Cia Rinne

Cia Rinne (Gotemburgo 1973, se crió en Alemania, vive en Berlín), escribe textos minimalistas utilizando diferentes idiomas. Sus publicaciones en poesía incluyen el trabajo impreso zaroum (2001), los trabajos online archives zaroum (Afsnit P 2.008), el libro notes for soloists (OEI Editor 2009), y el trabajo sonoro sounds for soloists (con Sebastian Eskildsen 2012). Los dos libros fueron publicados como ediciones en UbuWeb, y como un solo volumen en Francia en 2011 por Le Clou dans le fer. Sus obras han sido recientemente expuestas en el ISCP de Nueva York, en la Bienal de Turku, en Grimmuseum de Berlín y en Signal en Suecia.

Cia Rinne (Gothenburg 1973, raised in Germany, lives in Berlin), writes minimal texts using different languages. Her poetry publications include the printed work zaroum (2001), the online-work archives zaroum (Afsnit P 2008), the book notes for soloists (OEI Editör 2009), and the sound work sounds for soloists (with Sebastian Eskildsen 2012). The two books were released as Ubuweb editions, and as a single volume in France in 2011 by Le clou dans le fer. Her works have recently been exhibited at the ISCP in New York, at the Turku Biennial, the Grimmuseum Berlin and at Signal in Sweden.

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What is interesting about conceptual writing is its ability to disrespect the grammar of habitual communication, to operate beyond logics, and to ignore the strict definition of language as well as the constraints and requirements that other, ‘more serious’ writing genres are confined to. The different methods conceptual writers use can oblige certain rules, but conceptual writing in itself will with difficulty be defined according to such. It is not limited by the constraints of one single genre, but operates freely on the borders of many disciplines, and some pieces of conceptual writing can indeed be closer to pieces of visual, sound, or performing arts. There is something very liberating to language operating beyond its commonly accepted functions; you could call it linguistic anarchy, and although this aspect is not a goal in itself, it is certainly essential to conceptual writing.

Some pieces of what I would call conceptual writing have a certain esprit that goes beyond humour, and which I think is quite specific for such texts. In a way, conceptual texts operate on many different levels simultaneously. Besides their awareness on form and content, there is often a metatextual aspect to them. To a certain extent, language transforms into something else and reaches beyond its function as a mere means of communication.

It is especially interesting to me when a thought or idea is visualized with the minimum means necessary. In an interview with Wilma Lukatsch, Tomas Schmit put it like this: “What you can say with a sculpture you do not need to build as architecture, what you can do with a drawing you do not need to search in image, and what you can clear up on a piece of paper does not need to become a huge drawing; and what you can make up in your mind does not even need any piece of paper.” This is something I can relate to, and in a way, it is also a countermovement to the massive flood of information and waste of material. The ideal would probably be a constant reduction towards almost nothing.

http://www.afsnitp.dk/galleri/archiveszaroum/

Descargar notes for two y notes on war & god en este link (PDF).
Descargar notes in c, milano notes y moscow notes en este link (PDF).
Escuchar sounds for soloists en este link (MP3).