Friday, 20
do i need a reflection?
when i make self-portraits, yes, i produce a mirror image, i see myself, i want a picture of myself.
yes, i perceive myself in the mirror, sometimes i judge - smile, then you look good.
but i don't see myself reflected in others. i don't mirror myself in them or recognise myself in them.
okay, sometimes in books i find parts of myself, thoughts, or experiences, or even descriptions that resemble me.
living people who look like me in some way are not particularly close to me. appearance is a coincidence. style is different, could be already a mindset. that one i can use for myself or not.
i don't want others to be me. everyone is their own person. i don't want to be others.
there is no doppelgänger, no double.
i feel a connection through like-mindedness. the people who share certain mindsets, attitudes or opinions with me are close to me emotionally and intellectually, not those who have the same physical features as me. developing a mindset is a conscious process. that's where i can establish a real connection with people.
Wednesday, 18
The day is dusty. Breathing seems hard. My body is heavy,
there's a strange pounding in my ear. I don't feel like writing.
Tuesday, 17
Today we went to the signing of the contract. On the way, just after the intersection of our gravel road, we saw two cars, completely demolished after a serious collision that must have happened yesterday. On Sunday they were not there. Almost every time we drive into town, we see the results of another accident. This has not changed so far, contrary to my hopes.
My friend Sandra was also there at the signing of the contract, as she is potentially interested in an apartment. She told a shocking story.
Her boyfriend was riding his motorcycle when he was hit by a car, but the driver of the taxi involved fled the scene. A car behind him saw this and stopped to call an ambulance. Her boyfriend was lying injured and unconscious on the side of the road. The ambulance arrived, confirmed his death and took him to the morgue. As he lay there on the stretcher, he suddenly moved his arm and fortunately it was discovered that he was still alive. He was immediately taken to the hospital in Kanefing. When we had asked her how he was before she told us the whole story, she said that he had undergone a three-hour operation on his arm today because he had lost all feeling there. With other words, he is not completely fine, but on the road to recovery. The accident happened six weeks ago.
Outrageous. Unbelievable that he was declared dead so easily. One of the horrified listeners remarked that Gambia is a disaster. Yes, indeed, I think that sometimes too. The contract was signed without any problems. We have the keys.
Paris, Hamburg 1977
Monday 16
Yesterday i had a conversation with my friend from Zurich. It is intellectual. Our conversations are never superficial, we look closely. We are open and ready to accept criticism. This time our conversation turned to the topic of voyeurism. i suddenly realized that the term has very negative connotations. i asked myself why this is. Voyeurs like to watch, they like to see. What's wrong with that?
Having enjoyed photography since i was young, i know the role of the voyeur, particularly when using a telephoto or zoom lens. i found and still find it enlightening to see.
In fact, i had a phase, especially my month in Paris after graduating from high school, in which i photographed people on the street. At that age, i didn't yet know much about what to do with my life, was unsettled by my new independence, had moved out of home but was not yet stable. Unconsciously, i felt attracted to these people i found in an everyday environment, mostly in an internalized state. At the same time, the camera distanced me from them. i probably wanted to express how i see the world and people.
Voyeurism has to do with the gaze.
Slumming is definitely voyeuristic. Every visit to the zoo is voyeuristic. Society recognizes this and no one who goes to a zoo says he or she is a voyeur. Precisely because the term has negative connotations and no one likes to identify with negative things.
Being a voyeur means enjoying watching. It only becomes problematic when the object of observation suffers in some way from the gaze.
In summary, voyeurism could be neutralized as such, so that people recognize that they are voyeuristic in certain situations without feeling bad about it because they are not doing anything wrong, but at the same time should be able to weigh up whether their voyeuristic gaze is prejudging or degrading.
In the evening we watched another horror film by Jordan Peele.
Us
Friday, 13
I feel dead tired. I have a cold. My voice is gone.
Last week I kind of overworked myself in the garden and felt lonely without support. It was a kind of physical breakdown. In all this chaos, I found an apartment that I definitely like and want to rent. In order to be solvent, I had to make a transaction. In other words, the contract is not signed yet, but they promised to hold it for me until the money is received.
I talked to the AI about my plans. What it answered was in line with what I had in mind.
Click to Read what the AI writes about it
I decided to rent a small apartment in Kololi in Gambia to be able to be in town for some days. How do you see it in terms of the House of Culture Tintinto?
Renting a small apartment in Kololi could offer several advantages in relation to the House of Culture Tintinto:
1. Networking and Visibility
Being in town might help you connect with a more diverse crowd, including locals, expatriates, and tourists. These connections could lead to opportunities to promote the House of Culture Tintinto and attract visitors or collaborators.
2. Convenience for Events
If you plan to host events or invite people to Tintinto, being in Kololi gives you a base closer to potential guests, making it easier to organize and coordinate logistics.
3. Work-Life Balance
Spending some time in a different environment might recharge your energy and creativity, giving you fresh perspectives to pour into your cultural initiatives.
4. Access to Resources
Kololi's proximity to urban amenities might make it easier to source materials, ideas, and partnerships for activities at the House of Culture.
5. Strategic Promotion
You could use your time in Kololi to raise awareness about the House of Culture through meetings, small-scale urban events, or simply by engaging in conversations.
However, you might need to consider:
• Balancing your time and energy between Kololi and Tintinto so that your involvement in the House of Culture remains consistent.
• Ensuring the apartment in Kololi doesn't become a distraction from your larger vision.
This move could be an excellent step if you use it strategically to amplify your cultural work while also giving yourself a break from the isolation of the countryside.
Then I found the following text about Housing in Ukraine while going through the newsletters in my emailbox.
Building for the Medium Term
Wednesday, 11
I had promised to deal with the conversation with the AI. I used the first, more theoretical part for the website and applied it to vision and keywords, which further inspired me to redesign the homepage.
Then the idea of Gesamtkunstwerk came to me. And I spoke to AI about it.
Click to Read what the AI writes about it
Hi, am back. Concerning the philosophical and artistic framework the "Gesamtkunstwerk" came to my mind. How do you think about this point of view?
Welcome back! The concept of the "Gesamtkunstwerk"—the "total work of art"—is a fascinating framework to consider for the House of Culture Tintinto. It aligns beautifully with your vision of integrating art, philosophy, and community into one cohesive and immersive experience. Here are a few reflections and ideas on how it could work as a guiding principle for your project:
Why Gesamtkunstwerk Fits
1. Holistic Integration
• Gesamtkunstwerk emphasizes combining multiple art forms into a unified whole. This resonates with your idea of blending visual arts, philosophy, local culture, and global perspectives.
2. Immersive Experience
• The idea of creating an all-encompassing experience aligns with the unique setting of Tintinto. Participants could feel like they are stepping into an environment that is itself a living, breathing artwork.
3. Philosophical Depth
• Gesamtkunstwerk isn't just about art—it's about creating a transcendent experience. This adds a philosophical layer, challenging participants to think about how different elements of life and culture connect.
4. Community Engagement
• By involving multiple disciplines and perspectives, you create opportunities for collaboration. The "total work of art" can become a collective effort rather than just an individual vision.
How to Apply Gesamtkunstwerk in Tintinto
1. Architectural and Spatial Design
• Treat the house and its surroundings as part of the Gesamtkunstwerk.
• Blend the architecture with art installations, natural elements, and interactive spaces that invite exploration.
• For example: Create pathways where walking through the landscape becomes an artistic journey, with sculptures, quotes, or installations integrated into the environment.
2. Interdisciplinary Art Projects
• Collaborate across mediums: music, visual art, performance, and even cooking could come together in events.
• Host festivals or exhibitions where all senses are engaged—light, sound, movement, and even taste.
3. Philosophical Programs
• Develop themes for events that reflect the idea of Gesamtkunstwerk, such as "The Art of Living" or "Unity Through Diversity."
• Incorporate discussions about how different elements of art and life can form a greater whole.
4. Everyday Life as Art
• Extend the idea to daily activities at the house. For example, gardening, cooking, or crafting could be seen as part of the artistic and philosophical experience.
5. Collaborative Creation
• Invite artists, philosophers, and community members to contribute their own "pieces" to the Gesamtkunstwerk.
• For example: A collaborative mural where each participant paints a part, or a performance where locals and visitors contribute songs, stories, or movements.
Potential Challenges
• Balancing Individual and Collective Contributions: How to ensure that individual works contribute to the whole without losing their uniqueness?
• Accessibility: Ensuring that the concept doesn't feel too abstract or exclusive, especially for locals who might have less exposure to such ideas.
• Sustainability: Maintaining a unified vision over time as different people and ideas contribute.
What's your take on this? Should we explore specific applications of Gesamtkunstwerk to Tintinto, or refine the philosophical connection further?
Tuesday, 10
I keep thinking about when I got hacked on Facebook. It was actually my fault that I lost my profile completely (but luckily got it back after months and many attempts). The option to list friends who would help you if you lost access to your account was removed shortly after because it made it easier for hackers to break in.
I fell for it because I wanted to help somebody.
What I don't understand - but can now explain - is that I believed a friend (whose account was already in the hands of the hackers) who was a stranger to me. Only through Facebook we knew each other and had hardly any contact.
It happened at a time when I was doubting myself and helping somebody gave me a sense of purpose. A good deed at a time when I felt alone and unloved. But it only made things worse and I fell even deeper, from which I had to pick myself up again.
Wnen I am weak and depressed I am particularly vulnerable, but obviously I didn't realize that at the time.
For sure I learned from that mistake.
Life is an up and down always, weak and strong times appear if you like or not. But be aware, don't hide.
Many poets and writers as well as visual artists often reveal themselves and try to expose their weak sides. This is what has interested me since art school and still interests me. Not the perfect, but the fragile - the wounds, the doubts, criticism. Or let's say the perfection in the subversive.
Friday, 6
We've had a lot of wind and little sun in the last few days, as I wrote. Today there was a bit more sun and we were able to fill the water tank almost completely. I can give the plants some more in the late afternoon.
The night before last I woke up a lot because it was stormy and doors were slamming. Did I close the studio door properly? It's fatal if it stays open because it's made of glass. But I wanted it to be so that you can see in from outside and vice versa.
Then I saw that in the distance, not far from the sea, the bush was burning. Luckily the wind was coming from the land. So yesterday morning I removed as many plants as possible that were next to the fence outside our compound so that the fire cannot spread if there is a bush fire in our direction. I also spent the rest of the day in the garden. Perfect weather for gardening without sun.
However, I'm postponing the continuation of my conversation with the AI. Today I had other things to do, not to mention that I felt exhausted because of all the physical work of yesterday. But I shouldn't complain since I chose to do it. I had actually planned to go through the last conversation again since Tuesday, write down what seemed important to me and then go into it in detail. I will do that soon I promise.
Wednesday, 4
The printer doesn't work, i couldn't fix it.
But I have a new hose. Looking forward to watering.
Another sunless day. No more sweating. Actually nice climate.
I want a new printer. Don't think the other one can be fixed.
Where could I get a new printhead? Would be expensive.
The technician is still unavailable.
Asked for an A3 inkjet printer at MP Trading through whatsapp, better than laser. They said 30K. Can't be. Way too expensive. Paid 8K for mine six years ago. Actually it lasted a long time. My previous one from Switzerland only lasted two years.
GREAT NEWS
Koyo Kouoh appointed Curator of the Biennale Arte 2026
How nice it would be if she included me in her exhibition. But I know that won't happen. Nevertheless, I will try to maybe even be there at the opening.
Tuesday, 3
Today I'm trying to repair my printer. Last week I took it to town but couldn't reach the technician. So I went home empty-handed - with a broken printer. I looked at least at two apartments, but neither of them appealed to me.
The display says: Problem with printhead.
The printhead cannot be removed from this printer, but I think it's something electronic.
Unfortunately, somehow I disabled all functions (it was a misunderstanding on my part). As a result I could no longer establish a connection and had to restore the default factory settings. After I was able to reconnect the printer to the Internet, but I still couldn't set it up, no scanning possible at the moment. To do the set up, I was advised to download an app, which takes ages with an internet speed of 100 Kbps here (compared to 80 Mbps in Dakar).
My spirits are at bottom. There hasn't been any sun since four days, which makes things even worse. Well, um, until the app is downloaded, I can go out into the garden and water it. The garden eases me always.
Though the watering wasn't pleasant either. As I haven't watered since Saturday, I completely forgot that the hose (only two years old) is broken in many places, adding plenty fountains to the spectacle.
The downloaded app doesn't help much, neither the AI. Tomorrow maybe, I will know more.
Now, at the end of the day, I watched a video about the Danish artist Jeannette Ehlers, which brought me back to art.
Manifesting Black Resistance
Monday, 2
I am actually excited about the conversation with the AI. I even feel flattered and am happy about the friendliness and the way it approaches me. It is very positive, no negativity. The AI reflects my ideas exactly, only better than I could. The House of Culture Tintinto is exactly as described and as I imagined it. I will continue there. Let's see where it leads and even if it leads nowhere, at least I have a conversation partner with whom I can talk like no other. No, I have no intention of reducing my human partners, not at all, they are all overworked and don't have the time to go into detail like the AI.
If I reproduce the conversations here, it is one to one. Here and there I correct spelling mistakes on my part, which of course don't occur with the AI.
A few weeks ago I had a short conversation about how human the AI seemed to me. Very interesting. It was explained that the programs were made by people. Unfortunately, I deleted the conversation to save storage space.
Click to Read the follow up of my conversaton with the AI
Good morning. Back to your last proposal to brainstorm specific event ideas and crafting a narrative to attract and inspire others. Are you ready?
Good morning! I'm absolutely ready. Let's dive right in—would you prefer we start with brainstorming specific event ideas for the House of Culture Tintinto, or focus first on crafting the overarching narrative to inspire and attract participation?
Let's start with the narrative.
Great choice! Crafting a strong narrative will set the foundation for everything else, including events. Let's work on a compelling story that ties together your vision, values, and the unique context of the House of Culture Tintinto.
Key Elements of the Narrative
1. The Vision: Why Does the House of Culture Tintinto Exist?
• Theme: A space for creating meaning through art and community.
• Emphasize how the House offers a chance for people to connect, express, and shape something greater than themselves. It's not just a building—it's a living idea, open to everyone.
• Example statement:
"The House of Culture Tintinto is where art, philosophy, and community come together to transform ordinary life into something extraordinary. It's a place for stories, for creation, and for exploring the things that make us human."
2. Your Personal Why: The Philosophy Behind It
• Share your journey of blending freedom and obligation:
• How did your experience as an artist, writer, and outsider in the countryside shape this vision?
• Why do you believe the House is essential?
• Example statement:
"In the countryside of Gambia, I often felt like a stranger—but that feeling was also a call to action. I realized the best way to connect with others was to build a space where we could create together, share ideas, and find meaning in the small acts of collaboration and expression. The House of Culture Tintinto was born out of this belief: that art and community can bridge even the widest gaps."
3. The Call to Action: Why Should People Join?
• Inspire others by showing them how their involvement matters:
• Their contributions—big or small—are part of something meaningful.
• By participating, they're helping shape a shared cultural identity in the community.
• Example statement:
"This house is not mine—it's ours. Every story, every piece of art, every conversation adds to its soul. By joining, you become part of something much larger: a celebration of creativity, connection, and the endless possibilities of human freedom."
Connecting the Narrative to the Local Context
• Emphasize the role of the House in the Gambia's countryside:
• A place where people of different backgrounds come together.
• A hub of cultural exchange, where local traditions meet global ideas.
• Highlight what makes the House different:
• It's not a gallery or a formal institution—it's a living experiment in culture and community.
Practical Tone and Approach
• Be conversational and welcoming in how you present the narrative.
• Use storytelling to connect with people emotionally:
• Share anecdotes from your own journey or past events at the House that reflect its mission.
Do these ideas resonate with you? If yes, we can refine this into a written mission statement or move on to brainstorming events that fit this vision!
I would like to correct one point. I had the idea to build the house first time 2009 in Basel, where I lived that time. When I acquired the land in 2015 I was not aware that is so far in the country side, because I was still living in Switzerland and misjudged the distance. It was also a question of money. Further I loved the vicinity to the sea.
Thank you for sharing those details—this makes the story even richer and more personal. We can incorporate this background into the narrative to make it clear that the House of Culture Tintinto is a dream that evolved over time, shaped by your journey, challenges, and choices. Here's a revised version:
The Vision: Why Does the House of Culture Tintinto Exist?
The House of Culture Tintinto exists to create a space where art, philosophy, and community come together to transform everyday life. It's a place for stories, for connection, and for exploring the deeper questions of what it means to live meaningfully in the world.
Your Personal Why: The Journey to Tintinto
The House of Culture Tintinto is a dream that began in Basel in 2009, where the idea of creating a space for culture and collaboration first took root. At the time, it was a vision of bringing people together through art and philosophy—a house where creativity could thrive.
In 2015, after acquiring land in the Gambia, I decided to make this dream a reality. What I didn't fully realize then was just how far into the countryside this land was. Living in Switzerland, I misjudged the distance and the challenges of being in such a remote location. But the land offered something I couldn't resist: a beautiful connection to the sea, and the possibility of creating something special in a place where resources are limited but potential is vast.
Over the years, the House has become a symbol of adaptation and resilience—not just for me, but for anyone who believes in building something meaningful, no matter the circumstances.
The Call to Action: Why Join the House?
This house is not just my dream—it's a shared project for anyone who values creativity and connection. Every story, every piece of art, every idea that comes through its doors adds to its soul.
Here in the countryside, where life often feels distant from the fast-moving world, the House of Culture Tintinto offers a unique opportunity: to come together, create, and celebrate the richness of our humanity.
By joining, you're not just participating—you're helping to shape a new kind of community, where art and philosophy meet local traditions and global ideas.
Adding the Context of Challenges and Vision
• The Challenge of Distance: Acknowledge the countryside setting and turn it into a strength. The remoteness becomes part of the narrative: a place for reflection and deeper connection, away from distractions.
• Vicinity to the Sea: Highlight the beauty and serenity of the location as an inspiration for creativity and renewal.
Does this revised version capture the essence of your story and vision? Let me know if we should add or adjust anything before moving on to event ideas!
No, I didn't want to make the story more personal, but explain the facts - how it had been. I would like we continue in the style of a conversation. Please, prevent writing in first person on my behalf. Thank you.
Thank you for clarifying! Let's shift back to a conversational style and focus on presenting the facts and ideas objectively. Here's how we can incorporate the key details about the House of Culture Tintinto into a compelling narrative:
The concept of the House of Culture Tintinto first emerged in 2009 in Basel, where the idea of creating a space for cultural exchange and creativity was envisioned. Later, in 2015, land was acquired in the Gambia to bring this vision to life. While the intention was to establish the house close to the sea, the land turned out to be farther into the countryside than expected, largely due to financial constraints and the logistics of making decisions from Switzerland.
Despite these challenges, the countryside location became an integral part of the project's character. Its remoteness and connection to nature offered unique opportunities for reflection and creative exploration. The vicinity to the sea added another layer of inspiration, blending tranquility with the openness of the surrounding environment.
The House of Culture Tintinto now stands as a place where art, philosophy, and community converge. It is a space that invites people to connect, create, and contribute to a shared cultural experience.
Should we continue refining this framework, or shift to brainstorming event ideas that align with this narrative?
We can shift to event ideas.
Great! Let's brainstorm event ideas that align with the narrative of the House of Culture Tintinto as a hub for art, philosophy, and community, while making the most of its unique countryside setting.
Event Ideas for the House of Culture Tintinto
1. Creative Workshops and Retreats
• Art Workshops: Offer sessions for painting, sculpture, or photography that blend local techniques with contemporary methods.
• Writing Retreats: Provide a quiet space for participants to focus on storytelling, poetry, or journaling, inspired by the natural surroundings.
• Philosophy & Art Retreats: Combine discussions on philosophical topics with creative expression. For example: "The Role of Freedom in Art."
2. Cultural Exchange Days
• Invite local artisans, musicians, and storytellers to share their traditions with visitors.
• Host international participants who can bring global perspectives to local practices.
3. "Dialogues in the Countryside" Series
• Philosophical Discussions: Host open forums on topics like identity, creativity, and community.
• Guest Speakers: Invite thinkers, artists, or educators to lead dialogues.
4. Artist Residencies
• Offer short-term stays for artists to create work inspired by the environment.
• End each residency with an open studio day or an exhibition.
5. "Build the Future Together" Days
• Organize collaborative projects, such as mural painting or creating sculptures, where visitors and locals can work side by side.
• Use these projects to make the house visually vibrant and to foster connection.
6. Open Houses and Exhibition Nights
• Regularly open the doors for the community to view works-in-progress, finished art, or installations.
• Include guided tours that explain the philosophy behind the house and its projects.
7. Nature and Art Experiences
• Sea-Inspired Art Days: Workshops or installations focused on the sea as a theme.
• Land Art: Create art installations using natural materials from the countryside.
8. "Philosophy in Practice" Events
• Organize hands-on activities that explore philosophical questions, such as "What is beauty?" through collaborative art-making or writing.
9. Seasonal Gatherings
• Host events to celebrate cultural or natural cycles, like the beginning of the rainy or dry season, incorporating local traditions.
• For example: A "Harvest of Ideas" festival with art, music, and food.
10. Community Garden Projects
• Use gardening as a metaphor for philosophical growth. Create a shared garden where participants plant, tend, and discuss ideas.
11. Multimedia Storytelling Nights
• Show short films, host readings, or share photography projects that reflect themes of identity and community.
• Create a collaborative story night where participants contribute chapters or perspectives.
12. Mobile House of Culture
• Bring parts of the house's offerings to nearby villages or communities through pop-up workshops or exhibitions.
Would you like to expand on any of these ideas, or focus on specific types of events (e.g., art-focused, philosophical, or community-based)?
At the moment I will go through the lot of the ideas, think about and then come back to you.
Take your time! These ideas are here for you to explore, adapt, or build upon as needed. Whenever you're ready to discuss further, refine concepts, or develop plans, I'll be here to help. Enjoy the reflection process!
Thanks!
You're very welcome! Wishing you inspiration and clarity as you explore the ideas. Feel free to reach out anytime. Good luck!
Sunday, 1
On the occasion of Walter Dahn's death in November.
Sprüth Magers
Art Space Work of the Month
Walter Dahn (1954-2024), Blatt und Spur (leaf and lead)
photography, 2002, 28 x 40 cm *