Finissage of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes today on 22 May 2015.

18h00: Discussion between the artists and the curators, with Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz, Gabriel Gee and Dimitrina Sevova.



19h00: Discussion with Cathérine Hug on "The" Black Square.





With a sound intervention, Lointain (2015) by Brandon Farnsworth, Benjamin Ryser and HannaH Walter.

A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016


Program of the Finissage


16:00h
Discussion on the exhibition concept of New Buenos Aires between the curators, Damian Christinger and Dimitrina Sevova, and the artists Mariano Gaich, Jso Maeder, Ana Roldán.


17:00h
Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.

17:30h
Presentation (Chr.K.) by Jso Maeder (auf Deutsch).



1. Keine exegese.
Denn mir erschiene es hinsichtlich des NBA-projekts gleich einer versäumten gelegenheit, versetzten wir uns nicht in die lage deines briefautors, und liessen die frage zu: was ist das?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> wie schon erwähnt: analog zu Canguilhems wissenschaftshistorischer/-theoretischer ausgangsfrage: wovon reden wir überhaupt bei der interpretation/kritik/theorie/geschichte von kunst?

2. (Chr.K.) als rauschen. störung, oder information, die nicht entschlüsselt werden kann? - Irritation ist hier immanenz eines konflikts, da sich assoziativ, d.h. im rekurs auf die bekannten instrumente nicht unbedingt eine botschaft bzw. deren deutung ergibt. Darin liegt eine ähnlichkeit mit der albernheit.

3. Hebt ein sinn mit dem/durch das wort ‘kunst’ das rauschen oder die störung auf - ist dies dann gleich einer information?

4. Was aber ist dann mit der wirklichkeit des rauschens? - Löst es sich als solche auch als konflikt auf, wenn es ‘kunst’ ist - oder hat man sich - dissoziativ - in den konflikt zu begeben/auf das fremde einzulassen/einzufinden, um vielleicht ein drittes, eine vorfällige eventualität eines sinns in betracht zu nehmen. Ein übergang in den möglichkeiten der surprise.

JM/06-016


1. No exegesis.
For it would seem to me, with respect to the NBA project, to be an opportunity forgone if we did not put ourselves in the shoes of the author of your letter, and allow the question to arise: what is this?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> as mentioned: in analogy to Canguilhem’s initial question of science history/theory: what are we talking about at all in the interpretation/critique/theory/history of art?


2. (Chr.K.) as noise. Disturbance, or information that cannot be deciphered? – Irritation is here the immanence of a conflict, since a message or its interpretation does not necessarily come associatively, i.e., making use of the familiar instruments. There lies a similarity to silliness.

3. Does a meaning with or through the word ‘art’ extinguish the noise or the disturbance – is this then equal to information?

4. But what about the reality of the noise? – Does it, as such, dissolve as a conflict if it is ‘art’ – or does one have to – dissociatively – enter into the conflict/engage with the other in order perhaps to take into account a third, an early eventuality. A transition in the possibilities of surprise.

JM/06-016



18:00h
Performance Banana as Tourist by Ana Roldán, with the voice of Jen Prosperi.



Inspired by “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson

In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.


18:30h
Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.


Dreizehn 'interaktive' Erzählungen.

* Lexikon der Aymara-Sprache:
http://www.perou.org/dico/index.php?lg=es
http://www.ilcanet.org/clasesyservicios/clases.html



We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.



Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.

Finissage: Friday, 05 August 2016, at 18:00h in the presence of the artists.

An exhibition project by Adrien Guillet and Quentin Lannes

curated by Dimitrina Sevova and Alan Roth.

Sat 09.07.2016 - Wed 04.08.2016


Emporium of Benevolent Data is an exhibition project by Adrien Guillet and Quentin Lannes, in collaboration with Corner College, based on the two artists’ long-term friendship and discussions. It puts on display their recent works Citracit, a site-specific research-based installation by Adrien Guillet, and the two video installations #IamRebekah and The Next Round by Quentin Lannes.


This exhibition was made possible by the kind support of the French Embassy in Switzerland.

Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. high times at Corner College: http://www.hightimepublishers.com

This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part II: Der Prozess / The Trial.