejudiced areas of human activity.
Rather the opposite is true.
Hypocrisy has entered in art’s own ranks.
A lot of prejudice circulate like evidence or accepted facts.
One prejudice is that artists cannot work fast.
Or that artists ought not to interfere with politics.
Or,
(and this is the worst):
That artist should not be interested in politics.
That politics is not within their field of competence.
This tends to reduce the artist to a disc jockey or a soup maker.
Or a foxtrot dancer.
When the artist is not reduced to a mere producer of objects.
To a decorator of flats.
To a cultural propagandist.
Or to a provo-entertainer.
Like the most dangerous prejudices
(which is racial or gender prejudices)
They circulate as common knowledge and people stop to question them.
Or even think about them.
Prejudices about art circulate on the same wavelength and with the same frequency as the fixed notions about artistic attitudes circulate.
(being busy / activism / contemporary)
To get rid of these prejudices would seem a difficult task.
These prejudices are deeply rooted and are not to discussion.
Prejudices are circulating in the dark waters of taboo.


PREOCCUPATION [fr. préoccupation]

PRESS RELATIONS [fr. communication]


PROJECT [fr. projet]

Emergency Room is a project.
But we don’t like projects.
The word “project” is annoying.
Projects are like clothes for the artist’s attitudes.
“What’s your project?”
They ask each other.
They should be asking:
“What do you mean?”
“What is your opinion?”
But projects do project things.
A project is supposed to present a plan.
A project is supposed to present visions.
And a project is supposed to present a way for that vision.
Emergency Room is such a project.
Emergency Room is a projection.


PUBLIC [fr. publique]


PUBLIC OPINION [fr. opinion publique]

The public is the subject of civil society.
This is why the public opinion has such an impact of the state of society.
Public opinion is beyond right and wrong, good or evil and every other qualitative judgement.
The public opinion is promoted by sheer weight and gravitity.


PUNCTUALITY [fr. ponctualité]

In precision aesthetics the concept of punctuality is paramount.
Essentially being punctual means being on time.
Punctuality is the precision in time.
A punctual piece or work is a piece or work which is delivered at time and which in itself is in time.
Punctuality is a rendez-vous without delay.

PUSHER [fr. dealer]

Emergency Room works like a pusher.
Emergency Room tries to to create addiction in giving opinion.
Some of the rules for instance, are made to create addictions.
Like the rule that artists have 24 hours to collect their work after it has been displayed.
After this deadline, the work will be under the control of Emergency Room.
Either kept for future display in the archives, or discarded.
If the artist comes to pick up a work, he usually comes with a new one.
And then the artist comes everyday.
The artist has become ADDICTED.


READYMADE [fr. tout-fait]

A readymade is the observed invisible, which, in the very moment of observation transforms itself to another observed invisible matter.
A readymade is something which can be observed (or be visible) only under a very, very short time.
It is infra-thin matter.
To work with readymades, the artist has to work fast, and with a considerable precision.
Else it would make no or only insignificant difference.


RECONSTRUCTION [fr. reconstruction]

What went wrong with the news today?


RECYCLING

Emergency Room doesn’t recycle old art.
Old art is delayed.
No recycling.
An artist is no car salesman.


RENDEZ-VOUS


RITUAL [fr. rituel]

Art is stocked and damped by idiotic rituals which contemporary art continues to perform.
Vernissage.
Drinks.
Parties.
Invitations.
Group shows.
Projects.
Partners.
The model is repeating itself with or without drinks & snacks.
Like an automat.
From where do all these rituals stem?
And why are we performing them?
They kill art.
To baptist a work of art in a vernissage is the worst that can happen.
It pushes the art work to the background.
Making the vernissage to appear as the work.
Emergency Room performs a daily baptism of new art works.
The meeting at the passage is made to discuss the content of the work.
The passage is a non-vernissage.
The passage is exactly not closing the work.
The passage is opening the work for discussion.
The passage treats the work as an opinion.
Not as a glossy surface.


ROLE OF THE ARTIST [rôle de l’artiste]

If someone witness a crime or an accident they have to assist the person in danger.
If the artist sees some alarming dysfunction the artist must communicate what he knows immediately to the public.
The public is the rest of society.
The artist is an expert in visual communication.
As most dysfunctions, abuse, propaganda etc. communicate with the tools of the artist (i.e. visual communication), the artist as an expert must deliver what he is the witness of.
Immediately.
Before it is too late.
The artist has the capacity and the duty to alarm the other.
If he does not, he fails to be contributing of the caring of each other in society.
The artist is responsible for what he knows and observes.
Indifference and not-caring should be felt as a unlawful error.
The role of the artist is to make use of his visual expertise to the service of the civic society which is now overusing visual communication.


ROOM [fr. espace]

The room, or space, of an artist-of-today is on the one hand Emergency Rooms and on the other civil society.
Civil society is ever present in our daily life.
Emergency Rooms represent actions or states as crime scenes.
The representations of Emergency Rooms are marked with a yellow-black tape with the inscription: CRIME SCENE: DO CROSS.
If you don’t see the tape you must train more.
Emergency Room is a crime scene.
The difference between the state cop and the civil cop (or emergency artist) is that the latter invites the public to speculate of the nature of the crime.
The emergency artist doesn’t investigate the crime.
At least not in terms of arresting, judging and punishing the perpetrator.
The emergency artist aims at making the nature, or logic, of the crime visible.
Emergency Room is this space for representations and visibility.
Emergency Room is this crime scene.


RULES [fr. reglèments]

The format of Emergency Rooms is not interested to get abused by artistic attitudes.
To avoid being kidnapped, Emergency Room comes with certain rules.
Rules is a good thing.
Also for artists.
Rules is like exercise.
Rules sharpen the precision.
But rules are not divine.
Emergency Room do err.
In ultra fast speed we all do err.
It is therefore OK breaking the rules.
As long as the spirit isn’t broken.
But please, do respect the rules as you respect your friend.
Especially those which are nicely formulated.


SCENOGRAPHY [fr. scénographie]


SEMI-BOURGEOISE


SERIAL [fr. feuilleton]


SHARING [fr. partage]


SLIDE SHOW [fr. diapo]


SNAPSHOT [fr. instantané]

Snapshot is the perception of a pointing machine.
Ideally speaking, the snapshot is the non-intentional expression of the intentionally unexpressed.
It is the instantaneity of Instant Coffee.
The Snapshop—being the non-intentional expression—is an excellent device for fixating the invisible in a visible form.
The snapshot is a information device, processing matter which before didn’t have any form.
Emergency Room is made of snapshots.
And Emergency Room is a snapshot in itself.
Snapshot d’exposition.
The art shown in Emergency Room can be the result of many years of reflection of an artist.
Suddenly one day it is there.
The artist grab it.
The artist get it.
Fast.
At once.
Échec et mat.
And the artist brings proudly his work—his snapshot--to an Emergency Room.
As a masterpiece.
A lot of true life.
It takes only one instant to grab it all.
L’oeuvre est un snapshot.
Le tout a été attrapé.
Fixé.
Capturé.
The snapshot is the decisive moment.
Like a street photographer.
Or a policeman.
Waiting the right time to catch or point out evidence.
Emergency Room can freeze one day in one exhibition.
The exhibition will then contain everything of that day.
It’s past.
It’s future.
The exhibition being alive then becomes a slide show of all the snapshots with life and comments on top of them.
The exhibition being alive then becomes a continuous stream of snapshots being made.
But with the possibility to zoom in at them one by one.
A snapshot is a shot, aimed and fired very quickly at a target that appears suddenly and for a very short period of time.
A snapshot is not something to be looked at during a very long time.
Nor from the other side.
A snapshot is more spontaneous and untagged.
(Shut up!
You photo-theorist
Shut up!
You sceptical apathist)
The snapshot is an imperfect image.
The snapshot contains the notion of mistake.
In itself.
The snapshot has the power of enthusiasm.
In itself.


SPEED [fr. vitesse]

The Emergency Rooms will be updated every day.
The Emergency Rooms will have the important concept of living at the same ultra fast speed of the news (and it’s consequences like new wars ...).


SPONTANEITY[fr. spontanéité]

The quality of aesthetic of the exhibitions is not important here.
The importance lies in the possibility to show art immediately.
The exhibition should function like the mass medias: Be renewed every day and be up to date on the ongoing debates.
Spontaneity is the fast execution of a long period of trained awareness.
It is the hunter with his bow knowing time and place with precision of split seconds and bull-eye’s.


STATE OF EMERGENCY [fr. état de siège fictif ou politique]

Emergency Art is a reaction upon the state of emergency today.
The artist-of-today do not produce art as a leisure or as a form of basic research.
The artist-of-today produce art on basis of an emergency situation.
Hence they exhibit in an Emergency Room.
We are talking of a kind of blinking blue light art.
And as every type of emergency personel, emergency artists are thoroughly trained in solving emergency situations.
There is a permanent state of emergency.
The fire brigade is prepared for fire every time.
The emergency artist is the prepared artist.


THERMOMETER [fr. thermomètre]

The Emergency Artist measures the fever of society.
The Emergency Artist observes inflammation in pictures.
The Emergency Artist records influenza in the media.
The Emergency Artist is a thermometer.
Evasive and ultra fast as quicksilver.
Dangerous.
Poisonous.
As any messanger.


TODAY [fr. aujourd’hui]

In an Emergency Room are presented only works and pieces produced today, exhibited today and viewed today.
The works and pieces are today’s works and pieces, like a newspaper or broadcasted news presents today’s news, not yesterday’s.
If you are interested in yesterday’s news, you go to a library or an archive.
if you are interested in yesterday’s art, you go to a museum or a Delay Museum.
Today is a concept which relates to time.
And, as we are painfully well aware off, time flees.
Time is never fixed.
Time is in a state of flux.
Time is, but can never be observed when it is, only when it was, or when it will be.
If time stood still it would imply a pre-Genesis or post-Apocalyptic era.
The present “now” in this flux is the perpetually evading point between a “before” and a “to-late” and an “after”.
Time, as such, has no form.
Time cannot be observed other than in the retrospective.
As an ever diminishing vanishing point.
Or in the prognostic, as a projection of a form not yet realized.
But it is not time that produce movements, transformations, and changes of subjects, objects or state of things.
It is the movements, transformations and changes that produces time.
Time itself is nothing else than the effect of events.
Time is a derivate of causation.
Unlike now, today is.
Today has a form.
The form of today is the cluster of events which constitute phrases of the form:
“What are you doing today? “
“How are you?”
“What’s the weather?”
And others of the same kind.
But also of phrases like:
“I wonder how the weather will be today.”
“How was work today?”
Today is the temporal form through which the subject and the world communicates.
The agents of today are characterized as reporters — or journalists — hunting and listing events in the form of news.
The journalist is the draughtsman of today.
The draughtsman of today is observing and representing the form of time with the figures and events of actuality.


TOO LATE [fr. trop tard]

Too Late is the result of a regretted “Rather Not”.
Too Late is not the result of any action, but of a regretted indifference, of a regretted “Rather Not” which have turned into an “Ought to”.
The philosophical figure of the unregretted “Rather Not” is Bartleby, the Scrivener, he who could write but preferred rather not to.


TOWN [fr. ville]

Every town should have an Emergency Room.

TRAINING [fr. entraînement]

For the Emergency Artist training is essentially a training in becoming minor.
The artist trains to become eye.
To be become aware.
To be an artist is to incorporate a function.
For the Emergency Artist the muscle to be trained is the awareness muscle.
The awareness muscle is located somewhere between the guts, the mind and the eye.
An artist should have a training program for that muscle.


TRANSITION [fr. transition]


ULTRAFAST [fr. ultravite]


UNFINISHED [fr. inachevé]

An art work can never be finished.
Only external conditions can finish an art work.
The art work in itself beg for continuity.
L’oeuvre est faite d’oeuvrettes.
A work is a never ending sequence of pieces.


URGENCY [fr. urgence]

Urgency is a state in which time is short.
To be in shortage of time means that one has to react fast or it will be too late.
Too late is itself closely linked with urgency.
Too late is the necessary outcome of a negative reaction when faced with an urgency situation.
If artists doesn’t react to urgency situations, it will soon become too late.
It might—one could fear—be too late for art.
Art is usually too late.
Art as such might even be too late.
That is, art (as a concept) might be conceived as an activity already too late.
Corresponding to the concept of readymade.
A readymade—we can hear—is, per definition, too late.
Tout-fait.
The urgency of Emergency Rooms comes from the very concept of introducing time and contemporaneity in the production, circulation and reception of works of art.
We don’t know what will happen to the concept of art.
But we know that the urgency of the question motives the very concept of an Emergency Art.


VIEWER [fr. spectateur]
See OBSERVER.


VISIBILITY [fr. visibilité]

Visibility means being realized, actual.
Visible are objects and bodies.
Visible are also causal, relational and hierarchical structures, as well as other stuff which can be indexed in time and space.
Invisible are unrealized or potential stuff, non-combinable relations.
Invisible are aleatory, hidden and secret structures which can’t be indexed.
Visibility is the object of art.
Art aims at transforming or exposing the invisible to light.
To index aleatory, hidden or secret structures.
To make them visible.
To make them objects of opinion.
This means that the artist applies a method or a device to transform invisible matter to observable forms.
The methods or devices varies from artist to artist.


VISION [fr. vision]

The Emergency Rooms will welcome any visual artist with burning visions about the news.
Vision is not observation.
A vision is a projective image not yet represented.
An observation is a reflective representation.
A vision thus doesn’t yet have any support or medium through which it could be represented.
A vision is a potential image.
With visions we have the ability to see the still unseen.
The artist-with-vision is a function of social and political guidance.
The artist-with-vision is the ophthalmotrope of society.


VOX POP [fr. micro trottoir]

Vox pop is an external consultation.
There are two kind of vox pop.
The first is a vox pop of the artist.
The second is the artist searching for the vox pop.
Emergency room could be consider as a vox pop of the artist.
Artist gives their opinions on a special platform, where Emergency Room is the microphone, the instrument which is hold to them to collect their opinions about today.
Normally the microphone is given to fashion models, porn stars, football players and other celebrities.
Rarely are the opinions of the artist requested.
Apart from this, the aesthetic of emergency have shown that some artist themselves prefer to ask for opinions, asking pedestrians or visitors of the institution.
Those artist don't give their opinion, but ask somebody else for an opinion.
The question goes from hand to hand, like a rugby ball.
This is the ballet of the asking for an opinion.
Vox pop is a kind of relay.
The microphone passes from hand to hand, from question to question, from opinion to opinion.
The object of vox pop is still the digging for content.
But for somebody, this very movement of forms gets so fascinating, that they rather pass the microphone just to get rid of it.
This is no good relay.


WARM UP [fr. chauffer]

The artist needs to warm up.
If, for instance, the artist needs to follow a political issue, he needs a little bit of background knowledge.
The artist needs to have a disposition to make a work fast.
And the will to work with speed.
The tools of the artist’s should be in proximity.
If the artist have to use a fax, he should know where to get one.
If the artist have to use a bulldozer, he should know where to get one.
The artist have to prepare for fast action.
But not only materially.
The awareness muscle of the artist should also be tense and well-trained.
This is the mental warm up.
The concept of Emergency Room is still warming up.
The format of Emergency Room itself is in a warm up process.
It takes time before the pool of artist involved in Emergency Room are ready to become fast professional producers and precise dysfunction spotters.
The Emergency Room format is still accelerating.
It does not yet have the full speed or full maturity.
The emergency room is not yet ready.
It’s discourse is not pertinent enough yet.
The art works are still too abstract, the comments yet not challenging enough.
A mutation has to be done.
But to sharpen artists and change the artistic attitude will take years.
We are still warming up.


WEB CAM [fr. webcam]

Web cams can be used in Emergency Room.
They give an illusion of action from a distance.
Web cam rendez-vous can be organized.
But web cams are in fact not totally welcome in Emergency Room.
The artist should experiment with the space in real-time.
The artist should appear in person to see the Emergency Room; to watch, smell, and fully perceive the actions and the settings.
The action through a web cam should in any case give the feeling of having experienced the room, but the artists Frank Franzen and Peter Lind have insisted to have them around.
Thus web cams can be used in Emergency Room.


WEATHER REPORT [fr. bulletin météorologique]

The weather report is the only critical zone in the news industry.
This is a parody.

The weather report is the model for the critical artist to get inspired.
Which is sad.


WHITE CUBE [fr. cube blanc]

The Emergency Room is a white cube.
The Emergency Room could have another shape as well.
It could be elliptic for instance.
It could also be round.
In fact, the white room of the Emergency Room format could have any shape.
The Emergency Room makes great effort to show art in the best possible way.
The Emergency Room pays attention and care to the scenographic presentation of the works, exposing the art work as good as possible.
The white cube in Emergency Room fulfill a debate function as well.
The art works have to be shown like if they were Mona Lisa.
For the Emergency Room they are Mona Lisas.
Every one of them.
They are even superseding Mona Lisa.
Because They Are. Now.
Every art work entering Emergency Room is considered with great respect and considered like finished art works--even if produced with speed.
Because they are, now.


WITNESS [fr. témoin]

Witness is anyone passing, seeing something happening in the Emergency Room, which could be reported or written down.

The artist is a witness.
Everyone is existing through someone’s eyes.
Everyone is taking notice of the existence of each other.
Everyone is looking at each other.

This looking is not always as surveillance, but sometimes it is.
Sometimes as a view.
Sometimes as reflection.
Sometimes as speculation.
The witness can of course be touched by what he witnesses.

In Emergency Room some witnesses are witnesses by accident; others are requested to be witnesses.
The writer and the art historian for instance.

Art historians are invited to witness the aesthetic of emergency, to catch and possibly measure any change.
Viewers could be passing the institution, for instance, and come accross the Emergency Room by mistake.
Or by chance: temoin malgrès eux.

Emergency art should be watched like an ornithologist--continuously and with binoculars.
Emergency Room obsessively researches witnesses to make them witness and even harass them until they speak to collect what they saw.
Emergency Room and the Delay Museum are also a swallowing collecting dispositif.
 

WRITER [fr. écrivain]

The writer is someone giving another dimension to the project; someone that can challenge the artists by observing and describing them, their methods, their qualities as well as their defects.
The writer is someone that can take the artist back to a human level.
Someone that can de-sacralize the status of the artist.
The writer is another observer.
An observer of the artist and the Emergency Room.
By experience we notice that the writer is not always welcome among visual artists.



The Emergency Room Dictionary Copyright : Thierry Geoffroy / Colonel
redactionel help  : Jan Bäcklund,