i feel welcomed & invited by the humbleness of the ‘underdeveloped’ exhibition (the humbleness of the work that doesn’t aim to convice me as an ‘audience’, that does not even acknowledge me as an ‘audience’, that rather transforms me to a voice & to a witness & to a guest & to a chef, that is deliberately unobtrusive, that does not carry the intimidating power of a so-called ‘masterwork’).

i feel intrigued & challenged by the questions the exhibition raises with regards to the relationship between art & reality. after reading christopher smalls ‘musicking’ paper from 1999, these questions became my main concern ¹.

i started to think, to provide musicians freedom creates a real practice of celebrating peaceful coexistence together. i started to think, to tune in is not merely a physical process of aiming simple frequency ratios, but it’s really a tuning in & a carefully listening to each other.

i was thinking of fluxus, john cage, tehching hsieh, pauline oliveros, cornelius cardew, eva-maria houben.

& i was thinking of aethopian scrolls of bible texts & bible scene paintings that belonged to a person & that protected this person from any illness.

& i was thinking that someone once told me ‘wayang kulit’ is not the play of a story, but during wayang the story actually happens.

& i was thinking of ‘fasnacht’ masks that we use in the south of germany to scare the winter away.

there is a contrast between the implicit political context of playing music without a conductor & without an audience, & the explicit political context of collecting donations for the people in palestine.

is implicitness a privilege for the privileged? is explicitness able to tackle fundamental changes? is implicitness without any consequences? is explicitness preserving the joy of the senses?