[Online Event Series]: All the Missing Limbs of a Pre/oposition, February 22, 2022

All the Missing Limbs of a Pre/oposition is a series of non-thematic events on Zoom that discursify the inextricability of ‘prepositions’ and propositions in/from/with each other, on the one hand; and that ‘coincide’ positions that can uphold different ethical imaginations and action, on the other.

The series is part of the publication program Coincidences in Prepositions initiated by Renan Laru-an & titre provisoire (Cathleen Schuster/Marcel Dickhage) and will be hosted by the Philippine Contemporary Art Network.

February 22, 2022,
with:

Ramon Guillermo
Ying Sze Pek & Ho Tzu Nyen

Ramon Guillermo
Relationsbegriffe (Connecting Concepts): Walter Benjamin’s “On the Task of the Translator” in Filipino Translation

Walter Benjamin’s essay on translation entitled The Task of the Translator (Die Aufgabe des Übersetzers) (1923) is reputedly one of the most difficult texts to translate from German into any other language. This text on translation has thus ironically spawned a discourse on its mistranslation. However, it is not perhaps Benjamin’s language which is the main source of difficulty but his supremely enigmatic formulations. This discussion will share some translator’s notes on the experience and challenges of translating this difficult text from German to Filipino.

Ying Sze Pek & Ho Tzu Nyen
Screens, Layers, Parameters: A Conversation with Ho Tzu Nyen

The scholar Ying Sze Pek speaks with the artist Ho Tzu Nyen about his algorithmically composed video database Critical Dictionary of Southeast Asia (2017-ongoing), his site-specific installation Hotel Aporia (2019), and his recent exhibition Night March of Hundred Monsters (2021-22). Their dialogue will center on ideas of technology, montage, animation, collectivity, and history.

The event is also on Facebook and Instagram. One more Zoom event will take place in March 2022.

More information about the overall project Coincidences in Prepositions here.

The project is realized in partnership with the Harun Farocki Institut, Philippine Contemporary Art Network (PCAN), and the UP Vargas Museum. Supported by Goethe-Institut.