A Case of Severe Incoherence, Auto-Complaint & DaDaistic Uhr Laub Poems
An Interview with Adriana Kobor
Asemic Front 2: Welcome back, Adriana. It has been several months since your last appearance here at AF2. Please tell us what you have been doing, especially in your capacity as Correspondent-at-Large for Asemic Front.
Adriana Kobor: I am living in a shitty hotel in Italy, better than nothing, but I am free to change anywhere to anyone, and anyone to anywhere. To further observe the question, the forms you had sketched here had invited me to mourn the womb to which I never can return (I never will so I would never want to) a.k.a. some Freudian insinuation which might not even be there.
No jokes over here, it is all dead serious, so when we can grasp that we can either (1) die (2) start dying (3) dream about the completion of anything else. I had fun writing this, but I know much worse, you always must know that. (That is clear in whatever I do.)
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“I am living in a shitty hotel in Italy, better than nothing, but I am free to change…. To further observe the question, the forms you had sketched here had invited me to mourn the womb to which I never can return….”
- Adriana Kobor
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Asemic Front 2: What have you been doing in terms of your own creativity?
Adriana Kobor: I was working on a philosophically and sociologically mesmerizing project with Dirk Vekemans [Belgium], yet unpublished. That took up all my energy in the most severe case of incoherence, auto-complaint, dadaistic Uhr-laub poems, fonts to be played with... A completely uncensored piece of opinions put into a betonmixer of 0 ideology, 0 future and mental masturbations. The context is always partially shared, partially prohibited, a sort of bouncing between here and there in an online RT-space.
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"[The Dirk Vekemans collaborations] took up all my energy in a case of severe incoherence, auto-complaint, dadaistic Uhr-laub poems, fonts to be played with.... A completely uncensored piece of opinions put into a betonmixer of 0 ideology, 0 future and mental masturbations."
- Adriana Kobor
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Asemic Front 2: Can you tell us about your visual projects?
Adriana Kabor: There has been nothing done: no collage work, no paintings and only a few digital works - or at least nothing that is not in the publishing process.
I am mostly thinking about the REVEALEATORY nature of this last, vast body of work I have been doing with Dirk, because, once again, it needs to get some editing and the right context in order to find its right place in the universe.
Twenty twenty-one brought some self-made collections I consider quite interesting (not that far from what you call asemic) and typographic pieces, of which one had been sent to Australia in its entirety for the I.M. project of Richard Kostelanetz. Here you can see:
Adriana Kobor: The world is hard on me, on many of us, I know, it should have been just a play all along, but it is not. And I am not quite ready to grow up, and for that I am blamed, like "all writers are just useless creatures." The problem is: One's destiny cannot be avoided, not by any chance and not by any slyness.
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"The world is hard on me, on many of us, I know, it should have been just a play all along, but it is not. And I am not quite ready to grow up, and for that I am blamed, like 'all writers are just useless creatures.'"
- Adriana Kobor
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To be able to contemplate this, which means: To be able to write about it, too, means that one has lived, loved and suffered. But to grasp it in its entirety and live with the given knowledge, is the hardest part of all. So anyone who knows this, wishes to have never needed to live, love, suffer. They remain in that unconscious state to which we all long to return.
I do not know whether there is such a return. So in the U-turns we produce something by which we try to prove that nothing ends, but especially: We do not. The real true end developer, though, lets us know that such an excuse is too weak compared to what nature needs to limit, destroy, complete, and kill.
So the trueness of all words remains in this world, trying to communicate and reach another. And that very far end, that world, has become the only thing that still has real meaning inside it, for me to "feel, understand and develop."
As if you touch an old camera: It has its limitations and its possibilities; it is just a casual means by which you freeze the moment. To prolong that frozen moment, that which is there, where you, at the end of this digital world read me, either you want to or you will not.
The only choice left is negation, though that does not quell the thirst for the real, the true, the one, in other words: the good and the beautiful, we have all lost in different ways and different measures. So how you can feel this innocence corresponds with how you can cheat it.
A trick-or-treat that has several results in a binary continuum. To have it or not to have it. A part is given by nature; it is a gift. The other part needs to be gained for that gift to develop. I wonder why it is so hard to get that second part moving, and yet I wonder why it is so hard to grasp - what is there to be grasped but felt? I have a problem with intellectualizing the problem.
-sSs-
