Fluss, Studio 1.1
Fluss, Studio 1.1

Fluss, Studio 1.1 demselben Fluss/badet nie zum zweitemal... In an uninflected drawl set against impassive repeated shots of a de-faced (and re-faced) billboard demonstrably in Spain, Gertrude Stein’s cubistic text refracts meaning. Heard through headphones it emphasizes the uneasy independence of sound and image. This likewise asserts something that ought to have been clear all the time, i.e. that Stein’s work while in no way conventionally ‘cinematic’ nevertheless in the materialist sense has a durational aspect that parallels film. Words are no longer vehicles for narrative but parts of a mise en scene that the camera makes events of in passing. Each time we revisit them they are new: the re-capitulation of the theme differs radically from its original statement precisely because of its position in time - the sonata form. allsopp&weir; organise a film around her words, while she mesmerizes us with her syntactical invention.
Temps mort With Stein they multiply meaning, whereas in the live pieces they sabotage it. Here a performer struggles against unreasonably powerful forces: Schoenberg’s atonality (as yet awaiting the organising principles of serialism), and the re-structured inconsequentiality of the dismantled revolutionary text. The disjunction is the performance. Text has broken away from its setting. Incoherence is all we can comprehend. ‘The focal collapse of (Artaud’s) soul’ becomes in allsopp&weir; an imposed aphasia, false-footing communication. Breath made word exhausts itself. The phrasebook’s fractured narrative outruns the non-native speaker, on his one-way journey from hotel room to hospital. They struggle with a language they cannot command in work in which everything is put into question. The allegory here?
... wir erinnern uns nicht.

Studio 1.1 curators
(Text from exhibition publication for allsopp&weir;, Some Time Repeating An Embarassed Word, Studio 1.1, London, 2007)