Salon Julie Sas

Jan 22, 2017
Ruschestraße 103, 10365 Berlin, Germany


Dear Salonieres,
we are very happy to see you at the Salon of Julie Sas!
We meet in front of the Stasimuseum at 2 pm.
The Salon comprises a free, English speaking guided tour of 1 hour and Julie’s presentation of her theoretical research in the cafe of the museum.
Please be on time and please do reserve, as there are limited places for the guided tour.
Here are our phone numbers, in case you are running late
Susanne 0049-17670130405 and Aleksander 0049-17636901290!

All our best wishes!
Jule, Susanne, Nora, Aleksander


Speculative materials on anonymity

How to disappear, how to be opaque, disembodied, unauthentic, how to « escape the face »(2), how to expropriate yourself, your name, your identity, how to only be approached by peripheries, how to think, live and act on a speculative mode, how to fantasize, how to turn yourself into a conceptual character, how to speak silently, how to speak saying nothing, how to drop out, how to be discreet, how to create non-spaces and horizontal societies, how to exhibit ?

How to escape the regimes of visibilities at stake in our contemporary societies ? What would be a potential and critic subtractive way of thinking and acting, in a world where everything is cumulative and subject to value-creation ? How to quit the order of the exhibition of the self and generalized surveillance, to exist elsewhere and differently ?

This study intends to analyze some modes of existence and appearance that have the particularity of problematizing the subjectification processes that derive from our relation to devices.
Anonymity, invisibility, disappearance, avoidance, secret or silence can be then seen as possible ethics and positions, ways of resistance to a contemporary paradigm that claims to merge being and appearing on one hand, value and visibility on the other.

Relying on a heterogeneous corpus of artists, authors, musicians, activists, collectives or even fictional characters – such as The Man Without Qualities (Robert Musil), An Evening With Mr. Teste (Paul Valery), The Residents, The Anonymous, Philippe Thomas, Lee Lozano, Michel Foucault, Le Comité Invisible, the Guerrila Girls,… – this research approaches open forms of anonymity, invisibility, or retreats, that overlap different strategies, ways of living and acting, and modes of enunciation. Thus, if anonymity, in the context of this study, can concern concrete or symbolic effects of disappearance, invisibility, avoidance, or alteration of identity, it can also refer to language operations that denote a radicalized use of language data, taking charge of the invisible, or social and political practices aiming at the invention of a new ethic, new forms of activism and a redefinition of the collective. Another focus of research involves a reflexion on the form of the exhibition in the field of the arts, which, when apprehended in all its polysemy, seems to open certain theoretical and practical perspectives for new modes of visibility and implementations of contemporary art.

    1. 1. « BRUCE HAINLEY:

Before we launch into the ’80s, a little back story. When you mounted your landmark exhibition at White Columns, in New York, in 1986, on the heels of your being in Bob Nickas’s 1985 show “Production Re: Production,” it had been over a decade since your last shows–“Studies for Warhols’ Marilyns Beuys’ Actions and Objects Duchamps’ Etc. Including Film,” at the Everson Museum of Art, in 1973, and your Joseph Beuys show the following year. Were you making art during that period?


Totally, totally out of the art world from 1974 until 1985 or so. I was writing, thinking, playing tennis, and carrying on. My art, with its burden of being devised by conceptual thinking, was not banging against my head but in silent red alert.

    1.  »


    1. Sturtevant Talks to Bruce Hainley, Artforum, March 2003
      1. 2.« Défaire le visage » Deleuze et Guattari,

Mille plateaux, capitalisme et schizophrénie