Tuesday, 08.12.2015
19:00h -
Thursday, 28.01.2016
Cold. War. Hot. Stars.
The Iron(y) Helmet of the Intellect
Denise Bertschi, SECOND TO NONE FIRST, 2014.
A group exhibition with
Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle
From 09.12.2015 to 29.01.2016.
Opening on 9 December 2015, 19:00h.
At the opening
reading performance peace pills by Jackie Brutsche
and sound performance signal by BUG (Andreas Glauser and Christian Bucher).
With artist talks and parallel events (to be announced).
Curated by Dimitrina Sevova
Organized by Corner College
Opening hours:
Thu: 15:00h - 19:00h
Fri: 15:00h - 18:30h
Sat: 14:00h - 17:00h
[Deutscher Text unten]
The exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect displays a dystopian landscape produced by asymmetric relation of delirious realism and rigorous fiction in the time of global capital, with a certain sense of alienation, coldness and distance. It intensifies these affects and creates a space of reflection and a heterogeneous perceptual field that is simultaneously a close-range haptic space of proximity, on the backdrop of the recent mass media rhetoric announcing a new global crisis in which the world has never been closer to a New Cold War, a security crisis that escalates the fears of a future nuclear “option.” The exhibition inquires into some of these scenarios for the future from the past, and traces various historiographic lines or directions through the artistic practices and art works as seismographs of global social change. They sense the current symptoms “where everything is played in uncertain games, ‘front to front, back to back, front to back …,’ ” as consequences of the politico-social and economic developments after WW II, and the so-called Cold War, a period of propaganda, technologization and militarization of civil life in the competition between Western and Eastern blocs. The segmentary forms of the fight for control and domination altered the North and South lines of longitude and deepened the gap between the so-called Third World and the Western or advanced technological-industrial societies with their current development of a knowledge and service based economy. The exhibition undermines the stereotypes produced by binary abstract machines that overcode the divisions into a homogeneous West and a homogeneous East, into the “rich” North and the “poor” South. It proposes rather other focal points as thresholds to the outside, through which the South can be thought as a new trajectory of knowledge, aesthetics and practices of critique of cultural, ideological and technological hegemony, from which can emerge new lines of resistance and the potentiality of new cooperations, as everybody has their own South with electric palm trees, not only geographic and economic but personal and political, too.
The participating artists, through their practices based on research, appropriation, poetic displacements and personal aesthetic reflections on memory, cognition, attention, mass media, territory and technologies critically interrogate the past/future tensions and give a passage to the present impossibility of isolation through securitization, militarization and ideological separations in order to increase the modes of connection. With the irony of the intellect, which is a qualitative duration of consciousness, the exhibition aims to intensify and empower movements of deterritorialization that fabulate and produce desires to repeat over and over again the melody of The Plastic Ono Band’s Give Peace a Chance, grasped as a cosmopolitical proposal for the upcoming winter – not a military machine, but a mutating living machine on which one can take a flight or just stay in bed.
Text: Dimitrina Sevova
You can find a longer curatorial text in full length as a PDF on our materials website.
[Englisch text above]
Die Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect (deutsch etwa: Kalter. Krieg. Heisse. Sterne/Stars. Der eherne/ironische Helm des Intellekts) zeigt eine dystopische Landschaft, produziert aus der asymmetrischen Beziehung eines berauschten Realismus mit einer rigorosen Fiktion in Zeiten des globalen Kapitals, mit einem gewissen Gefühl der Entfremdung, der Kälte und der Distanz. Sie intensiviert diese Affekte und begründet einen Reflektionsraum und ein heterogenes Wahrnehmungsfeld, das gleichzeitig auch ein haptischer Raum im Nahfeld ist, vor dem Hintergrund neuerer Medienrhetorik, die eine neue globale Krise ankündigt, in der die Welt noch nie so nah an einem Neuen Kalten Krieg sein soll, eine Sicherheitskrise, die die Ängste vor einer zukünftigen nuklearen “Option” anheizt. Die Ausstellung erkundet einige dieser Szenarien für die Zukunft aus der Vergangenheit und zeichnet durch die künstlerischen Praktiken und Kunstwerke als Seismographen globaler sozialer Veränderungen unterschiedliche historiographische Linien nach. Sie spüren die aktuellen Symptome, “wo sich alles in ungewissen Spielen abspielt, ‘von vorn nach vorn, von hinten nach hinten, von vorn nach hinten …,’ ” aufgrund der politisch-sozialen und ökonomischen Entwicklung nach dem zweiten Weltkrieg und des so genannten Kalten Krieges, einer Periode der Propaganda, der Technologisierung und Militarisierung des zivilen Lebens im Wettlauf zwischen dem West- und dem Ostblock. Die segmentären Formen des Kampfes um Kontrolle und Vorherrschaft veränderten die nördliche und südliche Line der Längengrade und vertiefte den Graben zwischen der so genannten Dritten Welt und dem Westen bzw. den fortgeschrittenen technologisch-industriellen Gesellschaften mit ihrer derzeitigen Entwicklung einer wissens- und dienstleistungsbasierten Wirtschaftsform. Die Ausstellung untegräbt die Stereotypen, die von binären abstrakten Maschinen herrühren, die die Einteilung in einen homogenen Westen und einen ebenso homogenen Osten, in einen “reichen” Norden und einen “armen” Süden übercodieren. Sie schlägt vielmehr, als Schwelle zum Aussen, andere Schwerpunkte vor, durch die der Süden als neue Trajektorie des Wissens, der Ästhetik sowie der Praktiken der Kritik kultureller, ideologischer und technologischer Hegemonie, aus der neue Linien, aus welchen heraus neue Widerstandslinien und das Potential neuer Kooperationen auftauchen können, da jede_r ihren eigenen Süden hat mit elektrischen Palmen, nicht nur geographisch und wirtschaftlich sondern auch persönlich und politisch.
Durch ihre auf Forschung, Aneignung, poetischer Verschiebung und persönlicher ästhetischer Reflektionen über Erinnerung, Erkenntnis, Aufmerksamkeit, Massenmedien, Territorium und Technologien basierten Kunstpraktiken hinterfragen die teilnehmenden Künstler_innen kritisch die vergangenen/zukünftigen Spannungen und machen den Weg frei auf die gegenwärtige Unmöglichkeit der Isolation durch Sicherheitsmassnahmen, Militarisierung und ideologischer Auftrennung, um die Verbindungsmodi zu vermehren. Mit der Ironie des Intellekts, die einer qualitativen Dauer des Bewusstseins entspricht, macht sich die Ausstellung daran, Deterritorialisierungsbewegungen zu intensivieren und ermächtigen, die fabulieren und Begehren herstellen, immer von Neuem die Melodie von Give Peace a Chance von The Plastic Ono Band zu wiederholen, verstanden als kosmopolitischen Vorschlag für den kommenden Winter – nicht eine Militärmaschine, sondern eine mutierende lebendige Maschine, auf der man fliegen kann oder auch einfach im Bett bleiben.
Denise Bertschi
State Fiction
Denise Bertschi, State Fiction, book cover, 2014.
The project State Fiction is an exploration of the notion of Swiss neutrality, which utilizes the example of the Swiss ‹neutral› command in the Korean DMZ, which has been in operation since 1954 until the present. Bertschi has worked with material which has emerged from an investigation into a Swiss military archive of mostly self-representing documents about the life of Swiss soldiers during their mission in the DMZ. Her work interweaves found images and text-slogans into objects, which behold a sense of contradiction: they present both the feeling of the domestic and at the same time grotesque violence regarding the very geopolitical situation that these materials stem from.
Within the visual language used by the armed forces, Bertschi found a striking number of flower photographs, shot in a meticulously precise manner. Mobilizing a quiet and subtle tone, she questions the status of these images and what they tell us about the people who originally produced them.
The artist book STATE FICTION focuses on self-represented leisure activities of the DMZ command, photographed by Swiss personnel in the military camp located in the DMZ. The artist’s collection of these images questions the bizarre construction of ‹Little Switzerland› set within the militarized frontiers between North and South Korea.
Bertschi interprets neutrality as a sort of fiction, which forms the very identity of Swiss nationality and nationalism; meanwhile, being neutral is an extremely fragile state of being. ‹Helvetia Mediatrix› can be understood as a cover under which it leaves an open space for realities both unseen and unknown.
This project by Denise Bertschi is discussed by Nico Ruffo in the following article: http://www.srf.ch/kultur/kunst/schnappschuesse-aus-dem-koreanischen-sperrgebiet
Jackie Brutsche
UTOPEACE
Jackie Brutsche, Peacekeeper I, 2015.
In her latest work, UTOPEACE, developed in 2015 during a 3-week residency in Amsterdam, among other things the peace symbol of the "white dove" is staged variously as a heroin and as a quasi tragic figure.
Thomas Galler
American Soldiers
Thomas Galler, American Soldiers, video still, 2012.
2012
Single channel video, color, stereo sound, 5:22
American Soldiers features a collection of cover versions of Toby Keith's American Soldier (USA/2003) based on appropriated footage, originally published on YouTube by Jeffery, Joe, Zack, Debbie, The Scillan Family, Colin, Patrizio, Tasia, Shanda, Stephany, Kathy and some unknown.
Andreas Glauser
Mladost 2
Andreas Glauser, Mladost 2, video installation, 2000.
Audio / video installation, 2000.
« Das Wohngebiet Mladost 2 befindet sich ausserhalb des Stadtzentrums von Sofia und wird von Plattenbauten aus dem Sozialismus dominiert. « Mladost 2 » heisst übersetzt « Jugend 2 » . Dieses Wohngebiet, in welchem ich wohnte, inspirierte mich sehr. Eindrücke wie Stagnation, Verwilderung, Zerfall und Langeweile brachten mich dazu, die Fotografien als verschwommene, schwarz-weisse Videobilder nochmals in Erinnerung zu rufen. Die Videobilder werden von einer Audiospur, welche Rauschen und undefinierbare Geräusche zu einem dichten Netz verwebt, begleitet. Die Kombination von Bild und Ton spielt eine zentrale Rolle. »
« The neighborhood Mladost 2 lies outside the city center of Sofia and is dominated by prefabricated buildings from Socialist times. In translation, « Mladost 2 » means « Youth 2 » . This residential district, in which I lived, inspires me deeply. Impressions of stagnation, wilderness, decay and boredom brought me to recall the memory of the photographs as blurred, black-and-white video images. The video images are accompanied by a sound track that weaves noise and undefined sounds to a dense web. The combination of image and sound is key. »
Text: Andreas Glauser
Andreas Marti
Default Error
Andreas Marti, Default Error, 2011, photograph mounted on aluminum, 29.7 x 21cm.
Changed Condition
Andreas Marti, Changed Condition, 2010/07, photograph mounted between acryl.
Nicolasa Navarrete
Drawings
Nicolasa Navarrete, Untitled (The figure of the Chronicler), 2015. 200 x 150 cm, pencil on paper.
Thinking about the Cold War I started to (re)consider all the myths that were built about this conflict in our societies, a large part of which are still functional remnants of the subsequent historical defeat. Take for instance its own name: Cold War. Is it not an oxymoron? Can a war be cold? It was rather a hot war and I needed to go search for the myth that perfectly embodied this historic conflict. In a somehow Benjaminian endeavor, trying to unravel the threads on which these myths were constructed and that bind us to this imaginary past could be helpful to start rethinking about our past (building an alternative theory of the history that Benjamin call Historical materialism) and consequently about our future.
But again the impossibility to do it, only a text that refers to the text itself, as the story inside the story or the myth that appears in the myth. How I could grasp this historical past? The history is not a text, is fundamentally non-narrative and non-representational[...]However, the history is inaccessible to us except in textual form, the reality is; there is nothing but a text (1). And maybe there is not outside-text.
So then, how to be a genuine philosopher of the history?
How to be capable of respecting the specificity and radical difference of the social and cultural past, its forms, structures, experiences, and struggles,[...] with those of the present day? (bis) Maybe the only way to do so is through the history of the oppressor and oppressed, because the history of all hitherto existing society is the history of class struggles (bis). And finally, the text contain the key for understand “the text”. Inside-text.
(1) Fredric Jameson. The Political Unconscious: Narrative as a Socially Symbolic Act (NY: Cornell UP, 1981)
Text: Nicolasa Navarrete
Sandra Sterle
The Fortress of Utopia
Sandra Sterle, The Fortress of Utopia, 2015. Film still.
2015, color, stereo, PAL, 28 min. Production Kazimir, HAVC Croatian Audio Visual Fund.
The Fortress of Utopia is an experimental short
 film set in the former military bases of the Island of Vis in Croatia. The remains of its impressive military architecture serve as a stage for performances through which the author explores the nostalgia of the socialist past and its future perspectives. Not approaching the history of Yugoslavia directly, but merging facts and fiction in a peculiar way, the author introduces personages of contemporary tourists and stylized figures from the past in the same time and space, emphasizing the nature of memory (both personal and collective) and decay.
BUG (Andreas Glauser & Christian Bucher)
BUG at Institut für Neue Medien (INM), Frankfurt am Main, Germany, on 16 January 2015.
Sound performance signal at the opening.
Andreas Glauser: Synthesizer and modulated mixing desk
Christian Bucher: Drums and percussion
Jackie Brutsche
Jackie Brutsche, Peace Pills, 2015.
Reading performance peace pills at the opening.
Saturday, 16.01.2016
17:00h
Künstler_innengespräche und kuratorische Einführung mit
Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle im Gespräch mit der Kuratorin des Projekts Dimitrina Sevova
im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
Artist talks and curatorial introduction with
Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle in discussion with the curator of the project Dimitrina Sevova
in the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
Saturday, 23.01.2016
17:00h
[English below]
Eine Veranstaltung im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
Christoph Miler, Nowhere Men, 2015. Book cover.
17:00h
Nowhere Men – Illegale Migranten im Strom der Globalisierung
Eine performative Lesung von Christoph Miler unter Mitwirkung von Fredrik Wendschlag
In Europa leben heute mehr als vier Millionen illegale Einwanderer. Unzählige weitere kommen tagtäglich hinzu. Auf der Suche nach einem besseren Leben durchfahren sie Wüsten in rostigen LKWs, überqueren Meere auf morschen Holzkähnen und passieren Grenzen unter glühenden Motorhauben. Unser Wissen über sie beschränkt sich dabei allerdings meist auf tragische Nachrichtenmeldungen und simple politische Botschaften. Das Buchprojekt Nowhere Men will dazu einen Gegenentwurf liefern und die komplexe Wirklichkeit dieser Menschen begreifbarer machen – indem es ihre Geschichten erzählt und in einen größeren Zusammenhang stellt.
Nun wird Nowhere Men erstmals im Rahmen einer performativen Lesung vorgestellt. Dabei wird die Lebensgeschichte eines illegalen Migranten in ein Netz globaler Beziehungen und Machtstrukturen eingebettet: Von den Slums in Mali und den Schmuggelrouten in Nordafrika, über die Büros transnationaler Unternehmen und mächtiger Politiker, bis hin zur Computerproduktion und dem Internet, Flughafenstreiks und Supermärkten, Lampedusas Küstenwache und dem Schweizer Wahlkampf. Ein komplexes Geflecht aus Zusammenhängen und Abhängigkeiten entsteht, der Anbruch eines neuen, wahrhaft globalen Zeitalters wird skizziert: Die unscheinbarsten Ereignisse, egal wo, egal was, können von nun an auch die Leben all jener unbekannten Gesichter am anderen Ende der Welt beeinflussen, die einst noch so unerreichbar weit weg schienen.
Liane Lang, Cold Comfort. Photograph from the series Monumental Misconceptions, 2015.
18:00h
Monumental Misconceptions
Vorlesung von Liane Lang
Liane Lang spricht über ihr Projekt Monumental Misconceptions. 2009 im Memento Sculpture Park in Budapest begonnen, erkundet das Projekt Bildhauerkunst, die durch politische und historische Begebenheiten ihren ursprünglichen Status als Kunst verloren hat. Das Projekt umfasst Statuen aus der sozialistischen und der Reichszeit aus Ungarn, Deutschland und Grossbritannien und untersucht den Symbolismus der Figur der Skulptur durch unterschiedliche Medien. Langs photographische Arbeiten zeigen Interventionen in Monumente, die rein skulpturaler Art sind, aber als Akte der Performance daherkommen und dadurch das Objekt neu fast und dem Publikum eine neue Perspektive auf oder Interaktion mit Statuen mit zwiespältigen und komplexen ästhetischen, sozialen und ökologischen Eigenschaften eröffnen. Langs Vorgehensweise der Bildhauerkunst gegenüber ist unehrerbietig, zuweilen makaber. Ihr Projekt ist jedoch nicht eine Kritik der monumentalen oder repräsentativen autoritären Ästhetik an sich, sondern stellt vielmehr die Frage nach der sich ändernden Bedeutung des Objekts und der dürftigen Stellung der Künstler_in, die in einem Raum kontinuierlicher sozialen und politischen Veränderung arbeitet.
[Deutsch siehe oben]
An evening in the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.
17:00h
Nowhere Men – Illegal Migrants in the Stream of Globalization
A performative reading by Christoph Miler with the participation of Fredrik Wendschlag
More than four million illegal immigrants live in Europe today. Countless are the ones that add to this number every day. In search of a better life they drive through deserts in rusty trucks, set across seas on rotten wooden barges and pass borders hidden under smoldering engine hoods. Our knowledge of their lives however is mostly limited to tragic news reports or simple political messages. The book project Nowhere Men aims to provide an alternative perception and make the complex reality of these people more tangible – by telling their story and putting it in a broader context.
Now, Nowhere Men will be presented for the first time in a performative reading. The story of the life of an illegal migrant is thus woven into a network of global relations and power structures: From the slums of Mali and the trafficking routes in North Africa, to the bureaus of transnational corporations and powerful politicians as well as computer production and the Internet, airport strikes and supermarkets, the coast guards of Lampedusa and the Swiss electoral campaign. A complex mesh of connections and interdependencies emerges, the dawn of a new, truly global era is outlined: The most unspectacular events, wherever and whatever they may be, can from now on influence the lives of all those unknown faces on the other end of the world that once seemed so unreachably far away.
18:00h
Monumental Misconceptions
Lecture by Liane Lang
Liane Lang will be talking about her project Monumental Misconceptions. Begun in 2009 at Memento Sculpture Park in Budapest, the project investigates statuary that has lost its original status as art through political and historical events. The project includes Socialist and Empire era statues from Hungary, Germany and Britain and investigates the symbolism of the figure in sculpture through multiple media. Her photographic works show interventions with monuments that are purely sculptural but pose as acts of performance, reframing the object and offering the audience a different perspective or interaction with statues that have ambiguous and complex aesthetic, social and environmental characteristics. Lang’s approach to statuary is irreverent, at times macabre, but her project is not a critique of the monumental or representational authoritarian aesthetic per se. It is rather posing a question as to the changing meaning of the object and the tenuous position of the artist working in a space of constant social and political change.
Thursday, 28.01.2016
20:00h
Thomas Galler at Home of the Brave
Thomas Galler, Invader, 2009. Footage recorded in Night Shot mode at the collection of Aargauer Kunsthaus. Video stills, color, silent, 01:10:49.
[English below]
Im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect ist Thomas Galler zu Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.
Screening einer Auswahl von Filmen Thomas Gallers aus dem letzten Jahrzehnt, und Präsentation des Künstlers mit anschliessender Diskussion.
[Deutsch siehe oben]
In the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect, Thomas Galler is guest at Home of the Brave: Archeology of the Moving Image. A series of events by Corner College.
Screening of a selection of films from the past decade by Thomas Galler, and a presentation by the artist followed by a discussion.
Home of the Brave:
Archeology of the
Moving Image
Archeology of the
Moving Image
Saturday, 20.02.2016
[English below]
Eine unregelmässige Veranstaltungsreihe mit Vorträgen und Gesprächen im Corner College 2016.
Kuratiert von Dimitrina Sevova in Zusammenarbeit mit Alan Roth
Organisiert von Corner College
The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) ist eine neue, unregelmässige Veranstaltungsreihe mit Vorträgen und Gesprächen, die die kuratorische Wende, Ausstellungspraktiken, die bisweilen die Vorstellung einer Ausstellung sprengen, von Künstler_innen performierte kuratorische Praktiken, sowie die performativen Möglichkeiten des Kuratorischen jenseits einer klarer Programmierung und eines museologischen Rahmens, kritisch hinterfragen. Sie fragt danach, wie die politischen und ästhetischen Möglichkeiten des Diskurses praktisch gemacht werden können, und sucht nach einem neuen Wortschatz, um darüber nachzusinnen, was aus der Sichtweise von Künstler_innen und deren Ausstellungspraktiken und kuratorischen Unterfangen eine Ausstellung sein könnte.
Im Zusammenspiel zwischen dem Wissen über eine Ausstellung und dem Wissen, das dieser Ausstellung entspringt mit ihrer Vielheit an "ontologisch vieldeutigen Dingen" (Elena Filipovic) und dem aktuellen Kontext, den diese hervorbringen, untersucht die Reihe vermittels wessen „die Ausstellung ein Medium ist“ (dies der Anspruch der Documenta 12), die kritische Praxis wie auch die materielle Ästhetik der Dauer. Damit gedenken wir das System konventioneller Annahmen darüber zu untergraben, was als Ausstellung gelten kann, und andere Möglichkeiten des Ausstellungsmachens als Medium und kuratorischer Methodologien zu finden. In der Reihe geht es ums Teilen von Formen des Wissens und der Erfahrung, die hochgradig subjektiv sind, und in dieser Hinsicht lässt sie sich auch als selbstgesteuerten Lernprozess auffassen.
Zwischen kritischer Analyse und der Auffassung kuratorischer Ontologien als erfinderisches Potenzial bringt die Reihe einen produktiven Raum für physische Begegnungen hervor, und richtet dabei ihr Augenmerk auf die Arbeitsbedingungen und den soziokulturellen und wirtschaftlichen Konnex der Ausstellungsproduktion und deren Räume, zwischen Künstler_in, Besucher_in, Kurator_in, Institution, Display, und dem Ausserhalb der Kunst als Institution – Beziehungen, die von Ästhetik und Politik, vom Unpersönlichen wie vom Individuellen motiviert sind. Wer ist heute Ausstellungsmacher_in? Wie hat die Künstler_in als Kurator_in die Display-Politik, das Ausstellungsmachen, Kunstpraktiken, und allgemeiner die Wahrnehmung von Kunst beeinflusst und verändert?
Das kuratorische Konzept in voller Länge (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutscher Text siehe oben]
A series of irregular events with presentations and conversations at Corner College 2016.
Curated by Dimitrina Sevova in collaboration with Alan Roth
Organized by Corner College
The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a new series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.
Through the interplay between the knowledge about an exhibition and the knowledge emanating from that exhibition with its multitude of "ontologically ambiguous things" (Elena Filipovic) and the actual context they create, the series studies by what means "the exhibition is a medium" (thus the claim of Documenta 12), both the critical practice and material aesthetics of duration. With this we would like to undermine the system of conventional assumptions of what can still be called an exhibition, and find other potentialities of exhibition making as a medium and curatorial methodologies. The series is about sharing forms of knowledge and experience which are highly subjective, and with this argument the series can be understood as a self-directed learning process.
In-between critical analysis and the consideration of curatorial ontologies as inventive potentiality, the series makes a productive space of physical encounters, focusing on the working conditions and socio-cultural and economic nexus of exhibition production and its spaces between artist, audience, curator, institution, display, and the outside of the art institution – relations simultaneously motivated by aesthetics and politics, by the impersonal and individual. Who is the exhibition maker today? How has the artist as the curator influenced and changed the politics of display, exhibition making, artist practices, and the perception of art at large?
Full text of the curatorial concept (in English): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
Saturday, 20.02.2016
16:30h
[English see below]
Corner College startet seine neue Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In der ersten Veranstaltung lädt Corner College die Künstlerinnen Bettina Carl und Clare Goodwin ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.
Left: Streuflüsse / Magnetic Leakage Fluxes / Disparatni Proudy, curated by CAPRI Berlin (Bettina Carl and Ina Bierstedt), June - August 2015, at The Brno House of Arts. Photo: Michaela Dvorakova. Right: The Museum of the Unwanted, an artist curated project by Clare Goodwin KunstMuseum Olten, 2015. Installation view. Photo courtesy of the artist.
Bettina Carl
"Ein paar Fragen sind für meine Arbeit immer entscheidend gewesen: der Akt des Werdens, der Versuch, möglichst präzise zu sein, und die Möglichkeit des Scheiterns. Ich mag Komplikationen. Wenn du dich mit vielem Verschiedenen beschäftigst, darunter Politik, Geschichte, Philosophie und auch Kunst, wirst du nicht gerade zur Vorzeige-Expertin werden (und wir alle müssen hin und wieder die Stromrechnung zahlen). Aber womöglich bist du am Ende dann Künstlerin geworden."
Der Schwerpunkt von Bettina Carls künstlerischer Praxis liegt auf Zeichnungen, Malerei und ortsbezogenen Installationen, in denen oft Text und dreidimensionale Objekte vorkommen. Unter ihren jüngsten Ausstellungen sind jene im Brno House of Art (CZ), Lucie Fontaine Milano (IT), und Helmhaus Zurich. Sie hat mehrere Stipendien und Residenzen gewonnen, und ihre Arbeiten wurden in diversen europäischen Kunsträumen ausgestellt. Seit über 15 Jahren ist Bettina Carl auch als Kuratorin und Autorin im Bereich der Kunst tätig. 2001 gründete sie die Künstlerinneninitiative CAPRI in Berlin mit, sie war Kuratorin am White Space in Zürich und hat als Gastkuratorin in internationalen Räumen und Institutionen Ausstellungen realisiert.
Clare Goodwin
Clare Goodwin ist Künstlerin und Kuratorin, geboren in Grossbritannien, lebt in Zürich. Nebst ihrer Studio-/Malerei-Praxis interessiert sich Goodwin für die Rolle der Künstler_in als Kurator_in - 'Kuratieren rund um die Praxis'. Als Mitbegründerin (mit Sandi Paucic) des K3 Project Space Zürich hat Goodwin auch viele Ausstellungen in der Schweiz und im Ausland initiiert. Ihr jüngstes als Künstlerin kuratiertes Projekt ist The Museum of the Unwanted im KunstMuseum Olten.
[Deutscher Text siehe oben]
Corner College is launching its new series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the first event, artists Bettina Carl and Clare Goodwin are invited to present their curatorial practices and discuss them between themselves and with the audience.
Bettina Carl
"A few issues have always been crucial to my work: the act of becoming, the quest for precision and the chance to fail. I like complications. Immersed in politics, history, philosophy, literature, and yes, art, too, you won't become the very model of an expert. (And we all have to pay the electricity bill now and again.) But eventually, you may become an artist."
Bettina Carl's artistic practice focuses on drawing, painting and site-specific installations, often incorporating texts and three-dimensional objects. Among her recent shows are exhibitions at the Brno House of Art (CZ), Lucie Fontaine Milano (IT), and Helmhaus Zurich. She won several grants and residencies and has exhibited widely across Europe. For more than 15 years now, Bettina Carl has also been active as a curator and writer in the art field. In 2001, she co-founded the artists' initiative CAPRI Berlin, she worked as a curator at White Space Zurich, and as a guest curator, she realised exhibition projects at international art spaces and institutions.
Clare Goodwin
Clare Goodwin is a British born Artist/Curator living in Zurich. Along with her studio/painting practice, Goodwin is interested in the role of the artist as curator - 'curating around practice'. As co-founder of K3 Project Space Zürich (with Sandi Paucic), Goodwin has initiated many exhibitions in Switzerland and abroad. Her most recent artist curated project - The Museum of the Unwanted at KunstMuseum Olten.
Thursday, 25.02.2016
18:30h
Lancierung der Onlineplattform www.panch.li
und LUPE Zürich
PANCH* Performance Art Netzwerk CH
und//and Corner College
präsentieren//present
Freitag//Friday 26 Feb, 18h30
im//at Corner College Zürich
die Lancierung der Onlineplattform www.panch.li // the launch of Internet platform www.panch.li
und//and LUPE Zürich**
*PANCH vernetzt//links, initiiert//initiates, stärkt//encourages, bietet//offers, vertritt//represents, informiert//informs
Performancekünstler_innen//Performance Artists, Theoretiker_innen//theoreticians, Archivar_innen//Archivists, Veranstalter_innen//Curators, Institutionen//Institutions, Performance-Kunst Schweiz//Performance Art Switzerland, Diskussionsplattform//platform for discussion, Kultur-Politik//cultural policy, Onlineplattform//Internet platform
PANCH ist ein Verein und freut sich über Mitglieder // PANCH is an association and welcomes (new) members
** Die LUPE ist ein zentrales Instrument der Onlineplattform von PANCH. Sie will die Performanceszene der Schweiz bündeln, sichtbar machen und international ausstrahlen. Sie wird zweimal im Jahr während je einem halben Jahr ein (geografisches) Gebiet nach Performance Kunst Anlässen und performativen Praktiken durchscannen/durchforsten und Kommentare, Hinweise, Tips, Reportagen und mehr sammeln. Stadt und Umgebung ZÜRICH werden die erste Region sein und von einem Team von Spezialisten_innen und Akteur_innen aus Zürich und Umgebung unter die Lupe genommen.
** LUPE is an essential tool of the internet platform. Twice a year it will scan and enlarge the situation for performance of a specific region. Different authors will collect reports, tips, informations, comments and more about Performance Art events and performative practices. The city of Zurich and its surroundings will be the first region to be examined by a team of specialists and artists.
Friday, 26.02.2016
11:00h
Christian Bujold. LEGS. Montréal, 7 February 2015. Photo: Laurence Poirier.
LEGS Zürich 2016
Samstag/Saturday 27 Feb
im//at Corner College Zürich
von//from 11h ununterbrochen//ongoing
während//during 7 – 9 Stunden//hours
mit vielen eingeladenen Künstler_innen/Performer_innen aus Zürich und Umgebung//performed by a lot of invited artists_performers from and around Zurich
Zuschauer_innen können kommen und gehen//audience is invited to come and go throughout the day
LEGS Zürich LIVE STREAMING
http://ustre.am/1swpx
Photo documentation (work in progress)
http://materials.corner-college.com/2016/201602/20160227-LEGS/index.html
Teilnehmer_innen und Zeitplan // Participants and timetable
1 | 11:00 - 11:09 | Nadine Schwarz
2 | 11:09 - 11:18 | Mirzlekid Hansjörg Köfler
3 | 11:18 - 11:27 | Susanne Keller
4 | 11:27 - 11:36 | Peter Emch + Tobias Oehmichen
5 | 11:36 - 11:45 | sprüngli & ratluk / Lara Stanic und Andreas Pfister
6 | 11:45 - 11:54 | Christine Bänninger + Peti Wiskemann
7 | 11:54 - 12:03 | Martin G. Schmid
8 | 12:03 - 12:12 | Milenko Lazic + Maya Minder
9 | 12:12 - 12:21 | Leo Bachmann + Angela Hausheer
10 | 12:21 - 12:30 | ALMA
11 | 12:30 - 12:39 | Gregory Hari
12 | 12:39 - 12:48 | Silvana Iannetta
13 | 12:48 - 12:57 | Sebastian Hofmann
14 | 12:57 - 13:06 | Abbott Chrisman
15 | 13:06 - 13:15 | Clarissa Hurst
16 | 13:15 - 13:24 | Gabi Glinz
17 | 13:24 - 13:33 | Leu Maricruz Penaloza
18 | 13:33 - 13:42 | Anne Käthi Wehrli
19 | 13:42 - 13:51 | Angela Stöcklin
20 | 13:51 - 14:00 | Melchior Rohrer
21 | 14:00 - 14:09 | Marie-Claude Gendron
22 | 14:09 - 14:18 | Lilian Frei und Ensemble
23 | 14:18 - 14:27 | Porte Rouge, Christoph Ranzenhofer + Joa Iselin
24 | 14:27 - 14:36 | Ali Al-Fatlawi + Watiq Al-Ameri
25 | 14:36 - 14:45 | St. Pauli, Dadamt Zörich
26 | 14:45 - 14:54 | Mo Diener
27 | 14:54 - 15:03 | Nathalie Stirnimann + Stefan Stojanovic
28 | 15:03 - 15:12 | Verica Kovacevska
29 | 15:12 - 15:21 | Lara Russi
30 | 15:21 - 15:30 | Anna Francke + Petra Köhle + Riikka Tauriainen + Nicolas Vermot Petit-Outhenin
31 | 15:30 - 15:39 | Tiziana Rosa
32 | 15:39 - 15:48 | Kata
33 | 15:48 - 15:57 | Yvonne Good
34 | 15:57 - 16:06 | Stefanie Knobel
35 | 16:06 - 16:15 | Ariane Tanner
36 | 16:15 - 16:24 | Julie Bärz
37 | 16:24 - 16:33 | Daniel Mezger + Latefa Wiersch
38 | 16:33 - 16:42 | Christoph Studer-Harper
39 | 16:42 - 16:51 | Salome Schneebeli
40 | 16:51 - 17:00 | Grauton
41 | 17:00 - 17:09 | Dimitrina Sevova
42 | 17:09 - 17:18 | Natalie Madani
43 | 17:18 - 17:27 | Jeanette Engler
44 | 17:27 - 17:36 | Ipek Füsun
45 | 17:36 - 17:45 | Monica Germann
46 | 17:45 - 17:54 | San Keller
47 | 17:54 - 18:03 | Marc Mouci
48 | 18:03 - 18:12 | Anne Rosset
49 | 18:12 - 18:21 | Luca Caluori
50 | 18:21 - 18:30 | Did Schaffer
51 | 18:30 - 18:39 | Michael Blättler
52 | 18:39 - 18:48 | James Stephen Wright
53 | 18:48 - 18:57 | Dorothea Rust (Überbringerin/transmitter)
54 | 18:57 - 19:06 | Omri Ziegele
55 | 19:06 - 19:15 | Doro Schürch
56 | 19:15 - 19:24 | Judith Huber
57 | 19:24 - 19:33 | Andrea Saemann
LEGS ist ein Format ohne Budget und Kuratierung, eine lange kontinuierliche Performance, die kurze Beiträge von vielen Künstler_innen unterschiedlicher künstlerischer Ansätze, nacheinander (mit Zeitplan in einer Art Stafette) ohne Brimborium, sehr direkt und effektiv zusammenbringt. Zuschauer_innen/Anwesende können kommen und gehen und bleiben so lange sie wollen. Das ursprüngliche LEGS fand im Februar 2015 in Montreal statt von Künstler_innen initiiert und organisiert, mit der Idee dieses Format an andere Netzwerke in ähnlicher Stafetten-Manier weiterzureichen. Die zweite Ausgabe von LEGS (bezeichnet als LEGS, TOO) fand im Oktober 2015 in Toronto statt. Das Format kann an ein neues Netzwerk weitergereicht werden durch die Teilnahme von einer oder mehreren Künstler_innen, die an einem vorhergehenden LEGS teilgenommen haben.
Kontakt: Dorothea Rust ‹rust.doro@bluewin.ch› (hat im Oktober 2015 an LEGS, TOO in Toronto teilgenommen)
LEGS is a format with no budget and no curating, a long, continuous performance which brings together the consecutive short contributions of many artists with different artistic approaches (on a schedule in the manner of a relay), with no fuss, very directly and effectively. The viewers/public can come and go as they wish. The originating edition of LEGS took place in Montreal in February 2015, invented and organized by artists with the idea of LEGS being transferred to other networks in a similar relay fashion. The second iteration of LEGS (entitled LEGS, TOO) took place in Toronto in October 2015. The LEGS event is transmitted to a new network through the participation of one or more artists who have taken part in one LEGS before.
Contact: Dorothea Rust ‹rust.doro@bluewin.ch› (participated in LEGS, TOO in Toronto in October 2015)
Shannon Cochrane, LEGS, TOO, Toronto, 3 October 2015. Photo: Henry Chan.
Thursday, 03.03.2016
20:00h
Guest event: Practical Fridays
“How To Cut Hair”
During this Practical Fridays session, Linda Pfenninger and Mirjam Bayerdörfer will workshop how to cut hair in different ways, on both long and short haircuts as well as straight and curly. Please come prepared to have your hair cut and cut someone else’s hair.
!!!Please bring a pair of scissors, sharp enough to cut hair!!!
The workshop will take place at Corner College (Kochstrasse 1, 8004 Zürich).
http://practicalfridays.com/
Monday, 07.03.2016
20:00h
join us for the dinner party on 8 march at 20:00 at corner college for a polyphonic performative reading and table talk!
with sofia bempeza, johanna bruckner, mo diener, anne-laure franchette, anne francke, anke hoffmann, stefanie knobel, nicolasa navarrete, rayelle niemann, caroline palla, jenny rova, anabel sarabi, bernadett settele, dimitrina sevova, riikka tauriainen, anne käthi wehrli, sophie yerly, sarah zürcher
taking inspiration from four women, luce irigaray who wrote this sex which is not one, a letter from nancy spero to lucy lippard (1971) and the dinner party by judy chicago, each of us will bring along with us a short text or passages from a woman poet, artist, writer or theoretician that we like best or find very important for ourselves and women's history of struggles, resistance or aesthetic practices, and we'll read together.
From 1971, a letter from Nancy Spero to Lucy Lippard.
Potluck in The Dinner Party studio. Photo courtesy of Through the Flower Archives.
the dinner party is open for anybody who wants to come over and listen to our small performative reading and take part in the discussions.
let's come together on this evening!
sofia bempeza, johanna bruckner, mo diener, anne-laure franchette, anne francke, anke hoffmann, stefanie knobel, nicolasa navarrete, rayelle niemann, caroline palla, jenny rova, anabel sarabi, bernadett settele, dimitrina sevova, riikka tauriainen, anne käthi wehrli, sophie yerly, sarah zürcher
Wednesday, 16.03.2016
19:00h -
Saturday, 16.04.2016
With Denise Bertschi, Delphine Chapuis Schmitz, Jonas Etter, Henrik Hentschel, San Keller, Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Julie Sas, Triin Tamm, Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli, Martina-Sofie Wildberger, Sophie Yerly
Curated by Dimitrina Sevova in collaboration with Alan Roth
From 17.03.2016 to 17.04.2016.
Opening on 17 March 2016, 19:00h.
Performance {reclaim the twelfth camel} < code of practice at the opening, 21:00h, by Alexander Tuchaček.
Artist talks in three sessions on Sundays, 20 March, 3 April, and 17 April at 17:00h (for details follow the links).
Opening Hours during the exhibition / Öffnungszeiten während der Ausstellung
Wed 3pm - 6pm / Mi 15:00h - 18:00h
Thu 3pm - 7pm / Do 15:00h - 19:00h
Fri 3pm - 6pm / Fr 15:00h - 18:00h
Sat 2pm - 5pm / Sa 14:00h - 17:00h
Flyer for the exhibition. Design: code flow.
Piero Gilardi, Richard Serra, Hans Haacke, in: Dokumente zur aktuellen Kunst 1967-1970. Material aus dem Archiv Szeemann. Texte von Georg Jappe, Aurel Schmidt und Harald Szeemann (Luzern: Kunstkreis AG Luzern, 1972).
An idea-driven group exhibition project about how and why an idea(l) book can be only a single page, which explores the strange connection between writing and biopower. Unfolding in two chapters (or two episodes) it searches for micro approaches to the paradox of practices that emerge as Art Writing and Anagrammatic Writing, between writing and life and between published/exhibition – both being forms of display (movable vs. durational). The exhibition/publishing project brings together artists who actively experiment with writing and text, whose practices are at the fringe of the visual and narrative or in-between, neither visual nor narrative, always constructed by collectively exhaustive events.
No-where? Now-here! The Molecular Books of Life – Colleges of Unreason displays art practices that rupture with representative and institutionalized forms of writing and open up to the heterogeneity of productive forces, diagrammatic dynamism and the virtual potentiality of the network of text-image-work-in-progress, to the performative relations producing this process. In a Deleuzian sense, “it is a process, that is, a passage of Life that traverses both the livable and the lived.”
Read here the expanded curatorial text and research by Dimitrina Sevova in collaboration with Alan Roth.
Der Empirismus ist der Mystizismus des Begriffs, sein Mathematismus. Aber er behandelt den Begriff eben als Gegenstand einer Begegnung, als ein Hier-und-Jetzt, oder eher noch als ein Erewhon, aus dem in unerschöpflicher Folge die immer neuen und anders verteilten „Hier und Jetzt“ ausfließen. Nur der Empirist kann sagen: Die Begriffe sind die Dinge selbst, aber in einem freien und wilden Zustand, jenseits der „anthropologischen Prädikate“. (Deleuze)
Dieses Projekt zeichnet einige Verbindungslinien, die, so scheint es, nicht oft gezogen werden, zwischen der Philosophie von Gilles Deleuze und Félix Guattari, und Deleuzes geliebtem Science-Fiction-Roman Erewhon von Samuel Butler, die wenig erforscht sind, sei es im akademischen Bereich oder in Feld der Kunst. Sowie die selten untersuchten Verbindungen zwischen Deleuze und Guattari und einem der häretischen Studenten Freuds, Otto Rank, der den sexuellen Trieb seines Meisters mit der unpersönlichen Individuation analytischer Praxen auf der Basis von Objektrelationen ersetzte, der über die Überwindung der Todesfurcht schrieb. Dies steht der Art und Weise nahe, wie Deleuze in seinem Aufsatz Immanenz: Ein Leben die vitalen Kräfte konzeptualisiert. Weiter folgt es der Verbindung zwischen Deleuze und Guattaris maschinischer Theorie und Samuel Butlers molekularem Gedanken in der Evolution des maschinischen Universums. Die Praxen des Schreibens setzen einen wilden Empirismus voraus, der von der „einstimmigen Ontologie“ herrührt, und dessen Raum ist „der Mystizismus des Begriffs, sein Mathematismus“. Sol LeWitt operiert ähnlich wie Deleuzes Programmierung, wenn er sagt: „Konzeptkünstler sind viel eher Mystiker als Rationalisten. Sie eilen zu Schlussfolgerungen, die der Logik nicht erschlossen sind.“
Denise Bertschi
Denise Bertschi, T.R.U.S.T.
“TRUST. Five extremely demanding letters.” I believe every word you say! Words construct ‘trust’ as well as disbelief. Denise Bertschi continuously engages with language, the social and political fabric of language and manipulation of information. For the work T.R.U.S.T. Denise Bertschi collects slogans from marketing representation of the biggest Swiss private bank Pictet based in Geneva – “collecting as forms of writing”. Selling words, language of radicality turned into a marketing spoof, pseudo-poetry and corporate rethorics. Contemporary advertising slang, calculated usage, market research, finding selling words – Rhetoric matters! But how are these words surrounding us just leave us empty? “Can I trust these words?”
Delphine Chapuis Schmitz
Die Zumutung [L'affront]
Video, Projection, Loop. 2016.
Il s’agit d’écrire un texte qui ressemble à une page, c’est-à-dire qui ait autant de réalité qu’une page. Mais dans son genre.
Le genre de page sur lequel on écrit de nos jours, ni blanche, ni une, ni bi-, ni même tri-dimensionnelle. Une page à multiples layers, des possibles (fast) END-LOS.
Les textes de la vidéo / projection ici présentées sont issus de l’ensemble de textes généré lors de l’exposition www.corner-college.com, réalisée en 2014 sur le site internet de Corner College.
Die Zumutung
Video, Projektion, Loop. 2016.
Es geht darum, einen Text zu schreiben, der einer Seite ähnlich sieht, was bedeutet, dass er so wirklich sein soll wie eine Seite. Aber in seiner Art.
Die Art von Seite, auf der heutzutage geschrieben wird, weder weiss noch ein-, zwei- oder dreidimensional. Eine Seite mit vielfältigen Schichtungen, (fast) END-LOSE Mögliche.
Die Texte der Video / Projektion, die hier vorgestellt werden, entstammen der Menge von Texten, die während der Ausstellung www.corner-college.com generiert wurden, die 2014 auf der Webseite des Corner College realisiert wurde.
Jonas Etter
Untitled (Fountain II)
3D printer reduced to 1D, 2016
“You cannot define electricity. The same can be said of art. It is a kind of inner current in a human being, or something which needs no definition.” (Marcel Duchamp)
A 3D printer, an industrial object, is elevated to the dignity of art, not only because literally, Jonas Etter makes this claim by fixing the machine to one of the white walls of Corner College like An Oak Tree (one can refer here to Michael Craig-Martin’s eponymous conceptual work from 1973). On every working day of the exhibition, the 3D printer moves repetitively back and forth and prints material according to a predesigned code installed by the artist, as it melts a synthetic wire to a fine thread which after escaping from the nozzle cools down to room temperature and solidifies. The artist’s preoccupation is with how he can retranslate three-dimensional reality into a one-dimensional or multi-layer topographic landscape, or how the pixelated image can be written in vectorized line segments. He scanned a handwritten to-do-list. The image of this sheet, vectorized and encoded, after being printed out turns into both the paper and the imprinted writing, into lines of unconscious machinic scribbles which are a tabula rasa in which no text will ever be imprinted, but one can say that it becomes a growing text, or texture, by itself. Two of the three dimensions were taken away by the artist from a the 3D printer, assembled from commercially available components piece by piece by the artist as a Do-It-Yourself engineered small machine. The printing machine constructs a mere projection of an object onto a line, which again unfolds in the space, the uncanny and non-sense, or simply junk, of the growing waste of synthetic constructivism. Since the foundation or floor of the 3D printer was left out in the assemblage, the threads fall on the floor, constructing a drawing across the space or rather growing an n-dimensional object of multi-layered, tiny one-dimensional lines.
Text: Dimitrina Sevova
Henrik Hentschel
Henrik Hentschel, Untitled, 2016.
Untitled
2016
German Chancellor Angela Merkel stated “We will cope!” at the beginning of the refugee crisis. Since then, this sentence has been connected to her political position and future.
The work transforms this sentence into a picture and rephrases it to a singular person. Each letter is light-written into the air, graffiti-like, onto a single negative.
The second part of the work consists of three texts written by members of the literature association „Literatur für das was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) The association sets up events, where different writers compose texts by request. The collected money goes to help people on the move.
Ohne Titel
2016
Die deutsche Kanzlerin Angela Merkel sagte zu Beginn der Flüchtlingskrise, „Wir schaffen das!“ Seither bleibt diese Aussage mit ihrer politischen Stellung und Zukunft verbunden.
Die Arbeit verwandelt diesen Satz in ein Bild und formuliert es in die erste Person Einzahl. Jeder Buchstabe ist, ähnlich einem Graffito, auf ein einziges Negativ in der Luft lichtgemalt.
Der zweite Teil der Arbeit besteht in drei Texten, verfasst von Mitgliedern des Literaturvereins „Literatur für das, was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) Der Verein veranstaltet Anlässe, bei denen Schriftsteller_innen an Schreibmaschinen Texte auf Wunsch verfassen. Das gesammelte Geld kommt Menschen auf der Flucht zugute.
San Keller
San Keller, The Real On Kawara, 2008.
The Real On Kawara
2008
Liquitex auf Leinwand (ausgeführt von Manuel Krebs), 25.5 × 33 × 4 cm.
San Keller schenkte seinem Vater zur Pensionierung in Anlehnung an On Kawaras Today Series den gemalten Bindestrich zwischen seinem ersten (20. April 1965) und letzten (31. Oktober 2008) Arbeitstag beim Kantonalen Personalamt Bern.
Der Bindestrich ist weiss. Der Hintergrund ist die Mischfarbe aus sämtlichen Farben, welche On Kawara bisher in der Today Series verwendete. Ausstellungen: Weihnachtsausstellung 2008 / 2009, Kunsthalle Bern.
Besitzer: Museum San Keller, Sammlung Marianne u. Fritz Keller.
The Real On Kawara
2008
Liquitex on canvas (executed by Manuel Krebs), 25.5 × 33 × 4 cm.
San Keller gave as a gift to his father the painted hyphen between his first (20 April 1965) and last (31 October 2008) working day at the Cantonal Office of Personnel Bern, in reference to On Kawara’s Today Series.
The hyphen is white. The background is the mixed color from all colors used to date by On Kawara in the Today Series. Exhibitions: Christmas Exhibition 2008 / 2009, Kunsthalle Bern.
Owner: Museum San Keller, collection of Marianne and Fritz Keller.
Petra Elena Köhle & Nicolas Vermot Petit-Outhenin
Petra Koehle + Nicolas Vermot Petit-Outhenin, A kind of palimpsest, 2016.
A kind of palimpsest
Print on flag
The artists produced two flags with to the same imprinted text fragment or traces of what remains of the two novels Don Quixote under the ultimate decay of time, those by Miguel de Cervantes and by Pierre Ménard. The two short phrases of text apparently coincide, yet we would be mistaken to assume that they are copies of each other. As the flags unfold they reveal what was hidden inside the space, a hand written phrase by a friend – the ideal book. The artist’s mysterious duty towards that friend manifests itself in a statement by the artists Petra Elena Köhle + Nicolas Vermot Petit-Outhenin, who throughout their recent work have experimented intensively with the notion of repetition, to re-play and force the act of repetitiveness to its limit, to try over and over again, in order to displace the object, where an errant and random difference in itself can appear as a sign of immanent change, demonstrating how the meaning is performed by the specificity of the context.
Later, the two flags will be installed on the façade of Corner College to the accidental gaze of the pedestrians passing by. They confront the viewer with the impossibility to distinguish them, to remain indifferent to their sameness and ambiguous meaninglessness. And then suddenly it seems almost true that the printed text on one of the flags is a bit diminished. Or it is just an optical illusion? There might be some obstacle to really distinguish the two texts, which are indeed identical excerpts imprinted on the two flags as a matter of appropriation by the artists. One of them is from the “original” version of Don Quixote written by Miguel de Cervantes in 1703, while the other is from the more fragmentary Don Quixote written by Pierre Ménard, according to the short story by Jorge Luis Borges, 200 years later. Pierre Ménard wrote it at the beginning of the 20th century, confronting the impossibility of any reasonable argument why Don Quixote might be relevant today.
Ménard has the divine modesty of pursuing his peculiar idea to repeat “a pre-existing book in a foreign tongue.” The process implies an idiotic methodology of repeating the writing process of Cervantes by his own experience. “He did not want to compose another Don Quixote – which would be easy – but the Don Quixote.” He puts himself in the place of Don Quixote in so radical a manner that he rewrites the novel word for word and line for line. Ménard does not write about Don Quixote. He embodies and becomes himself Don Quixote through his rigorous writing. That makes the difference in the repetition. It is a micro composition of a molecular book, written in a foreign language. Ménard’s writing is no doubt metabolistic, a bodily function from which a contemporary Don Quixote appears in the play of the two flags, too – a “solitary game” in-between two poles of perpetual displacement or de-familiarization between I-Don Quixote and me-Don Quixote. Don Quixote remains the same Don Quixote. Only I is another in the interiority of an unwritten novel, through the infinity of combinations of the eternal return of the fiction, inorganic and extra-human, a “vast ocean of indifference.” It is an expression of life itself, whose value lies outside the closed system of the text.
The actor employed by the artists for their performance at the finissage of the exhibition will read the Borges short story in the passage between the flags outside the exhibition space, his essential voice with his own specific accent carrying a “mournful” and “humid Echo.” He will deny to embody the autobiographical lines in the short story of Borges about Pierre Ménard, just as Pierre Ménard as Don Quixote refuses to re-write, and even forces himself to exclude the autobiographical prologue of Cervantes in the second part of the novel in order to arrive at the fictional personage of Don Quixote as Pierre Ménard and nobody else. If anything, it is the interjection of Edgar Allan Poe that intervenes in this process, not Cervantes’. Ménard’s Don Quixote is not however a copy but a work in its own right. Analyzing the two texts, Borges ascribes to Ménard’s version a greater subtlety and fragmentarity than to its predecessor. It is an open work that remains forever unfinished.
Through their work, Koehle + Vermot question the role of the author and the relation of the text/art work to the context, by means of repetition and the aesthetics of appropriation as an affirmative politics, and the meaninglessness of art as a gesture of perpetual justification of “absurdity” and inconclusiveness, where ambiguity is a richness, an ultimately useless intellectual exercise. It is a metaphysical demonstration, as the artists’ “ultimate goal” seems to be only chance and nothing else. They do not operate a mechanical transcription of the text to display it on the flags, but replay it over and over again and open it up to non-human forces to deploy or unfold the statement of a concept, which not only does not exclude, but actually carries within itself the action, i.e., the manifestation, like the performative unfolding of a private statement in a public space, as in the unfolding of a flag, which combines within itself as a performative opening both the action and the display of I-other.
Text: Dimitrina Sevova
The complete short story “Pierre Ménard – Author of Don Quixote” by Jorge Luis Borges is available next to the flags.
Die Kurzgeschichte „Pierre Ménard – Autor des Don Quixote“ von Jorge Luis Borges liegt in voller Länge bei den Fahnen auf.
… la verdad, cuya madre es la historia, émula del tiempo, depósito de las acciones, testigo de lo pasado, ejemplo y aviso de lo presente, advertencia de lo por venir …
… truth, whose mother is history, who is the rival of time, depository of deeds, witness of the past, example and lesson to the present, and warning to the future …
… Wahrheit […], deren Mutter die Geschichte ist, die Nebenbuhlerin der Zeit, Aufbewahrerin der Taten, Zeugin der Vergangenheit, Vorbild und Belehrung der Gegenwart, Warnung der Zukunft …
Julie Sas
Julie Sas, La vérité dans le texte (Je cherche un homme), 2015. Video still.
La vérité dans le texte (Je cherche un homme)
2015
video couleur, son, 3:36, en boucle
À l’image, un personnage hybride (composé des figures antagonistes de Diogène - philosophe antique - et Des Esseintes - esthète et dandy, personnage principal du roman A rebours de Joris-Karl Huysmans) tape en boucle, sur une machine à écrire, la phrase «Je cherche un homme». Cette phrase, directement empruntée au philosophe cynique Diogène, est une proposition ironique visant à réfuter la théorie platonicienne selon laquelle il existerait un «homme véritable», un «idéal humain». Trois plans se succèdent, rejouant le mouvement mécanique de la machine à écrire (frappe des barres à caractère), tandis qu’un décalage entre le son et l’image intervient dans le plan principal de la vidéo.
La vérité dans le texte (Je cherche un homme) [Die Wahrheit im Text (Ich suche einen Menschen)]
2015
Video, Farbe, Ton, 3:36, in Schleife
Auf dem Bild tippt eine hybride Person (zusammengesetzt aus den antagonistischen Figuren des Diogenes – des Philosophen der Antike – und Des Esseintes – dem Ästheten und Dandy, Hauptfigur von Joris-Karl Huysmans’ Roman Gegen den Strich) in Schleife auf einer Schreibmaschine den Satz „Ich suche einen Menschen“. Dieser Satz, unmittelbar dem zynischen Philosophen Diogenes entliehen, ist eine ironische Aussage, die darauf abzielt, die platonische Theorie zu widerlegen, laut der ein „wahrer Mensch“, ein „menschliches Ideal“ existieren soll. Drei Einstellungen folgen aufeinander und spielen immer aufs Neue die mechanische Bewegung der Schreibmaschine durch (den Anschlag der Typenhebel), während eine Phasenverschiebung zwischen dem Ton und dem Bild in die Haupteinstellung des Videos eingreift.
La vérité dans le texte (Je cherche un homme) [Truth in the Text (I am looking for a man)]
2015
Video, color, sound, 3:36, looped
On the picture a hybrid character (composed of the antagonistic figures of Diogenes – Ancient philosopher – and Des Esseintes – the aesthete and dandy, main character in Joris-Karl Huysmans’ novel Against Nature) types in a loop on a typewriter the sentence “I am looking for a man.” This sentence, borrowed directly from the cynic philosopher Diogenes, aims to refute the platonic theory claiming the existence of a “true human,” a “human ideal.” Three shots in sequence replay the mechanical movement of the typewriter (the keystrokes of the type bars), while a time lag between sound and image intervenes in the main shot of the video.
Triin Tamm
i'm late…
Text on doormat, 2016.
Riikka Tauriainen
Ignore All Signs
Zeno's Paradox
Consider a system in a state A, which is the quantum state of some measurement operator. Say the system under free time evolution will decay with a certain probability into state B. If measurements are made periodically, with some finite interval between each one, at each measurement, the wave function collapses to an eigenstate of the measurement operator. Between the measurements, the system evolves away from this eigenstate into a superposition state of the states A and B. When the superposition state is measured, it will again collapse, either back into state A as in the first measurement, or away into state B. However, its probability of collapsing into state B, after a very short amount of time t, is proportional to t², since probabilities are proportional to squared amplitudes, and amplitudes behave linearly. Thus, in the limit of a large number of short intervals, with a measurement at the end of every interval, the probability of making the transition to B goes to zero.
Alexander Tuchaček
Alexander Tuchaček, {reclaim the twelfth camel} < code of practice, 2016.
{reclaim the twelfth camel} < code of practice
In der Arbeit {reclaim the twelfth camel} < code of practice geht es um den Versuch einer Sprachgenerierung für eine Wiederaneignung des algorithmischen Raums, eines Raums, der uns abhanden gekommen ist, verlorengegangen oder schlichtweg geraubt wurde.
Dafür wird ein spezielles Tier in den Raum geführt, ein Kamel, das zugleich Text, Bild, Programm, Erzählung und Aufführung ist. In der Arbeit geht es um einen Verteilungskonflikt, der scheinbar gut gelöst wird und alles wieder ins Lot bringt. Bei dieser scheinbar guten Lösung gerät aber das Verhältnis von Text und Aufführung aus den Fugen. Eine dritte Figur, das sich selbst aufführende Shell-Programm, das sich aus dem Kamelbild entschlüsselt, fordert seine Mitsprache ein. Dabei schreibt es die Geschichte vom zwölften Kamel (vor). Aber wer spricht hier den Text der Geschichte und aus welcher Position? Vielleicht geht es um einen ganz anderen Verteilungskonflikt, um die Zeit und den Raum der Erzählung, und um die Frage, wer und wie die Neuverteilung dieses Raums zurückfordern kann?
Eine Mehrzahl von Performer_innen in Form von bots, scripts und Figuren treten in Erscheinung. Das Projekt startet zur Eröffnung am 17. März mit einer Performance um 21 Uhr und wird im Laufe der Ausstellung weitere Protagonist_innen und Aufführungen folgen lassen.
{reclaim the twelfth camel} < code of practice
The work {reclaim the twelfth camel} < code of practice is about an attempt to generate language to reappropriate algorithmic space, a space that has gone amiss, got lost or was just plain stolen from us.
To this end, a special animal is led into the room, a camel that is simultaneously text, image, program, narrative and enactment. The work is about a conflict over distribution that ostensibly is resolved well, balancing everything out again. This apparently good solution however throws the relation between text and enactment out of joint. A third figure, the self-executing shell program that decodes itself from the image of the camel, demands to have its say, all the while writing, or prescribing, the story of the twelfth camel. But who is it that speaks the text of the story, and from what position? Might it not be about an utterly different conflict over distribution, about time and space of the narrative, and about the question of who and how can reclaim the redistribution of this space?
A multiplicity of performers in the form of bots, scripts and figures make their appearance. The project starts out on the opening date on 17 March at 21:00h and will be followed during the exhibition by further protagonists and enactments.
Anne Käthi Wehrli
Die Frau als Einstiegsloch
Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.
Die Frau, das Einstiegsloch für die Infra-Quark Entität im Film In Search of UIQ* ist tot, das merkte ich sofort. Wieso und warum? Stimmt es wirklich oder ist es nur meine Einbildung, mein Gefühl, ausgelöst durch die Art und Weise, wie diese Videoaufzeichnungen, die im Film vorkommen, von dieser Frau, die man da noch sprechen sieht, und später nicht mehr vorkommt, gemacht wurden?
Sie muss nun ermitteln. Sich auch mit der Frage befassen: Was ist eigentlich der Unterschied zwischen Trieb und Todestrieb? Nachforschungen anstellen über die Schwangerschaft, diese spezielle Art des Zusammenlebens, und ältestes Grundthema von Science Fiction Romanen. Und vieles noch ungewisses mehr.
Ich werde mich diesem Text zuhause aber auch vor Ort in der Ausstellung widmen, die aktuellen Fassungen werden als Fanzine jeweils ausgedruckt und aufgelegt.
Es lohnt sich also vorbeizuschauen, um die neuen Entwicklungen zu erfahren, aber auch, um das, was später rausfliegen wird, vorher noch zu lesen.
*Im Film In Search of UIQ von Graeme Thomson und Silvia Maglioni aus dem Jahr 2013 geht es um das damals unveröffentlichte Science-Fiction Drehbuch Un amour d'UIQ von Félix Guattari.
Die Frau als Einstiegsloch [The Woman as Entry Hole]
Is it a detective story? Research? An expedition?
An Adventure with Questions.
The woman, the entry hole fort he infra-quark entity in the film In Search of UIQ,* is dead, I realized that at once. Why? What for? Is it actually true, or is it just my imagination, my feeling triggered by the way these video recordings that occur in the film, of this woman whom one can still hear speaking then, and who later is no longer there, were made?
Now she has to investigate. She will also be faced with the question: What is in fact the difference between life drive and death drive? Inquire about pregnancy, that special kind of co-existence, one of the oldest topics of science fiction novels. And other things uncertain.
I shall dedicate myself to this text at home, but also on the spot in the exhibition. The respective current version will be available printed out as a fanzine.
It is worth dropping by to find out about the latest developments, but also to read, before it is no longer there, what will later be ditched.
*The film In Search of UIQ by Graeme Thomson and Silvia Maglioni, from 2013, is about the then still unpublished science fiction movie script Un amour d'UIQ by Félix Guattari.
Martina-Sofie Wildberger
Dream comes true #1
I want to stand up, in a city that never leaps.
Performative installation, slideshow, video projection, duration 20s – 10min40s, 2016.
This work is an excerpt of the ongoing learning process of the artist. Having recently moved to New York for an artist residency, she is writing a poem every day in order to find out how the city influences language – her language. Arriving with fairly limited knowledge of English, it expands over time and becomes vital through the duration leaving its imprints. New influences, ways of thinking and very common encounters mark her architectural writing. The unknown is appropriated and becomes known in language and the city. The artist wants to know how and when this transformation happens.
Every day the poem she writes is added simultaneously to this slideshow starting with the first day. Her piece is installed in the space in Zurich. The slideshow gets longer and longer as the exhibition goes on. Through this cumulative writing we follow her in an abstract and distant yet personal way through the city, her life and the appropriation of a language.
Dream comes true #2
I want to wake up, in a city that never sleeps.
Text animation, iPad, 2016.
In this work, possibilities of translation are explored through the medieval form of labyrinth poems. How can one thing be two things at the same time? Where and when does one become another, how is transformation and transposition embodied.
In Baroque cubes, a specific form of Carmen Figuratum, a small text substrate offers many different ways of reading. This maze reflects also the artist's experience arriving in unknown New York for a residency, through which she has to find her way. As in the poems, there is no right or wrong way, but it is the didactic experience that counts. The artist changes slightly the structure of these poems. She extends the small text substrate by its translation in German or English. Starting from the same point, one translation runs horizontally and one appears vertically through the shift of one letter at a time. Throughout the exhibition more and more animated poems are added.
Sophie Yerly
Too expensive and not enough to eat
2016
http://www.eineseite.ch
Attention artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal. I try to be big about that. For your part, keep your eye on the ball, which is not a ball of talk.
I’m thinking of those of you who are on the young side. The future is yours. I’m on the old side and running out of future. This slackens my interest in what’s new. When I go to look at art for pleasure now, it’s to the Metropolitan Museum of Art or the Frick Collection. My ‘we’ is yellowing around the edges. Any ‘we’ that has nearterm potential must be one that tastes right in your mouths, when you say the word.
Peter Schjeldahl, Frieze magazine Issue 137, March 2011
http://frieze.com/article/ourselvesandouroriginssubjectsart
Wednesday, 16.03.2016
21:00h
Performance {reclaim the twelfth camel} < code of practice
by Alexander Tuchaček
Performance {reclaim the twelfth camel} < code of practice by Alexander Tuchaček at the opening of the exhibition "No-where? Now-here! The Molecular Books of Life – Colleges of Unreason" on 17 March at 21:00h.
The work {reclaim the twelfth camel} < code of practice is about an attempt to generate language to reappropriate algorithmic space, a space that has gone amiss, got lost or was just plain stolen from us.
To this end, a special animal is led into the room, a camel that is simultaneously text, image, program, narrative and enactment. The work is about a conflict over distribution that ostensibly is resolved well, balancing everything out again. This apparently good solution however throws the relation between text and enactment out of joint. A third figure, the self-executing shell program that decodes itself from the image of the camel, demands to have its say, all the while writing, or prescribing, the story of the twelfth camel. But who is it that speaks the text of the story, and from what position? Might it not be about an utterly different conflict over distribution, about time and space of the narrative, and about the question of who and how can reclaim the redistribution of this space?
A multiplicity of performers in the form of bots, scripts and figures make their appearance. The project starts out on the opening date on 17 March at 21:00h and will be followed during the exhibition by further protagonists and enactments.
Saturday, 19.03.2016
17:00h
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
Artist Talks Session 1
Left: Andy Warhol appropriated by Julie Sas. Right: Henrik Hentschel, Untitled, 2016.
With a performance-artist-talk by Julie Sas and an artist talk by Henrik Hentschel.
Saturday, 02.04.2016
17:00h
Anne Käthi Wehrli
Lesung aus Die Frau als Einstiegsloch
Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.
Sie ist am ermitteln. Zurzeit beschäftigt sie sich mit dem Raum der Vagina und der Gebärmutter, diesem Leerraum den Frauen hätten.
Phantasien sind hier das Thema. Ich habe bemerkt dass mich insbesondere auch Phantasien und Konzepte über Weiblichkeit von Männern interessieren.
Ich rede hier natürlich vom Penisneid.
Nun will sie das einmal unter die Lupe nehmen.
Was dabei herauskommt ist noch unbekannt.
Die neusten Fassungen des Texts Die Frau als Einstiegsloch, der während der Dauer der Ausstellung geschrieben wird, liegen jeweils zum mitnehmen und lesen auf.
An der Lesung werden zudem weitere Materialien verwendet, und ich stehe natürlich auch für Fragen zur Verfügung.
Jonas Etter
Untitled (Fountain II)
Artist talk. Discussion.
Saturday, 09.04.2016
17:00h
[English see below]
Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.
In der zweiten Veranstaltung lädt Corner College die Künstlerinnen Margit Säde und Denise Bertschi ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren. Stefan Wagner ist von Corner College eingeladen, die Diskussion zu moderieren.
Left: Steve.skp by Margit Säde, DOings & kNOTs, 2015. Photo: Margit Säde. Center: exhibition view, PROTECTION ROOM; Denise Bertschi & Gitte Hendrikxs, Rosa Brux, Brussels, November 2014. Right: STREET view, #brusselslockdown, Denise Bertschi, Brussels, November 2014. Both photos: Denise Bertschi.
Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutscher Text siehe oben]
Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the second event, artists Margit Säde and Denise Bertschi are invited to present their curatorial practices and discuss them between themselves and with the audience. Stefan Wagner is invited by Corner College to moderate the discussion.
Margit Säde
… Steve’s appearance didn’t give away any hints of his rebellious nature, which existed alongside his feelings of ambivalence and loss. This project had indeed challenged the way he looked at things and the part that he played in them. The process of this project had taught Steve that it’s impossible to follow somebody else’s instructions – it was simply impossible for him to follow a given formula. He was fed up, for real this time, he was fed up of doing things in the way that they were expected to be done and most of all he was fed up with taking himself so seriously. “How is it,” Steve wondered, that there’s hardly anything that can make us feel better about the way we do things?” One does what one is; one becomes what one does...
Excerpt from short story Steve.skp by Margit Säde, 2015
Taking her last exhibition project DOings & kNOTs as an example, Margit Säde will talk how she is performing and switching between the roles of a curator, a narrator, a DJ, an artist or an assistant/intern.
DOings & kNOTs ( I didn’t fail the test, I just found 100 ways to do it wrong) taking place in Tallinn Art Hall, was an exhibition about the impossibility of following instructions, rules or given formula. The exhibition tried to look into what lies between a refusal and doing, a script and a live moment, a self-organisation and an institution — imagined ideas and actual situations.
Margit Säde is an independent curator and an artist based in Tallinn and Zurich. Her practice emphasises the self-initiated, collaborative and ongoing nature of art practice. Her curated projects include group DOings & kNOTs at Tallinn Art Hall, SOURCE AMNESIA at Oslo10, While Walking on the Secret Paths but also While Walking on Salads, And So On & So Forth (at CAME in Tallinn and kim? in Riga), If It’s Half Broke, Part Fix It (CAC, Vilnius) and listening sessions A Selfless Self in the Nightless Night; Disembodied Voices & Imaginary Friends (BAR, Barcelona and Corner College in Zurich) and Hear Me With Your Eyes (Castrum Peregrini, Amsterdam).
Denise Bertschi
PROTECTION ROOM – an exhibition project unexpectedly happening during the Brussels lockdown
PROTECTION ROOM is an exhibition wherein five artists inhabit « ROSA BRUX », an independent art space in Brussels, which originally functioned as a flat. By chance this week fell together with the #brusselslockdown beginning on the 21 November 2015 due to information about possible terrorist attacks in the wake of the series of terrorist attacks in Paris just two weeks before.
PROTECTION ROOM explores nuances of transparency and opacity and the thin line between the private and the public – question if this line still exists. During a week, five artists respond to different aspects and tactics of ‚hiding‘ and ‚covering over‘ („Protection“) – making reference to hyper-visible control of public spaces and the relationship between the body and architecture. PROTECTION ROOM asks how to claim our „right to opacity“ (Edouard Glissant) and in what way opacity can function as protection in a world of super-exposure. It detects the obscure and confinement of transparency and will function as a opaque view on the subject matter that can be linked to the public-space, private-self and over-exposed world.
Today, ‚public space‘ is democratized, we accept and submit permission for use of our private-selves without a second thought. One can question of movement between a ‚public‘ and a ‚public‘ is all that is left and how the feeling of security can be guarded, without giving in to systems of hyper-control.
Under the circumstances of the #brusselslockdown the exhibition project’s title PROTECTION ROOM got into new spheres of relevance and the question around the ‚public‘ and the ‚private‘ carried a new heaviness, also questioning the role of a ‚flat‘ as a safe place? The gallery space, which was our private living space for a week allowed subtle touching points between the working process of the artists – intertwining proximity and distance and eventually ending in a public moment, the opening which also stood under the shadow of this special political moment in time.
The project is initiated by artist Denise Bertschi. It wanted to test the slippery state between curatorial practice, artistic collaborative production and the role of friendship.
Participating artists:
Denise Bertschi
Doris Boerman
Gitte Hendrikxs
Sophie Reble &
Martina-Sofie Wildberger
http://www.rosabrux.org
Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.
Saturday, 16.04.2016
16:30h
Left: Flyer for the exhibition. Design: code flow. Right: Top row: Petra Elena Köhle & Nicolas Vermot Petit-Outhenin; Julie Sas; Alexander Tuchaček; Triin Tamm. Center row: Delphine Chapuis Schmitz, Martina-Sofie Wildberger; Alexander Tuchaček, Denise Bertschi; Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli; Martina-Sofie Wildberger, San Keller. Bottom row: Jonas Etter; Anne Käthi Wehrli; Martina-Sofie Wildberger, Triin Tamm; San Keller, Sophie Yerly, Jonas Etter, Hendrik Hentschel. Photos: code flow.
Throughout the event, performance Too expensive and not enough to eat by Sophie Yerly.
Modern science makes us understand the true character of the machine, of rationalization and of standardisation. All of that leads to one thing only: the economy. Economy attempts (is) the symmetricalisation of forces.
Art is to create inequalities.
from Yiannis Isidorou: What Asger Jorn (un)/taught me - a text of 11 positions regarding the movements and tropes of the artist in the symmetrical(ized) world of economy
17:00h Performance The Real On Kawara by San Keller in conversation with his father about his 43 years at the Cantonal Office of Personnel Bern.
San Keller schenkte seinem Vater zur Pensionierung in Anlehnung an On Kawaras «Today Series» den gemalten Bindestrich zwischen seinem ersten (20. April 1965) und letzten (31. Oktober 2008) Arbeitstag beim Kantonalen Personalamt Bern.
San Keller gave as a gift to his father the painted hyphen between his first (20 April 1965) and last (31 October 2008) working day at the Cantonal Office of Personnel Bern, in reference to On Kawara’s “Today Series.”
18:00h Performance A kind of palimpsest by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, „Pierre Ménard – Autor des Don Quixote“ by Jorge Luis Borges, read by Andreas Storm.
18:45h Performance Dreams come true by Martina-Sofia Wildberger.
19:15h Artist talks by Riikka Tauriainen, Alexander Tuchaček.
Discussion with the artists and the curators. Bar, party.
Saturday, 23.04.2016
18:00h -
Friday, 06.05.2016
Flyer for the exhibition. Design: code flow.
Just Add Water: A score, a set of instructions. Do this and you'll get that, guaranteed. Fill in the blank and it's done, easy! It's already been prethought for you, precomposed, predetermined. There's a cost of course; it's straightforward, but always the same. Reliable yet totally uninteresting. We need to experiment, see how we can shake things up. Maybe: It's never the same water that gets added in, always slightly different. Alpine water, or imported from China, we've already found some wiggle room. We wiggle some more, stay within our structure, our enabling constraints, but never seem to stop discovering. We begin to tell stories, abstract ones, using our tactics to fashion props, switching between Alpine and Chinese, creating a rhythm, building and breaking expectation. A makeshift stage. Then the illusion collapses; what are we talking about anyway? Who knows, but we felt something, that's the most important. We begin again…
Text: Brandon Farnsworth
A composer, choreographer, dancer, and singer in a performance exhibition at Corner College. Over a two-week period, this interdisciplinary ensemble will perform and experiment, developing an immaterial milieu of feeling and potentiality that will fill the space with its traces.
Curated by Brandon Farnsworth.
Benjamin Ryser, Composer
Brandon Farnsworth, Music Curator
Carla Doorn, Dancer
Eva Lin Yingchi, Choreographer
Vernissage: Sunday, 24 April 2016, starting at 18:00h
Opening Hours
Wednesday, 27 April – Friday, 29 April, 15:00h – 18:00h
Saturday, 30 April + Sunday, 1 May, 17:00h - 20:00h
Wednesday, 4 May – Friday, 6 May, 15:00h – 18:00h
Further performances during opening hours TBA.
Finissage: Saturday, 7 May. Doors open at 17:00h, performance begins at 18:00h.
The project is part of the Corner College platform Transferences: The Function of the Exhibition and Performative Processes in the Practices of Art – Questions of Participation, initiated by Dimitrina Sevova and Alan Roth.
Monday, 09.05.2016 -
Friday, 13.05.2016
Occasionally Human
A Curatorial Research on Sociality
Flyer for the exhibition. Graphic by Tim O. Haesler.
“Relationships to the other does not proceed through identification with a preexisting icon, inherent to each individual. The image is carried by a becoming other, ramified in becoming animal, becoming plant, becoming machine and, on occasion, becoming human.” Felix Guattari
How is contemporary aesthetic production affected by interactions and relations among its productive agencies?
In post-Fordist and post-human conditions of creative and artistic labour, what is the impact of collaborative realms on the production of aesthetic and cultural discourses?
To what extent can we link the value of cultural and artistic production to the specificities of the relations underneath it? To which field of relations (collaborators, friends, akin humans?) can we ascribe the specific relation between artists and curators?
The project seeks to write a chapter in the definition of the ontological nature of the relation between two specific productive agencies, curator and artist, and the impact of this relation on aesthetic production.
The conditions underneath creative production will be examined by the analysis of the relations among its productive bodies, considering the consequences of the contemporary modes of production of subjectivity.
The research aims to explore the extent of a relational and collaborative method to be embedded in the processes of definition of new cultural, aesthetic, affective and existential territories.
The research investigates different artistic and curatorial approaches to sociality as a productive skill, and it will be conducted through a series of conversations where communication, based on language and affinities, will be recorded and analysed in a television-like set.
A project by Francesca Brusa
Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann
Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz
Saturday, 14 May at 18:00h: Public presentation of the outcome of the project “Occasionally Human” by the researcher and the participating artists and curators. With apéro.
Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa
The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org
Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439
Friday, 13.05.2016
18:00h
Detail from the flyer for the exhibition. Graphic by Tim O. Haesler.
Public presentation of the outcome of the project Occasionally Human by the researcher and the participating artists and curators. With apéro.
A project by Francesca Brusa
Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann
Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz
Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa
The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org
Deborah Keller, Meine Wahl, Züritipp 19, 20 May 2016.
Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439
Monday, 16.05.2016
20:00h
Buchpräsentation und Diskussion mit Toni Negri, der anwesend sein wird.
Félix Guattari / Antonio Negri, Neue Räume der Freiheit. Buchumschlag.
Neue Räume der Freiheit
Félix Guattari / Antonio Negri
Herausgegeben von Isabell Lorey, Gerald Raunig und Alan Roth
transversal texts, Juni 2015
ISBN: 978-3-9501762-9-2
150 Seiten, broschiert.
Aus dem Französischen und Italienischen von Alan Roth
in Zusammenarbeit mit Delphine Bronner, Max Heinrich, Leopold Helbich, Stefan Huber, Adrian Hummel, Robert Kirov, Sarah Lauener, Sophie Michel, Severin Miszkiewicz, Stéphane Nidecker, Roberto Nigro, Gerald Raunig, Noemi Schmid, Linda Semadeni, Juliana Smith, Timothy Standring, Jana Vanecek und Aline Weber.
Im Jahr 1983 flieht Antonio Negri nach Aufhebung seiner parlamentarischen Immunität vor der Verfolgung durch den italienischen Staat nach Paris. Es beginnt damit ein 14-jähriges Exil, in dem der marxistische Philosoph sich stärker als zuvor mit der poststrukturalen französischen Theorie von Deleuze, Foucault und anderen auseinandersetzt. Mit Félix Guattari beginnt er ein Experiment des gemeinsamen Schreibens, das Buch Les nouveaux espaces de liberté.
Neue Räume der Freiheit ist nicht nur ein Zeitdokument aus den „Winterjahren“, den bleiernen Jahren nach der staatlichen Repression gegen die italienische Autonomia und vor dem Zusammenbruch der Sowjetunion, sondern zugleich auch ein vielfaches konzeptuelles Versprechen für eine Zukunft, die heute unsere ausgedehnte Gegenwart ist. Die begrifflichen Erfindungen des späten Guattari zeichnen sich hier ebenso ab wie die späteren Arbeiten von Toni Negri mit Michael Hardt. Es bricht an die Zeit der Vielheiten, des Commonismus, der molekularen Revolutionen.
Photo documentation of the event on Facebook: https://www.facebook.com/361449520702226/photos/?tab=album&album_id=566254250221751
Thursday, 26.05.2016
18:00h -
Saturday, 25.06.2016
Flyer for the exhibition. Design: code flow.
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,
and performances by Anne Brand Galvez & Company, Marie Carangi, Distruktur (Melissa Dullius & Gustavo Jahn), Luciana Freire D'Anunciação, Ana Roldán.
Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.
Friday, 27 May 2016 - Sunday, 26 June 2016
Öffnungszeiten / Opening Hours
Mi 15:00h - 18:00h / Wed 3 pm - 6 pm
Do 16:00h - 20:00h / Thu 4 pm - 8 pm
Fr 15:00h - 18:00h / Fri 3 pm - 6 pm
Sa 14:00h - 17:00h / Sat 2 pm - 6 pm
(Am Samstag, 28. Mai, am Tag nach der Ausstellungseröffnung, bleibt Corner College zu. / On Saturday, 28 May, on the day after the opening, Corner College will remain closed.)
Vernissage: Friday, 27 May 2016 at 18:00h
Skype performance at the opening, Porosidades do espaço temporalizado [Porosities of a temporalized space] by Luciana Freire D'Anunciação;
20:00h Performance Cerati a la Cumbia by Anne Brand Galvez & Company, with Philip Frowein (DE), Fernando Noriega (MX), Alex Martinez (MX), Pablo Miguez (ARG), Moritz Mayer (CH).
Sunday, 29 May 2016:
17:00h Door opening
17:30h Artist talk and screening of a selection of his works by Cristiano Lenhardt.
19:00h Skype performance Teta Lírica [Lyric tits] by Marie Carangi.
20:00h Screening program The Uprising of the Body curated by Silvan Kälin.
Sunday, 5 June 2016: Performance / screening Éternau Alterstereo by Distruktur (Melissa Dullius & Gustavo Jahn).
Sunday, 26 June:
16:00h Discussion on the curatorial concept between the curators, Damian Christinger and Dimitrina Sevova, and the artists present, Mariano Gaich, Pascal Häusermann, 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).
18:00h Performance Banana as Tourist by Ana Roldán.
18:30h Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.
New Buenos Aires NoW and Therefore!
New Buenos Aires has a peculiar mobile and turbulent geography that designates neither a particular place nor a particular time. It is an event, i.e., an atmospheric function of the exhibition. It can exhibit itself. Events are exhibitions, wrote the old philosophers Gilles Deleuze and Félix Guattari in their late work What Is Philosophy? They see the potentiality of the event becoming an exhibition, making the concept visible, setting up various displays and the “exchange of ideas,” a zone de voisinage that can be offered to the viewer.
New Buenos Aires is not a thematic exhibition. It embodies an extra-subjective assemblage by the participating artists with their heterogeneous practices in the drift of a new conceptual wind that blows with necessary slowness and immediate urgency to express the practical dimensions of de-colonizing thought at a time of environmentalist discontent, of changes in the intellectual climate of global transformation in a new, ecologically oriented history of capitalism in the ‘age of capital’ – with the dilemma of global art, or the art of the Capitalocene, as the work of art is a work of opinion. The exhibition display confronts the epistemic violence of ‘big history’ to create a counter-space of ecological justice, in a labyrinth of ‘wonderful and messy tales’ and other, equally enigmatic multiplicities – a labyrinth alive with the movements of crowded people, and other creatures.
Excerpt from the curatorial text by Dimitrina Sevova.
New Buenos Aires, 20th of September 2048
Dear Osmond
This letter reaches you three days ahead of the official investigation as a personal favour, a gesture of treachery (you so much admire in the classics), and as proof of a friendship that has connected us for more than thirty years.
The official document will state, as always, nothing, and I thought that you might be interested in my personal thoughts and insights, as this case contains everything that you and I find interesting.
When a cult of this extreme persuasions scrambles to protect a ship at all costs, that is for all purposes of the sane mind completely useless (it is not fit to be put on water for example) then the authorities will want answers, as you know, and when the case is as it is, they will even call upon an arcane archaeologist as myself.
Excerpt from the curatorial text by Damian Christinger.
Jonathas de Andrade
Pacifico [Pacific]
2010
Super8 transferred to DVD, 12 minutes
Jonathas de Andrade, Pacifico, 2016. Video still.
Jonathas de Andrade, Pacifico, 2016. Video still.
A massive earthquake erupts over the Andes, detaching Chile from the South American continent. As a consequence, the sea returns to Bolivia restoring its lost coastline, Argentina gains coasts with both the Pacific and the Atlantic oceans, and Chile becomes a floating island adrift in the seas.
Anne Brand Galvez & Company
Cerati a la Cumbia
Performance
Mariano Gaich
Prosthesis & Fetish – The Journey of Exoticized Reason
Mariano Gaich, Prosthesis & Fetish – The Journey of Exotized Reason.
During centuries of hegemonic reason and global trade’s domain, a utopian world shaped by travelling in the quest for unknown paradises – the “exotic,” “alien” or “outlandish” – depicts a transparent, crystalline display through which (un)material human production can be watched and therefore classified.
These “exotic” objects of adoration get appropriated by an entire fetishistic web that – after creating divisions in nationalities – reproduces cultural and national identities as merchandises, from raw material to goods such as art. Exoticism becomes marketing and promotion.
These same objects, wherever you might find them, in a ship, a storage, in a museum or even a library with travel novels in a XIX century fashion or contemporary science fiction ones, are placed in a way that a whole juxtaposition of different times and spaces suggests a heterotopic entity with its dystopic side of uses and abuses by a large (post)colonial history.
The installation inverts the logic of capitalistic reason, understood as a vessel of accumulation: crystalline displays become un- and over-exoticized at the same time, showing a narrative of decolonization, rests and remains, traces of past, present and future ongoing greediness.
Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto)
Mariano Gaich, Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto).
Action, ritual of manifestation, an installative Manifesto, incorporating prostheses with body, escaping from genderification, categorization and slavery, racism, (post)colonial abuses.
Breaking chains and mutating DNA chains, to a diversity of “in-betweens” becoming fluidity, autonomy.
Óscar Gardea Duarte
La Fosa [The Pit]
Video documentary, installation, 2016
Óscar Gardea Duarte, Fosa, 2016.
A white building stands in the middle of the desert, it is run by a former so called gang member turned Christian, his acolytes serve as translators of both realms which collide at this precinct. “You will learn darkness”. A sinister pit that holds a deep entrenched problem of: What veils them unknown and unwanted, and where is their place? Slums of the future, residents that are classified by the leader or his subordinates as aggressive, non-amicable or a threat to the veil of reason will be then confined to a one meter by one eighty cell that remains locked until the keepers think it is plausible to end seclusion. There is no official census to the facilities population and non-provided for, to the pertinent institutions that have solicited it. It is an asepsis solution for social cleansing of both border cities by method of segregating from practical functional society, abused, policed and no knowledge based exclusion of diverse individuals whom are intentionally shunned and forsaken to a discourse that supposes greater than their existence, one of so called altruism, political correctness and modernity´s progress rhetoric. Concentration camp for rational diversity where the master is veiled as a beloved figure of masculine yet benevolent mythological stature who claims “Nobody wants them, except for myself”. The edifices´ boundaries are reduced to the sensibility for the interpretation of the real, limits defined by the smell of blood and urine.
Ciudad Juarez, Chihuahua, Mexico, May 2016
The work consists of the documentation of a 5 × 5 × 5 meter pit which comes covered by a cement surface with an aperture of 20 cm × 2.5 meters, in situ at the facility at Kilometer 35 of Ciudad Juarez, Chihuahua, Mexico. It includes documentation of the seclusion wing called “ocho” and its inmates.
Pascal Häusermann
Sketches of a Gringo
24 papers, watercolour on Xerox, A3, 2015
Pascal Häusermann, Sketches of a Gringo, 2015.
In 1831 the German engraver and drawer Moritz Rugendas travelled to Brazil in the frame of the expedition of Freiherr von Langsdorff, where he documented landscape, culture and habits of the people in hundreds of drawings. Back in Europe, he could publish the work, which became very famous under the name “Voyage pittoresque dans le Brésil”, with the help of Alexander von Humboldt. The photocopies of a copy of a original print of that book from the public library Zentralbibliothek Zurich became a sort of a diary during my residency in São Paulo in spring 2015.
It is a documentation about the daily confrontation and identification with Brazilian culture, the ambivalence between the European heritage coming from the colonial past, and the strangeness of this “new” culture, a mix with indigenous and African roots.
The gesture to overdraw the erstwhile documentation contains an assumption that the guilt coming out of the colonial conquest can be assimilated by superimposing one's experiences on the historical events. Meanwhile, history keeps on being present. It has been put on the backburner through a new personal perception.
(Pascal Häusermann)
The drawings by Pascal Häusermann are on loan from Kantonale Kunstsammlung Appenzell Ausserrhoden. // Die Zeichnungen von Pascal Häusermann sind eine Leihgabe der Kantonalen Kunstsammlung Appenzell Ausserrhoden.
Silvan Kälin
Mormaço
2016
Animated video
Silvan Kälin, Mormaço. Video still.
Silvan Kälin, Mormaço. Video still.
A climatic situation of heat and humidity, the everyday life of a tropical city in which the machines and the sweat of its inhabitants mingle, forming unexpected gardens.
The Uprising of the Body
Screening program curated by Silvan Kälin, 29 May 2016
Performance expresses itself as a need of bodily manifestation against an inescapable, given reality.
Cristiano Lenhardt
Polvorosa
Video.
Cristiano Lenhardt, Polvorosa. Video still.
Electronic supernatural phenomenon magnetizes two bodies and brings them close.
Jso Maeder
Werkgruppe Fig. - Speicher
seit 2012 - in progress
Jso Mäder, Werkgruppe Fig. - Speicher, work in progress since 2012.
Das modell der „zivilgesellschaft“ erscheint im zeichen der heutigen kapitalistischen plankultur in hinblick auf eine gedankliche oder künstlerische autonomie in konfigurationen institutionaler leitsysteme blockiert; *) das moderne programm, im grunde die gesellschaftliche eigenprojektion als ein kanonischer bezugs- bzw. bewusstseinshorizont, im leerlauf in systemischer einrichtung. – Zyklomoderne (Demuth), bestenfalls noch ideologische reproduktion als soziales monument und als moment abstrakter dominanz.
Die letzte historische möglichkeit der moderne entspräche daher der art nach einer matrix abstrakter dominanz, 'modern' rein noch aufgrund der in ihrer sprache sowie deren textuellen zirkularen mittelbaren progammatik, - selbstverständigung, interpretament in der konstanten umwälzung und modifikation eines zwanghaften korrelats der chiffren und zeichen.
• Daher frage nach dem capital fixe, einem 'wissen' im motiv des auf|bewahrens/be-haltens: archiv/speicher unter den voraussetzungen abstrakter dominanz.
Wenn die moderne sich ideologisch eine kontinuität in der kanonischen setzung eines gesellschaftlichen erwartungshorizonts gibt, während die 'gesellschaftlichen lebens-prozesse' und praxen sich hingegen provisorisch, unter produzierten bedingungen als jeweilige modalitäten der produktion realisieren - wie, anhand welcher kriterien und welcher 'formen', lokalisiert, reflektiert 'gesellschaft' sich dann im verhältnis zu ihrem historischen entwurf? - Und insbesondere: wie bezeugt, quasi belegt oder dokumentiert sie sich hinsichtlich des ihrer eigenbehauptung immanenten kulturellen leistungsan-spruchs, wenn der prozess unablässiger verfremdung (titel 'wachstum/fortschritt') eines
je gültigen oder bestehenden die 'lebenswelt' kennzeichnet?
Und noch konkreter: Wie funktioniert (sofern überhaupt) hierbei kunst im rahmen der abstrakten programmatik einer vergesellschaftung, gerade unter gesichtspunkten ihrer impliziten logik des (sozialen aus-)tauschs?
*)>>> Indem 'produktion' nicht allein eine erzeugung von waren meint, sondern sie durch ihre bedingungen zugleich muster und mittel eines herrschenden wissens ('general intellect') fabriziert, festschreibt, ist sie strukturelle kraft in gesellschaftlicher formation. Auch i.s. der legitimation deren herrschaftlicher dispositve oder der politischen massgabe, da im rahmen systematischen wissens ('knowledge'), d.h. mitunter, einer universitär-disziplinären, institutionellen wissenschaft, die 'produzierte Produktivkraft eines wissens in gesellschaftlicher funktion' abstrakt, als formular einer sprachlich-textuellen oder zeichenhaften ebene reproduziert ist. I.s. eines hintergründigen reglements des 'capital fixe', als momentum abstrakter dominanz, fungiert die produktion im beziehungsraster (cf. (aus-)tauschabstraktion) des vergesellschafteten lebens gleich einer äusserlichen, objektiven gegebenheit.
cf. hierzu, im rekurs auf Marx' 'Grundrisse' (wie hier zitiert, insbesondere das Maschinenfragment (MEW, Bd. 42)), nebst dem späteren werk Althussers:
– die analysen Antonio Negris und Maurizio Lazzaratos, sowie weitere schriften zur theorie des postoperaismus.
– ausserdem konzept der 'wissensgesellschaft' (Lane, Bell), als ablösung industrieller waren- durch spezifische wissensproduktion i.s. einer ressource der wertschöpfung.
Under the sign of today’s capitalist plan culture in view of an intellectual and artistic autonomy the model of “civil society” appears blocked in configurations of institutional control systems; *) the modern program, which consists at bottom of the social self-projection as a canonic horizon of reference and consciousness, running idle in a systemic facility. Cyclomodernity (Demuth), at best ideological reproduction as a social monument and a moment of abstract domination.
The last historical opportunity of modernity would thus correspond in kind to a matrix of abstract domination, remaining modern only on the basis of the program mediated by its language and its textual circulars – self-understanding, a key to interpretation in the constant upheaval and modification in the forced correlation of codes and signs.
• Hence the question of fixed capital, a knowledge in the motif of retaining/holding on to: archive/store under the conditions of abstract domination.
If modernity claims for itself a continuity in making canonical a social horizon of expectations while the social life processes and practices on the other hand are realized provisionally, under produced conditions, as the respective modalities of production – how, according to what criteria and what forms, localized, is society reflected in relation to its historical blueprint? – And, especially: how is it testified, quasi proven or documented in view of the cultural claim to performance inherent to its self-affirmation, when the process of unrelenting alienation (title growth/progress) of the respectively valid or established, characterizes the living environment?
Even more concretely: How does art function (if at all) in the framework of the abstract program of a socialization, especially from the point of view of its implied logic of (social ex-) change?
Translated from German by Alan Roth
*)>>> As ‘production’ intends not only the production of goods but through its conditions at the same time the fabrication and perpetuation of the patterns and the means of predominant knowledge (‘general intellect’), it is the structural force of societal formation. Also in the sense of legitimizing its social dispositifs or political conditions, since in the framework of systematic knowledge, i.e., a sometimes universitarian-disciplinary, institutional science, “the powers of social production [that] have been produced, not only in the form of knowledge, but also as immediate organs of social practice, of the real life process” are reproduced abstractly, in the formula of a linguistic-textual or semiotic plane. In the sense of the hidden rule of fixed capital, as a moment of abstract domination, production acts as a quasi-external, objective factor in the pattern of relations (cf. abstraction of exchange) of socialized life.
cf. with reference to Marx’s Grundrisse (as quoted here, especially the Fragement on the Machines, as well as the later work of Althusser:
– the analyses by Antonio Negris und Maurizio Lazzarato, as well as other writing on the theory of post-operaism.
– also the concept of society of knowledge (Lane, Bell), as the displacement of industrial production of goods by specific knowledge production in the sense of a resource adding value.
Ana Roldán
Negative Bodies (The Utopic Body)
2016
Neon
30 x 32 cm
Withering Paradisiaca
2014
Table, glass table top, banana flower
65 x 70 x 100 cm (table), flower size variable
Ana Roldán, Withering Paradisiaca, 2014.
This is boring. No, it's not.
2016, 25 x 15 x 5 cm
Ana Roldán, This is boring. No, it's not. 2016, 25 x 15 x 5 cm
Vanilla Overseas
2016
Installation
Variable
Banana as Tourists
2016
Performance Sunday, 26 June 2016, 18:00h
Inspired on “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.
Lena Maria Thüring
Future Me
HD Video, single channel, 16:9, colour, sound, 11 min 45 sec, German subtitles
Lena Maria Thüring, Future Me. Video still.
Lena Maria Thüring, Future Me. Video still.
Die künstlerische Arbeit Lena Maria Thürings beginnt häufig mit Gesprächen, die sie mit anderen führt und zu Texten und Videofilmen weiterverarbeitet. Dabei interessiert Thüring die Frage, wie man anhand individueller Geschichten über gesellschaftliche Systeme und die ihnen zugrunde liegenden Konstruktionen nachdenken kann. Im Rahmen der Education Projekte lud das Museum für Gegenwartskunst die Künstlerin ein, um gemeinsam mit Schülerinnen und Schülern ein neues Werk zu produzieren. In Zusammenarbeit mit der Künstlerin verfassten die Schülerinnen und Schüler ihre Memoiren - von der Geburt bis zum Tod. So entstand eine Reihe semi-fiktiver, teils erfundener, teils autobiografischer Texte, in denen die Grenze zwischen Dokumentation und Fiktion berührt wird – zwischen Erinnerung und Inszenierung. Die Texte wurden anschliessend bearbeitet, verdichtet und verfremdet. Das Resultat dieses Prozesses ist ein Skript, das den Ausgangspunkt für einen Videodreh bildet. So entsteht ein Film, der Züge eines Musikvideoclips hat. Die teils tänzerischen, teils kämpferischen Choreografien und Inszenierungen vor der Kamera füllen die Bildebene. Die von den Schülerinnen und Schülern gesprochenen Memoiren erscheinen als Offstimmen auf der Tonebene – ein polyphoner Sprachteppich im Rhythmus der Bilder.
Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland
Lena Maria Thüring’s art often grows out of conversations with others she translates into texts and videos. Thüring’s guiding question is how individual stories can help us think about social systems and the constructions that underlie them. As part of its Education Projects series, the Museum für Gegenwartskunst invited the artist to collaborate with high school students on a new work. She led the students in a workshop in which they wrote their memoirs, from birth to death, producing a series of semi-fictions: partly invented and partly autobiographical texts probing the boundary between the documentary and fictional registers—between recollection and dramatic imagination. Edited for greater density and added effect, the texts served as the basis for a script used in a subsequent video shoot. The result is a film that bears the hallmarks of a music video. The choreographies and dramatic scenes staged for the camera burst onto the screen with a mix of dancelike grace and combativeness, while the soundtrack features the students’ own offscreen voices reading their memoirs—a polyphonic verbal fabric in the rhythm of the images.
Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland
WORMS Künstler_innengruppe
timewheel-oracle for feminist politics of complexity
on selected dates a one-minute oracle will be transmitted to corner college on midday and midnight. concrete dates will be announced soon.
The one-minute-oracles act as a call to feminist politics of complexity, in search for a joint memory - binding and linking the past, present and future. The oracles have been a fluid practice within Worms since summer 2013 in the context of an intense exchange with the artist duo coexistent. They will be expanded and exchanged throughout the exhibition at Corner College between different artists/groups and collectives.
The rotating futurepastpresent-wheel will help to bring memories, dreams and predictions together, conjuring a transtemporal place towards a collective déja vu.
The recorded one-minute oracles will be available as documentation in the exhibition, as materials on the Corner College website and on vimeo.
Transmission dates:
26 May midnight https://vimeo.com/168362750
27 May midnight https://vimeo.com/168407213
8 June midnight https://vimeo.com/169940078
11 June midday https://vimeo.com/170333472
14 June midnight https://vimeo.com/170683628
25 June midday https://vimeo.com/172203856
Luciana Freire D'Anunciação
Porosidades do espaço temporalizado [Porosities of a temporalized space]
Skype performance at the opening
Carolina Bergonzoni and Luciana Freire D'Anunciação, An empty house (full of air), Vancouver Fringe Festival, September 2015. Photo: Ash Tanasiychuk.
The project Porosities of a Temporalized Space is a durational performance that plays with time-space possibilities in order to question the way we perceive the chronological time. How can one use the body to temporalize the space or spacialize the time? Possible answers will come with my proposed action: the repetition of gestures. In a defiant way towards the success of such failure driven action, I will subject my body into the gesture repetition exhaustion, and with it I will be open to accidents and its continuous potencial to change the gesture. I will consider everything around me as stimuli, be it the the city sounds, the architecture and objects within the space. Hence I will consider my body a porous entity, which both accumulates and let go experiences and time-space stimuli. In a subtle way the perfomance will go through changes that will be perceived accordingly to the relation which audience member will create within the time spent with the performance.
Distruktur (Melissa Dullius & Gustavo Jahn)
Éternau Alterstereo
Performance / screening on Sunday, 5 June 2016
2 X 16mm, digital sound | Brazil, Germany | 25min | 2011
Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Poster.
Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Video still.
Éternau Alterstereo is a performance by Distruktur in the finest tradition of expanded cinema: a dual 16-mm projection accompanied by a collage soundtrack.
The juxtaposition of the 2 screens affects the viewer experience and the images in different ways such as echoing, mirroring, or complementing. Visual stereo hi-fi. The use of distortion lenses during the projection can be applied to invade the projection space beyond the screen's surface.
The soundtrack comments and adds new layers to the images involving the audience in a warm tempest of sound.
The "filmperformance" revisits and multiplies the short film Éternau, a colorful tropical fantasy that pays tribute -not without irony- to genres and clichés of the XX century cinema, eccentric film stars, exoticism and orientalism, by reproducing and reinventing this imagery from a timely and spatial distance.
All the 16mm footage used in the performance was shot in studio and locations in south Brazil between 2004 and 2006. Éternau screens regularly all over the world in film festivals, museums, art spaces and cine-clubs since 2006.
Exhibitions
2015
(S8) MOSTRA DE CINEMA PERIFÉRICO | A CORUÑA
FILMESPERFORMANCE | Academie Minerva Beeldende Kunst & Vormgeving| GRONINGEN
2014
WE ARE ANIMALS | Austellungsraum, Bilingua e.V. | BERLIN
2012
LEERSTAND . 012 / 13 | Kitev | OBERHAUSEN
TRUE TRUE NAME - MAD KATE'S PERFORMANCE SALON | Exit | BERLIN
FILMESPERFORMANCE | PERFORMA PAÇO, Paço das Artes | SÃO PAULO
2011
INTRICATE MACHINES | Mica Moca Project Space | BERLIN
TUDO È Guest Nation Brazil | Ex-Esattoria | FLORENCE
Marie Carangi
Teta Lírica [Lyric tits]
Skype performance on Sunday, 29 May 2016
Marie Carangi, Teta LÃrica. Video still.
Marie Carangi, Teta LÃrica.
Teta Lírica é uma performance que envolve a relação de atrito entre o movimento do corpo e o instrumento musical theremin. Esse instrumento possui uma antena que emite um campo vibracional no ar, onde as notas musicais se distribuem reagindo à proximidade do corpo. Enquanto o corpo se sacode, as tetas balançam tocando aleatoriamente as notas nesse campo gerando sons. O grau de aproximação entre tetas e antena, associado à velocidade de movimento, gera picos de agudo variáveis, resultando num canto lírico estridente.
Lyric Tits is a performance that involves the frictional relationship between the movement of the body and the musical instrument theremin. This instrument has an antenna that emits a vibrational field in the air, where the notes are distributed reacting to the proximity of the body. As the body is shaking, the tits swing randomly, playing the notes in this sound-generating field. The degree of proximity between tits and antenna, combined with the velocity of the movement, generates peaks of variable pitch which result in a strident lyrical song.
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.
A kind of palimpsest
by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin
consisting of two flags on display on the façade of Corner College, makes a passage from Chapter I to Chapter II of the exhibition/publishing project No-where? Now-here! The Molecular Books of Life – Colleges of Unreason. It will remain on display throughout the time between the two chapters.
Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, A kind of palimpsest.
Chapter I took place from 17.03.2016 to 17.04.2016.
Chapter II is due to take place in November/December 2016.
A text about the work is available in the space, as well as on the website of Corner College.
Saturday, 28.05.2016
17:00h
New Buenos Aires: Artist Talk, Skype Performance, Screening Program
In the context of the group exhibition New Buenos Aires at Corner College.
17:00h Door opening
17:30h Artist talk and screening of a selection of his works by Cristiano Lenhardt.
19:00h Skype performance Teta Lírica [Lyric tits] by Marie Carangi.
20:00h Screening program The Uprising of the Body curated by Silvan Kälin.
Marie Carangi, Teta LÃrica. Video still.
Cristiano Lenhardt, Polvorosa. Video still.
Saturday, 04.06.2016
20:00h
New Buenos Aires: Performance / Screening Éternau Alterstereo by Distruktur
In the context of the group exhibition New Buenos Aires at Corner College.
Address: Kochstrasse 18, 8004 Zürich (30 m from Corner College).
Meeting point at Corner College at 20:00h. If you come later, come directly to Kochstrasse 18 (entrance from the alleyway between the buildings). If you cannot find it, try calling +41-79-248 43 15.
20:00h Door opens. Meet at Corner College to walk over to Kochstrasse 18
21:00h Performance / screening Éternau Alterstereo by Distruktur (Melissa Dullius & Gustavo Jahn)
Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Projection views (Left: 3 channel; Right: 2 channel).
Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566347266879116
Wednesday, 15.06.2016
19:00h
New Buenos Aires:
Tropical Babel: on a ruined mall stranded in Caracas
In the context of the group exhibition New Buenos Aires at Corner College.
Lateinamerikazentrum Zürich (Universität Zürich) and Corner College present
Tropical Babel: on a ruined mall stranded in Caracas
Celeste Olalquiaga (Proyecto Helicoide)
at Corner College
on 16 June 2016
at 19:00h, followed by a reception
El Helicoide de la Roca Tarpeya, Caracas, Venezuela.
Built in the 1960s as a futuristic shopping mall, El Helicoide de la Roca Tarpeya, in Caracas, Venezuela, would have been the most state-of-the-art shopping mall of the Americas, with a double helix of vehicular ramps aligned with high-end boutiques, exhibition centers and even a heliport. But El Helicoide was never finished and has been the site of multiple failed projects (including a bus terminal and a cemetery), massive informal occupations and, for the last thirty years, a police headquarters with political prisoners. How the building that was supposed to be the symbol of Venezuela modernity turned instead into one of this country's (and modernity's!) most emblematic failures make of El Helicoide an incredible story of soured ambitions, democratic betrayals, bankruptcy, evil spirits and more...
PROYECTO HELICOIDE is a non-profit organization dedicated to rescuing the architectural, cultural and social value of El Helicoide de la Roca Tarpeya in Caracas, Venezuela. Built as a spiraling drive-in mall between 1958 and 1961, El Helicoide was never finished. Its unique shape and peculiar history of abandonment, failed projects and police occupation make it a global icon of the contradictions of modernity.
Saturday, 18.06.2016
15:00h
[English see below]
Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.
In der dritten Veranstaltung lädt Corner College die Künstler_innen Saman Anabel Sarabi und Alex Wissel ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.
Left: WORMS Künstler_innengruppe, Worms 3008: timetravel to an un-named park, 2015. Photo: Tim Zulauf. Right: Jan Bonny and Alex Wissel, Rheingold. Filmstill.
Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutscher Text siehe oben]
Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the third event, artists Saman Anabel Sarabi and Alex Wissel are invited to present their curatorial practices and discuss them between themselves and with the audience.
15:00h Picnic and discourse: Saman Anabel Sarabi, in collaboration with Stefan Wegmüller, and Alex Wissel will present their work through presentations, card games and an informal reading of their shared letters
18:00h Discussion between the artist-curators and the audience, moderated by Dimitrina Sevova
20:00h Screening of Alex Wissel's movie Single (Regie: Jan Bonny und Alex Wissel)
Copies of the artist-curators' collected material with and around their 'letters' will be available in the space.
Saman Anabel Sarabi
Mein Name ist Josephine. Ich bin Sängerin und komme aus einer Kurzgeschichte, in der ich mich nicht mehr wohlgefühlt habe und deswegen aus dem Buch heraus in andere Bücher, Situationen, Gespräche, Zustände, Wälder, Städte, Parks und Konstellationen reise. Dort, wo ich jetzt bin ragen hohe lauschige Bäume in die Höhe, zwei grosse Wiesenabschnitte werden abwechselnd durch labyrinthische Pflastersteinwege und dichte Böschungen miteinander verknüpft - hinter den Bäumen eine vierspurige Strasse und eine grosse Kreuzung, auf der gegenüberliegenden Seite riesige Villen.
Ich halte mich seit einiger Zeit hier auf und habe bemerkt, die Menschen hier teilen ihre Zeit extrem akkurat ein und leben darin als wäre es anders nicht möglich: es gibt Sekunden, Minuten, Stunden, Monate, Jahre, Holozäne und Antropozäne. (...) An den Wegrändern und Wiesenabschnitten entlang laufend, habe ich die Douglasie getroffen. Hier treffen wir uns nun regelmässig zum Schreiben, Sprechen und Lesen mit dem Nashorn aus dem Naturhistorischen Museum Bern, einem Fragebogen von Almut Rembges, der verirrten Seele von Vivienne von Wattenwyl, Marthe Gosteli’s Burgermedaille und durchforsten die unzähligen Dokumente des Stadtplanungsamts Berns, ein paar Ausgaben der Lehrerinnenzeitschrift aus der Gostellistiftung sowie das Buch von Katrin Rieder 'Netzwerke des Konservatismus, Berner Burgergemeinde und Patriziat im 19. und 20. Jahrhundert' ... Lucie Kolb schreibt mit...
(aus: Worms 3008: timetravel to an un-named park with Josephine-Joseph the singer-mouse, a carrier bag full of resurrected l's and nd's, powerfull plants, turning subjects, historical papers and future ghosts, individuals and collectives - all needy for connection, they seem to have an urgent feeling for front politics but without the vanguard party and the free market feminists)
Eine Zeitreise am 19. Juni 2016 führt uns in Corner College in Zürich...
Alex Wissel
Kunst ist keine Pfeiffe
Wer bin ich? Wer sind wir? Wer spielt uns und wen spielen wir?
The moment where representation turns into participation is my main interest and I´m trying to reach it by thinking and working about marketing, appropriation and display decisions. My work has a lot to do with theater in everyday life and how architecture, social roles and a specific atmosphere can be used to influence people habits.
Single
Regie: Jan Bonny und Alex Wissel. Mit Alex Wissel, 70 min, D 2015
„Single“ spielt sowohl auf den Beziehungs-Status des jungen Künstlers Alex Wissels, der sich im gleichnamigen Film selbst spielt, als auch auf den von ihm gegründeten Single Club an. Nachdem seine Freundin ihn verlässt, sucht Wissel in der Rolle des Nachtclubbetreibers neue Bestätigung. In den Kellerräumen des albanischen Lokals “Bistro Agi” unweit des Düsseldorfer Hauptbahnhofs findet er den geeigneten Ort. Von Juni 2011 bis Juni 2012 inszenierten Künstlerinnen hier experimentelle Parties und Performances, die sich unter Mitwirkung des Publikums entfalteten. Dank der völligen Verausgabung aller Beteiligten wurde der Raum dafür ein jedes Mal neu gestaltet. Viele nutzten die Veranstaltungen für die Gründung von Kunst- und Musikprojekten. So gesehen war der Club eine einzigartige Bühne für das Erproben unterschiedlicher Formate und Katalysator für neue Bands und Kollektive.
Der Film Single, von Alex Wissel und Jan Bonny, handelt einerseits von der kurzen Ära des Clubs, der als alternatives Modell von öffentlichem Raum und partizipativer „Sozialskulptur” konzipiert war. Andererseits erzählt er die fiktive Geschichte eines jungen Mannes, der die permanente Selbst-Inszenierung irgendwann nicht mehr von der Realität unterscheiden kann. Der Film kann auch als Fortführung des Ortes mit anderen Mitteln gesehen werden.
Mit u.a. Lars Eidinger, Rita McBride, Peter Doig, Agipet Iljazi, Hans-Jürgen Hafner, Magdalena Kita und Sibel Kekilli.
“Single” refers both to the relationship status of the young artist Alex Wissel, who plays himself in the eponymous movie, as well to the “Single Club” founded by him. After his girlfriend left him, Wissel seeks new recognition in the role of a nightlife impresario. In the basement of the Albanian gambling bar “Bistro Agi” near Dusseldorf’s main train station he finds a suitable place. From June 2011 to June 2012, artists, with the participation of the audience, throw experimental parties and performances. Thanks to the commitment of everybody involved, to the point of exhaustion, on every club night the basement had a completely new look. The events were used by many to form new art collaborations and music projects. From this perspective, the club was a unique stage for experiments in new formats and a catalyst for new bands and collectives.
The movie Single by Alex Wissel and Jan Bonny is partly about the short era of the club, which was conceived as an alternative model of public space and a participative social sculpture. Partly it is the fictive story of a young man who loses contact with reality due to permanent self-staging. One could also see the movie as the continuation of the place by other means.
With, among others, Lars Eidinger, Rita McBride, Peter Doig, Agipet Iljazi, Hans-Jürgen Hafner, Magdalena Kita and Sibel Kekilli.
Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.
We would like to thank the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of Künstler_innengruppe WORMS / Saman Anabel Sarabi and Stefan Wegmüller in this event, and in the ongoing exhibition, New Buenos Aires.
Tuesday, 21.06.2016
20:00h
Four Freddies
A Concert With or Without You
(performance, experimental, creative music)
Mit San Keller (voc), Michael Jaeger (ts, cl) and Fabian Gisler (b)
Wir spielen unsere Instrumente mit vier Fingern so gut wie andere mit fünf. Neben der Bühne arbeiteten wir als Handwerker - dabei hat unser Bassist seinen Mittelfinger verloren. Aus Solidarität spielen wir seither alle nur noch mit vier Fingern. Kürzlich ist unser Flötist tragisch verstorben, doch wir spielen zu dritt so gut wie zu viert als die FOUR FREDDIES. Unsere Konzerte sind Performances mit, vor, im und/oder ohne Publikum. Wer bis zum Ende ausharrt, hat es verdient, nichts dafür zu bezahlen.
Hier noch unser Witz der Woche: "Was sagt der Reggae-Fan zu seinem Kumpel, wenn er nichts mehr zu rauchen hat?
Schalt endlich diese Scheissmusik aus!"
Zwei Minuten FOUR FREDDIES / A CONCERT WITH OR WITHOUT YOU auf Youtube
With San Keller (voc), Michael Jaeger (ts, cl) and Fabian Gisler (b)
We play our instruments with four fingers just as well as others do with five. While we were working as manual labourers alongside our work on stage, our bassist lost his middle finger. Ever since then, we have all played with just four fingers, out of solidarity. Not long ago, our flautist tragically died, but we play in a group of three just as well as in a group of four, as the FOUR FREDDIES. Our concerts are performances with, before, in and/or without an audience. Anyone who perseveres to the end has earned the right to pay nothing for it.
And now our joke of the week: "What does a reggae fan say to his companion when he has nothing left to smoke?
Do switch off that crap music!"
Two minutes FOUR FREDDIES / A CONCERT WITH OR WITHOUT YOU on Youtube
Wednesday, 22.06.2016
20:00h
In the context of the group exhibition New Buenos Aires at Corner College.
Screening of Legalillanalyzis by Andrea Éva Győri, video of a performance, 16:9, 2014.
Andrea Éva Győri and Mateo Chacon-Pino discuss with the audience.
Andrea Éva Győri, drawing.
The Art World somehow resembles the infamous Rabbit Hole through which Alice falls into Wonderland. The deeper you get, the more you find yourself in a strangely working world with its own logic and language, in which you have to adapt yourself and learn the proper vocabulary. Contrary to the Wonderland, the Art World is visible to the outside of it and some objects even become general knowledge. The Screening of Andrea Éva Győri's Video “Legalillanalyzis” (2014) shows how a political scientist presents Andrea's drawings without prior knowledge. Following up a group of experts will discuss how their supposedly naïve view on Art is perceived from the Art World and which conflicts arise in the discussion on Art through the fact of not being actively involved in the Art World.
Saturday, 25.06.2016
16:00h
Finissage: New Buenos Aires
with Performances, Talks and Discussions
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.
Ana Roldán, Banana as Tourist.
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.
Friday, 08.07.2016
18:00h -
Thursday, 04.08.2016
An exhibition project by Adrien Guillet and Quentin Lannes
curated by Dimitrina Sevova and Alan Roth.
Sat 09.07.2016 - Fri 05.08.2016
Opening on Saturday, 9 July 2016 at 18:00h.
Sunday, 10 July 2016 at 16:00h: Artist Talks, presentations and discussion.
Finissage on Friday, 5 August 2016 at 18:00h in the presence of the artists.
Opening Hours / Öffnungszeiten:
Wed 15:00h - 18:00h
Thu 16:00h - 19:00h
Fri 15:00h - 18:00h
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.
The title of the exhibition project is inspired by the story “The Analytical Language of John Wilkins.” The latter is a scientist from 17th century enlightenment whose “ambiguities, redundancies and deficiencies remind us of those which doctor Franz Kuhn attributes to a certain Chinese encyclopaedia entitled ‘Celestial Empire of benevolent Knowledge’” with its taxonomy of animals. The exhibition especially considers the distinctive character, listed in this encyclopaedia under the letter “(f)”, of being “fabulous,” as a method of fabulation on historical materials, modern ruins, commodities, and the recent rapid move of virtual-reality technologies into the medium mainstream, revealing a new geopolitics of the virtual and a crisis of representation of the body that inevitably follows from it. The dialogical format of the exhibition invokes a benevolent methodology that breaks with genealogy and linear narrative, détourning ‘cognitive technologies’ to actively speculate and generate deviated narratives that remain open in their “inherent formlessness,” providing the viewer with a “groundless basis of the aesthetic experience.” This methodology is both anachronistic and futurist, which inevitably come together in a live structure, in what Shklovsky describes as a “ludic ruin/construction site that lays a foundation for the subversive practice of estrangement.” The connecting principle of the works on display is the interplay of de-coding and encoding of the technological dispositifs, colonial history, and material knowledge. As their collective motto, the artists refer to what the Red Queen says to Alice about remembering events before they happen as well as events that have happened: “It’s a poor sort of memory that only works backwards.”
The Celestial Emporium of Benevolent Knowledge, to which Emporium of Benevolent Data refers, was an important inspiration for Michel Foucault when writing The Order of Things: An Archaeology of the Human Sciences, for his fabulation on epistemological models out of “the laughter that shattered” and its echo “continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other.” This echo shall be heard from the depth of the exhibition, rather than forms of mediation of the ambivalent.
Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.
Adrien Guillet
Citracit
Adrien Guillet, Citracit view, modified. 2016.
[English and German below]
Citracit est une uchronie, une fiction dystopique et anachronique qui explore les relations problématiques qu’a noué le constructeur automobile Citroën avec le continent africain. Ce projet prend corps par la création d’un ensemble de produits promotionnels modifiés, de sculptures et d’accessoires de facture artisanale africaine. Ces deux types de productions répondent à l’énoncé suivant : « On a retrouvé des cadeaux souvenirs Citracit qui devaient être vendus dans les boutiques des bordjs-hôtels Citroën. Ils ont échappé à l’ordre de destruction d’André Citroën ! ».
[ French above; German below ]
Citracit is a uchronia, a dystopian and anachronistic fiction that explores the problematic relations weaved by the automobile constructor Citroën with the African continent. The project takes shape through the creation of a number of modified advertising products, sculptures and accessories of African artisanship. These two types of productions respond to the following statement: “Citracit souvenir gifts have been found that were to be sold in the boutiques of the Citroën bordjs hotels. They escaped André Citroën’s order that they be destroyed!”
What does Citracit consist of?
As Alison Murray explains in her essay “Citroën Tourism” (see at the end of this document), the failure of the Trans-African Company was skillfully hushed up, so that Citracit was completely forgotten. The main objective of my project is to dig up the Trans-African Company following a strategy reverse to that of André Citroën. Since the communication material of the Trans-African Company was destroyed, I take care of producing them from scratch.
In my project, Citroën no longer exists, and is replaced by Citracit. In this uchronia, the founding of the Trans-African Company went well, and Citroën has not defaulted. In this parallel reality opened up by the Citracit project, Citroën is no longer a constructor of cars but embodies the very notion of exoticism, adventure and travel in the way of popular travel agencies.
I chose to call my project Citracit in order to bring back to the present the history of the Trans-African Company. This tourism project for a chain of camping sites and hotels in Africa was also called Centracit or CEGETAF. From Citroën to Citracit it is enough to delete a “oën” and replace it by “acit.” Three of the letters to append are already present in Citroën. As for the suffix “a,” it is easily created from the “r” of Citroën. In this play of typographical détournement lies the essence of the Citracit collection. Observing more precisely the Citracit logo that can be found ahead of this article on the first page, one can observe that the “acit” of Citracit is pixelized. What looks accidental is done on purpose and bears witness to the détournement style of the Citroën brand, a raw and DIY kind of détournement. The two chevrons of the logo become sacred clan symbols. We discover them once more on the sculptures, as motifs and texture.
Rather than attempting to find out what might have actually been sold in the souvenir gift boutiques of Citroën’s bordjs hotels in Africa, Citracit is taken as a starting point for a sculptural and conceptual reflection. Far from a historical reconstruction, the elements of the Citracit collection of souvenir gifts are a marriage between the African artisan codes and techniques, and a selection of second-hand promotional Citroën products. Online market places (Le Bon Coin, Ebay, Price Minister and Delcampe) allow me to collect at moderate cost advertising objects and tourist souvenirs from Africa I am interested in. The collection process in itself says something about our times, in the sense that it is mainly about online buying and postal shipping. This dematerialization of the act of buying breaks any possibility of a personal narration, and raises questions about the problem of recycling of symbols. Indeed the value of the souvenir gifts brought back from Africa by travelers is almost nil, since they consist of an ersatz of traditional African art, produced for tourists (airport art). While the great majority of Citroën advertising products are initially free, and intended to be given away (notion of reward and of communication) to clients, future clients, employees and institutions. These are thus indeed symbols, intrinsically poor fetish objects to which a strong history is attached.
The artefacts mixing the visual identity of Citroën and African aesthetics take the form of statuettes, clothes, bags, belts, gadgets, etc., where references cross and symbols enter into confrontation. Each element is the stage of a merciless struggle between the visual identity of Citroën and that of Citracit, between Europe and Africa, between cars and tourism, success and failure, serial production and manually produced work. The status of these creations is ambiguous, both travel memories via a tour operator that has never worked, and counter-advertising products, problematic in that they evoke a chapter of French colonial history that has been completely blanked out.
[French and English above]
Citracit ist eine Uchronie, eine dystopische und anachronistische Fiktion, welche die problematischen Beziehungen auskundschaftet, die der Autohersteller Citroën mit dem afrikanischen Kontinent gewoben hat. Das Projekt nimmt Gestalt an über die Schaffung einer Anzahl von abgeänderten Werbeprodukten, Skulpturen und Zubehör afrikanischen Handwerks. Die beiden Arten der Produktion entsprechen der folgenden Aussage: „Es wurden Citracit-Souvenirs gefunden, die in den Boutiquen von Citroëns Bordjs-Hotels hätten verkauft werden sollen. Sie entgingen André Citroëns Anweisung, sie sollten alle zerstört werden!“
Worin besteht Citracit?
Wie Alison Murray in ihrem Aufsatz „Citroën-Tourismus“ erklärt (siehe Anhang zu diesem Dokument), wurde das Versagen der Trans-Afrikanischen Gesellschaft so geschickt vertuscht, dass Citracit gänzlich in Vergessenheit geriet. Das Hauptziel meines Projekts liegt darin, die Trans-Afrikanische Gesellschaft auszugraben, einer Strategie folgend, die jener von André Citroën gegenläufig ist. Da das Kommunikationsmaterial der Trans-African Company zerstört wurde, mache ich mich daran, diese von Grund auf herzustellen.
In meinem Projekt existiert Citroën nicht mehr und wurde durch Citracit ersetzt. In dieser Uchronie ist die Einweihung der Trans-Afrikanischen Gesellschaft gut gegangen, und Citroën ist nicht Pleite gegangen. In der Parallelwirklichkeit, die das Citracit-Projekt aufmacht, ist Citroën nicht mehr ein Autohersteller, sondern verkörpert geradezu den Begriff des Exotismus, Abenteuer und Reisen in der Art begehrter Reisebüros.
Ich habe für mein Projekt den Titel Citracit gewählt, um die Geschichte der Trans-Afrikanischen Gesellschaft in die Gegenwart zurückzubringen. Dieses touristische Projekt für eine Reihe von Campingplätzen und Hotels in Afrika lief auch unter dem Namen Centracit oder CEGETAF. Um von Citroën zu Citracit zu gelangen, genügt es, ein „oën“ mit „acit“ zu ersetzen. Drei der Buchstaben, die es zu ersetzen gibt, sind bereits in Citroën zu finden. Das Suffix „a“ hingegen lässt sich einfach aus dem „r“ von Citroën herleiten. In diesem Spiel des typographischen détournement liegt das Wesen der Citracit-Sammlung. Eine genaue Betrachtung des Citracit-Logos, das diesem Artikel auf der ersten Seite voransteht, zeigt, dass das „acit“ von Citracit pixelisiert ist. Was zunächst als Zufall erscheinen mag, ist durchaus Absicht und verweist stilistisch auf das détournement der Marke Citroën, eine rohe und DIY Art des détournement. Die beiden Sparren des Logos werden zu heiligen Clan-Symbolen. Wir entdecken sie erneut in den Skulpturen, als Motiv und Textur.
Quentin Lannes
#IamRebekah
2015. HD video, color, silent, 3’20 looped and sound, 7’40 looped.
Dans l’installation vidéo / son #IamRebekah (2015), l'artiste a développé une fiction d’anticipation à partir de deux véritables personnalités publiques – Zoltan Istvan, candidat transhumaniste à la présidence des États-Unis en 2016 et Rebekah Marine, mannequin en situation de handicap et ambassadrice de la compagnie de prothèse Touch Bionics – dont il a imaginé les trajectoires politiques pour les années à venir sur fond de campagne électorale et de cyber-activisme.
In the video / sound installation #IamRebekah (2015), the artist developed an anticipatory fiction on the basis of two true public characters – Zoltan Istvan, transhumanist candidate to the US presidency in 2016, and Rebekah Marine, differently able fashion model and ambassador to the prosthetics company Touch Bionics – of which he imagined the political trajectories for the years to come, on the backdrop of an electoral campaign and cyber-activism.
The Next Round
Quentin Lannes, The Next Round. Video still, 2016.
2016. HD video.
L'installation vidéo et sonore VR Boxing (The Next Round) que l'artiste a développé pour le Corner College se situe dans le prolongement de l'installation #IamRebekah présentée aux Bourses de la Ville en décembre 2015 - janvier 2016 au Centre d'Art Contemporain, Genève. Il y poursuit ses recherches sur les relations entre corps humain et nouvelles technologies. Ici encore, il propose une fiction d'anticipation ancrée dans un futur proche, proposant
un regard sur l'évolution de nos pratiques actuelles.
Il s'est penché sur le récent développement des dispositifs permettant l'immersion dans une réalité virtuelle : par la vue (casques Oculus Rift et HTC Vive), le déplacement (plate-forme de mouvement Omni) et le
toucher (combinaison vibrante Teslasuit). Étonnamment, la plupart de ces dispositifs dits innovants existent
depuis le début des années 90 mais n'avaient pas trouvé un assez large public à l'époque, pourtant tourné vers
les années 2000. Je m'interroge sur les raisons qui amènent le grand public à enfin s'y intéresser aujourd'hui,
presque 30 ans plus tard.
La fiction VR Boxing questionne donc les pratiques du corps – ici le sport et plus précisément la boxe – à l'ère de ces dispositifs de réalité virtuelle.
Un boxeur, dont les mouvements sont enregistrés par des capteurs n'est pas confronté physiquement à son adversaire sur un ring mais combat une simulation numérique d'un autre boxeur, présent dans un autre espace physique, à des centaines de kilomètres de lui. Lorsqu'un coup atteint sa cible, une décharge électrique est envoyée à l'adversaire via sa combinaison. Une journaliste interroge le boxeur sur l'évolution de son sport, son appréhension de la douleur, son rapport au dispositif numérique remplaçant des interactions physiques, etc.
Le tournage s'effectue en deux temps :
captation vidéo traditionnelle à l'École de Boxe Erdal Kiran 1887, Genève.
captation de mouvement réalisée à Artanim, Meyrin.
The Next Round
The video and sound installation VR Boxing (The Next Round) that the artist developed for Corner College is situated in the prolongation of the installation #IamRebekah presented at the City Grants in December 2015 to January 2016 at the Contemporary Art Center in Geneva. In it, he continues his research on the relations between human body and new technologies. Once again, he proposes an anticipative fiction anchored in a near future, proposing a view on the evolution of our current practices.
He investigated the recent developments of dispositifs that allow immersion into a virtual reality: through sight (Oculus Rift helmets and HTC Vive), movement (Omni movement platform) and touch (vibrating Teslasuit). Surprisingly, most of these so-called innovative dispositifs have existed since the beginning of the 1990s but had not found a sufficiently large public at the time, which was turned towards the years 2000. He raises questions about the reasons that are finally stoking an interest with a larger public today, almost 30 years later.
The fiction VR Boxing thus raises questions about the practices of the body – here, sports, or more precisely, boxing – in the era of these virtual reality dispositifs.
A boxer whose movements are registered by captors is not physically confronted with his adversary in a ring but fights a numerical simulation of another boxer, present in another physical space hundreds of kilometers away. When a punch hits its target, an electrical discharge is sent to the adversary through his suit. A journalist interviews the boxer on the evolution of his sport, his perception of violence, his relation to the numerical dispositif that replaces physical interaction, etc.
The shooting takes place in two phases:
Capturing of traditional video at the École de Boxe Erdal Kiran 1887, Geneva.
Capturing of movements operated at Artanim, Meyrin.
Two flyers for the exhibition. Design: code flow.
This exhibition was made possible by the kind support of the French Embassy in Switzerland.
Wednesday, 27.07.2016
20:00h
Hanaa Safwat: A Monument to Contracting
[Deutsch siehe unten]
The coastal city of Alexandria appears to be frozen in time while simultaneously drowning in sewage, the military is seizing coastal real estate and building shopping malls, the former farmers from the surrounding villages are marching in and dead bodies of African refugees are washing up the shore with missing organs. All these players are operating without remorse. We will take a look at the images and representations of Alexandria in film and popular culture in contrast with what the city now is, following its rapid demographic and cultural change that has been taking place for decades, slowly approaching the true owners of the city.
Layers upon layers of ruins, burned to the ground, catacombs, not so secret gardens, elite cosmopolitans in beach cabins panicking over marching armies. Middle class tastes and values prevail.
In this talk, Hanaa Safwat will introduce the many images and representations of the city of Alexandria, pairing it with her work in progress, “A Monument to Contracting”, a video that tells the story of a fictional resistance group operating in Alexandria.
[English see above]
Die Küstenstadt von Alexandria erscheint in der Zeit gefroren, während sie gleichzeitig in Müll versinkt, das Militär Gebäude entlang der Küste konfiziert und Einkaufszentren baut, ehemalige Bauern aus den umgebenden Dörfern einmarschieren und die Leichen afrikanischer Flüchtlinge mit fehlenden Organen an der Küste angeschwemmt werden. All die Spieler operieren darin ohne Gewissensbisse. Wir schauen uns die Bilder und Darstellungen von Alexandria in Film und Populärkultur in Gegenüberstellung zu dem, was die Stadt heute ist, und verfolgen ihre schnelle demographische und kulturelle Veränderung, die über Jahrzehnte stattgefunden hat und langsam auf die eigentlichen Eigentümer der Stadt zukommt.
Schichten über Schichten von Ruinen, bis auf den Grund abgebrannt, Katakomben, nicht so geheime Gärten, Elite-Kosmopoliten in Strandkabinen, die wegen marschierenden Armeen in Panik geraten. Mittelklasse-Geschmack und Werte herrschen vor.
In dieser Vorlesung wird Hanaa Safwat die vielen Bilder und Darstellungen der Stadt Alexandria einführen, und mit ihrem work in progress “A Monument to Contracting” verbinden, einem Video, das die Geschichte einer fiktionalen Widerstandsgruppe in Alexandria erzählt.
Saturday, 30.07.2016
17:00h
[English see below]
Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.
In der vierten Veranstaltung lädt Corner College die Künstler Livio Baumgartner, Pascal Häusermann und Karol Radziszewski ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren. Die Diskussion wird moderiert von Robert Steinberger.
Left: Livio Baumgartner, All The Things You Are (settled), 2014. Kollaboration mit Peter Baumgartner. Verschiedene Materialien, Grösse variabel. Ausstellungsansicht: Cantonale Bern Jura, Kunstmuseum Thun, 2014. Middle: Trouble Boy. Archives and Collections of Steven Shearer, Martin Stricker, Marky Edelmann, Supernaught. Exhibition at Corner College, 31.1. – 9.2. 2014. Curated by Pascal Häusermann. Right: Karol Radziszewski, Queer Archives Institute, exhibition at Videobrasil, Sao Paulo, Brazil, 2016. Photo: Everton Ballardin.
Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutsch siehe oben]
Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the fourth event, artists Livio Baumgartner, Pascal Häusermann and Karol Radziszewski are invited to present their curatorial practices and discuss them between themselves and with the audience. The discussion will be moderated by Robert Steinberger.
Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
Livio Baumgartner
Ausstellungsansicht: VITRINE 03, 22.12.2013 – 12.01.2014. Die Diele, Sihlhallenstrasse 4, 8004 Zürich.
Detailliertere Legende zum Bild // Extended caption for the picture:
Die Diele, Vitrine 03 mit «KÜNSTLERKERZEN» VON:
Martin Blum
Rene Fahrni
Franziska Baumgartner
Martin Charmosta
Costa Vece
Vanessa Billy
Nino Baumgartner
huber.huber
Sarina - Sandino Scheidegger
Cyril Plangg
Jan Hostettler
Ariane Koch
Andreas Heusser
Sebastian Mundwiler
Julia Hoentzsch
U.V.M.
All The Things You Are (settled), 2014. Kollaboration mit Peter Baumgartner. Verschiedene Materialien, Grösse variabel. Ausstellungsansicht: Cantonale Bern Jura, Kunstmuseum Thun, 2014.
Livio Baumgartner (1982 Bern) studierte Fotografie und Bildende Kunst in Zürich und Bern. Während in den Fotogramm-Arbeiten die klassischen Bildelemente von Linie und Raum zu einer neuen Interpretation gelangen, wird in den installativen und konzeptuellen Arbeiten der Frage nachgegangen, wann und wie ein Werk zur Kunst wird. Die subtile Ironie hinter diesen Kunstprojekten überführt den scheinbar banalen und alltäglichen Gegenstand in einen ästhetischen Kontext. Neben seiner künstlerischen Tätigkeit kuratiert der gebürtige Berner seit 2009 Ausstellungen verschiedenster Künstler_innen im Zürcher Off-Space «Die Diele». Zudem interessiert ihn immer wieder die kollektive Umsetzung künstlerischer Lösungen in Projektbezogenen Ausstellungen wie «No Territorial Pissing» (2010, Bern), «Shine on You Crazy Diamond» (2012, Zürich, mit Nele Dechmann und Nicola Ruffo) oder «Oh wie schön ist Panama – im Spannungsfeld zwischen Mola und Moral» (2016, Zürich, mit Andreas Heusser).
http://www.liviobaumgartner.ch/
http://www.diediele.ch/
Pascal Häusermann
Trouble Boy. Archives and Collections of Steven Shearer, Martin Stricker, Marky Edelmann, Supernaught. Exhibition at Corner College, 31.1. – 9.2. 2014. Curated by Pascal Häusermann.
"Das Thema der Männlichkeit ist eine Konstante sowohl in meiner künstlerischen Praxis wie auch in den kuratorischen Arbeiten.
"Trouble Boy", 2014 im Corner College gezeigt, untersuchte Aggressivität und Selbstinszenierung im Kult des Heavy Metal und bezeichnete eine Stagnation des Rollenmodells Mann. In Gegenüberstellung dazu steht meine derzeitige Arbeit des Erkundens von urbanem Lebensraum. "Walking in Paris along a Mosaik", "Walking an Oriental Line" und "Ascending and Descending in São Paulo" sind filmische Arbeiten, in welchen Kontrollschemen der Orientierung aufgegeben und neu erfunden werden. Eventuell handelt es sich dabei um ein Gegenmodell zur hegemonialen Männlichkeit oder aber auch um die Neuerfindung des Flaneurs."
http://pascalhaeusermann.ch/
Karol Radziszewski
Queer Archives Institute, exhibition at Videobrasil, Sao Paulo, Brazil, 2016. Photo: Everton Ballardin.
Taking his latest project "Queer Archives Institute" (QAI) as an example, Karol Radziszewski will talk how he is switching between the roles of an artist, an archivist, a collector and a curator. He will present the different forms the QAI takes - from an exhibition to a temporary office, a publication, a performance, a lecture. He will discuss also how he is considering running a para-institution as a political statement.
The "Queer Archives Institute" is a non-profit artist-run organisation dedicated to research, collection, digitalisation, presentation, exhibition, analysis and artistic interpretation of queer archives, with special focus on Central and Eastern Europe. Founded in November 2015 by Karol Radziszewski, the QAI is a long term project open to transnational collaboration with artists, activists and academic researchers.
http://queerarchivesinstitute.org/
Saturday, 30.07.2016
20:00h
Karol Radziszewski: Presentation of DIK Fagazine
DIK Fagazine, No 9, Czechoslovakia Issue (2014)
DIK Fagazine is the first and, so far, the only art magazine from Central and Eastern Europe concentrated on homosexuality and masculinity. It combines queer archival research with contemporary art contributions. Founded in 2005 by artist Karol Radziszewski. Currently designed by Martin Falck. The journal is based in Poland, published in English and distributed worldwide.
DIK Fagazine ist die erste und bisher einzige Kunstzeitschrift aus Zentral- und Osteuropa, die Homosexualität und Männlichkeit fokussiert. Sie verbindet Recherchen in Queerarchiven mit Beiträgen zeitgenössischer Kunst. 2005 vom Künstler Karol Radziszewski gegründet. Derzeit Design von Martin Falck. Das Journal ist in Polen angesiedelt und wird auf Englisch herausgegeben und weltweit verteilt.
http://dikfagazine.com/
Thursday, 04.08.2016
18:00h
Finissage: Emporium of Benevolent Data with Adrien Guillet and Quentin Lannes
Finissage: Friday, 05 August 2016, at 18:00h in the presence of the artists.
Emporium of Benevolent Data. Exhibition views from the opening. Photo: code flow.
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.
Thursday, 11.08.2016
20:00h
Lesung von Anne Käthi Wehrli
und
Konzert von Mosh Mosh
20:00h Lesung von Anne Käthi Wehrli
21:00h Konzert von Mosh Mosh
Anne Käthi Wehrli
Lesung
Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!
Gedichte, Theoretisches Saxophon
Mütterlich lachten die Pflanzen.
Es war in Ordnung. Ich durfte über sie reden und mir Sachen über sie vorstellen.
Es störte sich nicht.
Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig!
Weil wir Freunde waren.
Reading
Why doesn't anybody notice that this chair is a nettle!
Poems, Theoretical Saxophone
Mosh Mosh
Konzert
Nicht umsonst bezeichnen sich Lady Mosh und Posh Mosh selbst als divenhaftes Duo. Und tatsächlich könnte man sie zu Beginn ihrer Performances mit zwei feinen Damen verwechseln, die unterwegs zu einem Gala-Dinner sind. Allerdings bleibt am Ende jedes Mosh Mosh-Live-Auftritts von diesem Eindruck nicht mehr viel übrig. Denn im Eifer des Gefechts sind sich die Diven weder zum Stagediven noch für ekstatische „Bühnenakrobatik“ zu schade. Im ramponierten Zustand scheinen sich die beiden Ladies am wohlsten zu fühlen - immer fleissig damit beschäftigt, die Codes der Damenhaftigkeit neu zu definieren.
Let‘s deconstruct and your body will follow!
Mosh Mosh entführen dabei in Paralleluniversen ebenso faszinierender wie unheimlicher Gegendarstellungen zur Absurdität normierter Lebensentwürfe. Immer funky und kinky entfalten sie schwärmerische Ambivalenzen für Agent Cooper aus „Twin Peaks“, preisen als verwuselte Enkel_innen von Divine die Vorteile von „Robotic Love“, zeigen uns erneut die spooky Zwiespältigkeit geisterhaften Mondlichts im
Angesicht essentieller Fragen anti-essentialistischen, beziehungsweise extraterrestrischen Inhalts („The Mooon“) und treiben schlussendlich auch den heteronormierten Schwefelgeruch aus der Einbauküche hinaus („Junkies in Bikinies“), leider jedoch ohne das unbeschreiblich gruselig auf dem Linoleumboden herumkriechende Etwas wirklich ganz loszuwerden. Denn Mosh Mosh sind zwar Querfeldein-Utopist_innen aber eben auch sezierende Realist_innen.
Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing. Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner. The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'. In brief: Mosh Mosh seem to be most at home when they are in tatters. And it is only thus that the codes of 'ladylike behaviour' can be redefined.
Let's deconstruct and your body will follow!
Vielen Dank an Deborah Keller, die diese Veranstaltung auswählte für ihr Meine Wahl, Züritipp 32, 11 August 2016!
Deborah Keller, Meine Wahl, Züritipp 32, 11 August 2016.
Friday, 19.08.2016
18:30h -
Thursday, 22.09.2016
#work #dance #labor #movements
An exhibition by Johanna Bruckner and Discoteca Flaming Star
curated by Dimitrina Sevova and Alan Roth.
Opening: Saturday, 20 August 2016, starting at 18:30h
with a performance by Discoteca Flaming Star at 20:00h.
Saturday, 20 August 2016 - Friday, 23 September 2016
Opening Hours / Öffnungszeiten
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h
Saturday / Samstag, 14:00h – 16:30h
(Closed on Thursday, 15 September 2016)
[English below]
Die Ausstellung #work #dance #labor #movements vereint die Installation und Performance Love Any Out of (90 Seconds) End von Discoteca Flaming Star mit den Research-Prozess-basierten Video Installationen Rebel Bodies (Episodes I & II) und Total Algorithms of Partiality von Johanna Bruckner.
Beim Ausstellungsprojekt geht es um die Freude am Anderen, und darum, aus polyphonischen Melodien und gemeinschaftlichen Rhythmen einen unpersönlichen Refrain zu erzeugen. Die Ausstellung bezieht bewusst die aktuellen post-fordistischen Bedingungen und die prekäre Lage kreativer Arbeiter_innen und immaterielle Aspekte der Produktivität heute ein, um auszumalen, wie wir alle als Agent_innen in einem Netzwerk von Beziehungen dringend unsere materiellen Körper am Limit tanzend erfinden müssen. Das veranlasst jede_n von uns unweigerlich, unsere Beziehungen zum Anderen neu zusammen zu setzen. In dieser Bewegung des Zusammenspiels, in der man sich um den Anderen sorgt, „kann das Limit nicht ausgeschöpft werden.“ Das, was Franco „Bifo“ Berardi als für die Produktion von Affekt und Potentialität notwendiges Limit definiert, für ein positive und aktive Verfremdung, die es erlaubt, der technologischen Entfremdung zu entgehen, die auch eine soziale ist. In der Überschneidung der Praktiken von DFS und Bruckner zeigt die Ausstellung Techniken der Bewegung, die für das tägliche Proben in unserem Alltag verwendet werden können, um ihr Publikum linguistisch, affektiv und politisch einzubeziehen. Dazu sind keine besonderen Tanzfähigkeiten vonnöten. Es kann experimentiert und improvisiert werden, um einen „Mutationspunkt“ der Bewegungen eines Körpers zu finden, der präzis eine Praxis des Tanzes definiert – eines Tanzes, der nichts Exklusives verlangt. Die Arbeiten von DFS und Bruckner gehen alltäglichen Praktiken von Tanz und Bewegung nach, Praktiken, die der Wiederholung und der konsistenten Imperfektion bedürfen. Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten – Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. Die flexiblen tanzenden Körper, die wie ein Fischschwarm Bogen schlagen zwischen persönlicher und sozialer Zeit, entrinnen den üblichen Koordinaten des Bodens.
#work #dance #labor #movements ist ein Ausstellungsprojekt in Bewegung, das Tanzbewegungen als persönlichen/sozialen Prozess betrachtet, der den sozialen Körper neu zusammen setzt, einen Körper als besonderes Ding, als temporär stabile dauerhafte Konstruktion aggregierter Teile, eine Konstruktion, die niemals ausserhalb ihres Wesens als Beziehung erfasst werden kann. Sie ertastet, wie der konkrete Körper kollektiv hergestellt wird in Bezug auf Bewegung und Ruhezustand seiner zusammengefügten Teile und deren affektive Resonanzen. Die Bewegung hat ihre eigene Präsenz, schreibt Simone Forti, eine individuierende Kraft des unpersönlichen, verkörperten sozialen Wissens, das es in biopolitischen Begriffen, also mit dem Körper zu denken gilt. Affekt ist eine andere Art, über Macht und die innerliche Konstruktion des Körpers, die Macht zu affektieren oder affektiert zu werden. Der Affekt ist die Macht des widerständigen Körpers, des tanzenden Körpers, von Körper-Kämpfen. Der Affekt verteilt die Körper über einen grossen Raum, offen gegenüber mannigfaltigen Dauern. Der Affekt ist eine Körperpolitik. Foucault stellt fest, dass in Machtkämpfe immer „Körperaktionen“ wirken, und affektive Macht ist produktiv, da sie „die Wirklichkeit ebenso postuliert und herstellt, als sie ihr Grenzen auferlegt.“ In Deleuzes Worten: “Was ein Körper tun kann, entspricht dem Wesen und den Grenzen seiner Fähigkeit, affektiert zu werden.“ Am Limit zu tanzen, affektiert den Körper mehr, als es die Repräsentation tut. Es gibt uns den Schlüssel zum Verständnis affirmativer Politik. Der tanzende Körper vermag es, Negativität zurück zu drängen, sich von ihr zu entflechten.
Affirmative Praktiken betreffen alles, was zum Sinn gehört, affektive Resonanzen zwischen den Teilen der Körper und ihre Differenz, alle Mannigfaltigkeiten und ihre Variabilität und Intensitäten totaler Freude im körperlosen, immateriellen und unpersönlichen Ereignis. „Die Frage des Sinns wird eins mit der Politik.“ Die Ästhetik und Politik des Sinns, in Bezug auf radikale Metaphysik und Bio-Macht gedacht, erotisiert den Körper sowohl in seiner Alltags-Existenz, als auch in der digitalen Sphäre, unregelmässige Körper miteinander verbindend, um die wettbewerblichen Prinzipien in jedem Fragment des sozialen Lebens zu hintertreiben – sinnliche Körper der Solidarität, der Gerechtigkeit und des Rechts. Die Art und Weise, wie sie in ihren künstlerischen Praktiken die Ästhetik des Sinns und die Biopolitik angehen, überschneidet sich in den Positionen und den Arbeiten für diese Ausstellung der Künstler_innen Discoteca Flaming Star und Johanna Bruckner.
Auszug aus dem kuratorischen Text von Dimitrina Sevova und Alan Roth.
[Deutsch siehe oben]
The exhibition #work #dance #labor #movements brings together the installation and performance Love Any Out of (90 Seconds) End by Discoteca Flaming Star, and the research-process-based video installations Rebel Bodies (Episodes I & II) and Total Algorithms of Partiality by Johanna Bruckner.
The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit. It inevitably prompts each of us to recompose one’s relation to the other. In this movement of interplay, when one takes care of the other, “the limit cannot be exhausted.” What Franco “Bifo” Berardi defines as the limit necessary to the production of the affect and of potentiality, for positive and active estrangement to overcome technological alienation, which is also social alienation. At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience. It does not require particular dance skills. One can experiment and improvise, to find a ‘mutation point’ of a body’s movements that precisely defines a practice of dance – a dance that does not require something exclusive. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism. The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor.
#work #dance #labor #movements is an exhibition project in motion that considers dance movements as a personal/social process that recomposes the social body, a body as a particular thing, as a temporally stable, durational construction of aggregated parts, a construction that can never be conceived outside its conjunctional nature. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.e., thought with the body. Affect is another way to talk about power and the body’s internal construction, the power to be affected and to affect. Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. Foucault asserts that power struggles always involve ‘body actions,’ and affective power is productive since it “posits and produces reality as much as it sets limits on it.” As Deleuze put it: “What a body can do corresponds to the nature and limits of its capacity to be affected.” To dance at the limit affects the body more than representation. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it.
Affirmative practices concern everything that belongs to the sensible, affective resonances between the bodies’ parts and their differences, all multiplicities and their variabilities or intensities of total joy in the incorporeal, immaterial and impersonal event. “The question of sensibility becomes one with politics.” The aesthetics and politics of the sensible, thought in terms of radical metaphysics and biopower, eroticizes the body both in its everyday existence and in the digital realm, conjoining irregular bodies to undermine competitive principles in every fragment of social life – sensible bodies of solidarity, justice and rights. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.
Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.
Johanna Bruckner
Rebel Bodies
Episodes I & II
The artist Johanna Bruckner continues her research on the organization of collective bodies with “Rebel Bodies”, part II. This large-scale work picks up the Workers Dance League’s inquiry into the possibilities of forming subversive embodied collective subjects. Bruckner’s research based approach sets off from an approximation to marginalized archives of knowledge, and thus creates space for the enunciation of matters which were excluded from hegemonic historiographies. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation (of historiography). “Rebel Bodies” does not only present past (labor) struggles corporeally, but also calls them into the present performatively. Bruckner’s work transposes aspects of subversive choreographic approaches and of worker struggles from the 1930s, the times of industrial capitalism, into the present post-crisis phase of “cognitive” finance capitalism, temporally and spatially; to be more precise, to the Hafencity, which is a prime example of neoliberalism and proceeding gentrification.
(Marius Henderson)
Total Algorithms of Partiality
Hamburg’s Hafencity is currently characterised by continuous transformation. Interest in the most ʻintelligentʼ possible management of the districtʼs infrastructure is being tested by the introduction of new monitoring systems in Hafencity. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. In Total Algorithms of Partiality dance scores examining the potential of an altered social logistics in Hamburgʼs Hafencity are developed, during the course of which I look at the current role of contemporary labour organisation and its possible course of action as it is confronted with the controversial developments in Hamburg’s Hafencity. What stance does the trade union take in relation to the complex, unstable situation in the new ʻghost townʼ and what forms of co-operative resistance are set in motion? The artistic work is to be presented in the form of a video installation, a performance, and research material.
This project is concerned with the possibilities of understanding art as an affirmative practice within society and its interwoven infrastructures, deriving from an intensive artistic and scientific examination of the complex logistical developments in Hamburg’s Hafencity and its significant international position.
Discoteca Flaming Star
Love Any Out of (90 Seconds) End
Love Any Out of (90 Seconds) End is a spatial installation and dance performance construction in two different planes. Love Any Out of (90 Seconds) End is a dance piece in which no one ever appears to dance, like in Dance Construction Clothes by Simone Forti. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies. Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. The interplay between the words makes a sensitive bricolage of Discoteca Flaming Star’s own reflections and the cryptic thoughts that pass through them on everything they are interested in at the moment, which they sometimes carry around with them for months. Sometimes they are concepts, or poems. In the words of DFS, they are think-text-iles.
For their live performance dance construction Love Any Out of (90 Seconds) End, Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body. They follow the dance score of Esther’s 90 seconds of multiple becoming in its imperceptible time, becoming child, becoming animal – A-ESTHER-BECOMING-DIVINE HORSEWOMAN, becoming an imperceptible-impersonal molecule, becoming one and many at the same time in the vanishing time of a 90 seconds duration. A molecular becoming of one/many, to the event of the groundless and infinitely small milieus of a collective action. Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization.
Esther dances together with Cristina, and Wolfgang sings. Their dance supposes proximity and distance at the ground level, but in the proximity of their dancing bodies they do not necessarily follow each other’s movements. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. “I am you” in this passage, with all its intensive components of variability at once. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage – a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language. Cristina’s movement techniques are elaborated on the basis of Maya Deren’s and Simone Forti’s systems of movements and techniques, and philosophy.
Love Any Out of (90 Seconds) End opens a new path of imaginary/experience in order to give her a score to become conscious of her difference, embodied in the singularity of the therapeutic process. It is not remodeling Esther’s subjectivity. It is a new production in the dance movements “to recompose her existential corporeality and to get out of her repetitive impasses.” It is both a politics and an aesthetics of irreversible duration.
Love makes the movements a dance of refusal. Love is not work! “dance! no work!” Dance forms life! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. “I die. I die.” Which means, paradoxically “I leave. I leave.” And give her the power to fight for the world. “I am you.”
Excerpt from the text on DFS's work in the exhibition, by Dimitrina Sevova and Alan Roth.
Saturday, 03.09.2016
17:00h
[English see below]
Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.
In der fünften Veranstaltung lädt Corner College das Künstlerinnen-Kuratorinnen-Duo peekaboo!, bestehend aus Lisa Biedlingmaier und Bernadette Wolbring, sowie die Künstlerin Erica van Loon ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.
Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutsch siehe oben]
Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the fifth event, artists das Künstlerinnen-Kuratorinnen-Duo peekaboo!, consisting of Lisa Biedlingmaier and Bernadette Wolbring, as well as artist Erica van Loon are invited to present their curatorial practices and discuss them between themselves and with the audience.
Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)
Welche Stellung nimmt man als KünstlerIn im urbanen Raum, der fortwährend von Gentrifizierung bedroht wird, ein? Dieser Raum, der immer auch ein politischer und sozialer Raum ist? Lässt man sich als KünstlerIn für die Aussenwirkung Anderer instrumentalisieren? Beteiligt man sich durch künstlerisches Handeln aktiv an politischen Prozessen?
Neben diesen Fragestellungen, die die Künstlerinnen Lisa Biedlingmaier und Bernadette Wolbring dazu gebracht haben ihre künstlerische Arbeit mit kuratorischen Formaten zu erweitern, werden Erfahrungen über das Arbeiten in Kollektiven und über Synergien, die sich zwischen künstlerischer und kuratorischer Praxis ergeben, ausgetauscht.
Das Künstler-Kuratorinnen-Team peekaboo!, bestehend aus Lisa Biedlingmaier und Bernadette Wolbring, hat sich zusammengetan um gleich einer Band, die an verschiedenen Orten Konzerte spielt, in verschiedenen (Kunst)räumen aufzutreten – in Form von Publikationen, Screenings und Ausstellungen. Da beide in jeweils zwei Ländern leben (Stuttgart / Zürich und Stuttgart / Stockholm), bieten sich dafür internationale Kooperationen an.
2014 bis 2016 lud das Künstler/Kuratoren-duo zu einer Reihe von drei internationalen Gruppenausstellungen ein, in der Absicht einen am Rande des Städtebauprojekts Stuttgart 21 stattfindenden Gentrifizierungsprozess zu thematisieren. 2016 stellte peekaboo! ihre bisherige Tätigkeit im Künstlerhaus Stuttgart im Rahmen des Post-Graduate Program in Curating der Zürcher Hochschule der Künste vor.
Erica van Loon
Installation view of the Breakfast Show, including one of the video works in the exhibition: It’s possibly the only way that I can walk through myself by Rosie Heinrich.
With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human (sub)conscious.
She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us.
In June 2016 Van Loon took this ambition to sharpen the sensory perception, as a starting point for curating the Breakfast Show at project space PuntWG in Amsterdam.
Breakfast literally means ‘breaking the fast’ of the night. During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind.
Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions. What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings.
By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness. Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day?
The shown video works by Charlotte Dumas, Priscila Fernandes, Rosie Heinrich, Erica van Loon and Timmy van Zoelen each in their own way, could be connected to the above questions. At the same time they allowed for a broader reading, leaving scope for one’s own interpretation and for discussion at the breakfast table.
As the exhibition was only open in the early morning, from sunrise (around 5.20 AM), visitors were invited to see the video works before engaging in other activities. And indeed people took the effort to get up early; some of them even arrived earlier than the curator (or was she a performing artist?) who was racing the sun to get to the exhibition space every morning. Where she served breakfast, which stimulated visitors to reflect in dialogue.
During The Artist as The Curator as The Artist on 4 September, Erica van Loon will reflect on these mornings and how she links them to her artistic practice.
Tuesday, 06.09.2016
20:00h
[English below]
In Tritonics+ erzeugen Akteure einen Performance-Raum aus zeitgenössischer Praxis rund um das Saxophon, wobei das Saxophon der gemeine Gegenstand ist, der Leute vom Hauptbild addiert oder subtrahiert. Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen. Tritonics+ zielt darauf ab, einen Raum zu erzeugen, in dem Leute offen interpretieren können, unterschiedlicher Sound-Formationen und Urbanisierung des Raums ausgesetzt sind.
Corner College stellt einen Raum zur Verfügung, in welchem Tritonics+ einen Bereich für gegenseitige Zusammenarbeit mit den Arbeiten Johanna Bruckners und Discoteca Flaming Star erzeugt.
Beteiligte Akteur_innen sind Kay Zhang, Manuela Villiger, Vera Wahl, und Benjamin Ryser.
[Deutsch siehe oben]
In Tritonics+, actors create a performance space made up of contemporary practice centered around the saxophone, the saxophone being the common object that adds and subtracts people from the main picture. This allows putting forward different forms of repertoire but also sound improvisation.
Tritonics+ aims to create a space for people to openly interpret, be exposed to different sound formation and space urbanisation.
Corner College provides a space in which Tritonics+ creates an area for cross-collaboration with works of Johanna Bruckner and Discoteca Flaming Star.
Actors involved are Kay Zhang, Manuela Villiger, Vera Wahl, and Benjamin Ryser.
Program
Two Pieces (1983) 5’ – Edison Denisov
Rough Winds Do Shake the Darling Buds (1999) 12’ – Eric Moe
Impro 5’
Reed Phase (1992) 6’ – Steve Reich
Next to Beside Besides (2003-2006) 5’ – Simon Steen-Andersen
Megaphone Duo featuring Benjamin Ryser
Monday, 26.09.2016
12:00h -
Wednesday, 28.09.2016
ONE HAIR, ONE PURPOSE
A ritual of transformation
(3-day long-durational performance and streaming)
Durational performance on 27 - 28 - 29 September.
Open to the public during the following hours:
Tuesday, 27 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Wednesday, 28 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Thursday, 29 September: 16:00h - 21:00h (streaming 20:00h - 21:00h)
Link for the streaming, for those who cannot attend in person:
https://youtu.be/KLJbdMmpzeM (27 Sept)
https://youtu.be/79Gj5rkqPjY (28 Sept)
Followed by a public live event on Thursday, 29 September at 20:00h.
One hair is trash. Million hairs is a woven record of my self.
I regularly lose a lot of hair.
Often, I’d get lost in thoughts while twisting it.
As hairs slide off, small rings form around my finger.
I started collecting the rings.
I decided to take this ritual into a public performance.
One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation.
Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.
One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event.
Wednesday, 28.09.2016
20:00h
ONE HAIR, ONE PURPOSE
A ritual of transformation
(public live event)
I regularly lose a lot of hair.
Often, I’d get lost in thoughts while twisting it.
As hairs slide off, small rings form around my finger.
I started collecting the rings.
I decided to take this ritual into a public performance.
Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.
This public event follows three days of a durational performance with streaming.
Thursday, 29.09.2016
20:00h
Video works by Maria Pomiansky
The main topic of my videos could be defined as immigration, and following transformations of a personality. I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. So it’s a traumatic process for everyone.
Somehow the fact that the Soviet Union (where I was born) doesn’t exist anymore reduces any possibility of going back, makes me look forward and try to adapt myself to an always new reality and new places. It became an important issue for me to learn a lot about the place where I live (first Tel-Aviv, and now Zurich) and try to build a dialog through my art practices (video and painting). The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West.
The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel. It wasn’t a random choice: these people were my friends. They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere.
Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past.
Esther Eppstein über Maria Pomianskys Trilogie
Maria Pomianskys Film «Glück это глюк» (Happiness is a trip) ist der letzter Film aus der Trilogie (Beauty 2006, Fears 2009), einer Langzeitstudie über die Frage menschlicher Zustände, Sehnsüchte und Ängste. Maria Pomiansky ist im sowjetischen Moskau geboren, emigrierte Anfang der neunziger Jahre als Jugendliche nach Israel und lebt heute, seit bald zehn Jahren in Zürich. In diesen drei Städten ihres Lebenslaufs befragte Maria Pomiansky für ihre in 2005 begonnene Trilogie Bekannte, Freundinnen und Freunde über deren Einstellung zum Leben, zur Kunst, zur Liebe, zum Rausch, zur Ewigkeit und zur Vergänglichkeit. Jugend in Moskau, in Tel Aviv, in Zürich ... Die Künstlerin reist zwischen den Städten, findet das Verbindende, das Einzigartige und das gegenseitig Fremde zwischen Nahem Osten, West- und Osteuropa. Es wird Russisch, Hebräisch, Deutsch und Englisch gesprochen. Die Filmemacherin ist die kosmopolitische Weltbürgerin und distanzlose Beobachterin, wobei auch immer wieder unvermittelt ein diffuses Gefühl der Heimatlosigkeit, Verwirrung und Melancholie mitschwingt. Die Künstlerin führt ihre Protagonisten und die Zuschauer von leichten, verspielten Plaudereien zu tief berührenden existenziellen Gesprächen, die Kamera zeigt komponierte Bilder mit Gesichtern und Landschaften. Die Trilogie, während eines Zeitraum von fast zehn Jahren entstanden, zeigt die Veränderung und die Entwicklung der jungen Freunde. Die stark autobiografisch gefärbte Filmsprache bewegt sich zwischen Dokumentar- Reise- Experimental- und inszeniertem Kunstfilm. Maria Pomiansky sucht in ihrer Filmreise Antworten auf ihre ganz persönliche Frage der Zugehörigkeit. Der Film zitiert und mischt in Inhalt und Ästhetik das Kino jüdischer Diaspora, den russischen und sowjetischen Pathos und die Popkultur des Westens. Musik spielt in allen drei Filmen eine wichtige Rolle, ist für Maria Pomiansky ein Verbindungsglied zwischen den Kulturen in denen sie sich bewegt und die sich neben vieler Ähnlichkeiten, Gemeinsamkeiten und der Universalität menschlicher Bedürfnisse und Ängste doch auch sehr unterscheiden.
The text above by Esther Eppstein, along with a text about Maria Pomiansky's work more generally by Vadim Levin, is also available in printable layout as PDF (106KB).
Home of the Brave:
Archeology of the
Moving Image
Archeology of the
Moving Image
Friday, 07.10.2016
18:00h -
Thursday, 20.10.2016
begone before somebody drops a house on you too
An exhibition by Gregory Hari
with the support of Lavdrim Dzemailji
curated by Dimitrina Sevova and Alan Roth.
Opening: Saturday, 08 October 2016, starting at 18:00h
with a performance by Gregory Hari at 19:00h.
Saturday, 08 October 2016 - Friday, 21 October 2016
Further performances by Gregory Hari on Friday, 14 and Friday, 21 October 2016, 20:00h (door opens 19:00h).
Opening hours during this exhibition / Öffnungszeiten während dieser Ausstellung
Wed 15:00h - 18:00h // Mi 15:00h - 18:00h
Thu 16:00h - 19:00h // Do 16:00h - 19:00h
Fri 15:00h - 18:00h // Fr 15:00h - 18:00h
begone before somebody drops a house on you too
“Suddenly, this story came in and took possession. It really seemed to write itself.” L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)
With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.
The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.
The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.
“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)
“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)
Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:
Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
(Gregory Hari)
Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
(Derek Jarman)
Excerpts from the curatorial text by Dimitrina Sevova (PDF, 181KB).
Diese Ausstellung ist Teil der Plattform Transferences: The Function of the Exhibition and Performative Processes in the
Practices of Art – Questions of Participation von Corner College, konzipiert von Dimitrina Sevova und Alan Roth, und wird unterstützt vom Nachwuchsförderungsprogramm der Pro Helvetia.
Tuesday, 11.10.2016
20:00h
Trying to Figure Out — A Dialogue between a Nonconformist Artist & a Scholar
Diagram by Lia Perjovschi, portraits by Nastasia Louveau.
Starting from Lia Perjovschi’s early performance work of the 1980’s and scrutinizing how it relates to her current artistic practice of opening new spaces of knowledge and re-organizing those spaces, Louveau & Perjovschi want to propose a conversation about performance art, the connection of art and research, and different approaches to filling gaps with art, thus shortcutting 30 years of artistic practice and its context from communism to capitalism, from the local to the global art scene.
Thursday, 20.10.2016
18:00h
SPARCK – Space for Pan-African Research, Creation and Knowledge - operates without a centre, physical or otherwise. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations. The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation. The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement.
Co-organized by Corner College and the Postgraduate Programme in Curating of ZHdK (as part of their series Talks on Curatorial Practice).
Tuesday, 25.10.2016
16:00h -
Saturday, 29.10.2016
Corner College at Kunst 16 Zürich (Zurich Art Fair)
On/Off Booth B1, ABB Event Hall, Zürich-Oerlikon | http://www.onoff.today/
With the participation of Nicolasa Navarrete, Cora Piantoni, Saman Anabel Sarabi, Anne Käthi Wehrli
Assistant for the Corner College presentation at On/Off: Alicia Olmos Ochoa
Corner College Intern: Miwa Negoro
Wednesday, 26.10.2016 - Sunday, 30.10.2016
Sunday, 30.10.2016
13:00h-15:00h Anabel Sarabi, zwei Runden Klans und Kompliz_innen, Tischspiel für 2 oder mehr Spieler_innen.
16:00h Gedichte und theoretisches Saxophon Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist! by Anne Käthi Wehrli. Danach Preview ihres neuen Zines In den Lebensmitteln drin geht es zu und her wie in einer Stadt.
Nicolasa Navarrete
Illustrating Das Kapital. Volume one, 1
The end of truth
2014. Graphite on paper. 200cm x 100cm.
The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money.
Cora Piantoni
Songs of Work
2 channel video installation, sound, 11:25 min, 2014.
Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events. For an exhibition at the stonemason’s cooperative in Porto, she continued her research about worker‘s communities, focusing on the worker's tradtional songs and the sound of the working process. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? In what other way sound / rhythm / music plays a role at work? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative. She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history.
Saman Anabel Sarabi
Klans und Kompliz_innen
Tischspiel für 2 oder mehr Spieler_innen
konzipiert von Saman Anabel Sarabi and Josefine
Stefan Wegmüller, 2016.
The card game Klans und Kompliz_innen investigates through joyful and playful conversations the different links and alliances between people within the Zürich art scene and beyond. The table game offers a situation for curious and open people to contact with each other in a playful setting. It allows to inform each other and share and connect information and knowledge.
Curious to play with us? Please register here! And: bring some values with you. We are expecting you with pleasure and curiosity!
We are there on Sunday, 30 October, for two sessions of the game, 14:00h-15:00h, and 17:30h-18:30h.
Corner College in collaboration with Saman Anabel Sarabi and Josefine
http://www.hightimepublishers.com/
Anne Käthi Wehrli
Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!
Gedichte, Theoretisches Saxophon
Anne Käthi Wehrli, performance Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!, am Freitag, 12. August 2016 im Corner College. Photo: code flow.
Mütterlich lachten die Pflanzen.
Es war in Ordnung. Ich durfte über sie reden und mir Sachen über sie vorstellen.
Es störte sich nicht.
Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig!
Weil wir Freunde waren.
In den Lebensmitteln drin geht es zu und her wie in einer Stadt
2016. 96 Seiten. Gedichte, Texte und Zeichnungen.
Zine-Vernissage am Sonntag, 30. Oktober um 16:00h.
In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Titel dieser Publikation stammt aus einem Gedicht, entstanden bei der Arbeit an einem Beitrag, der Performance „These we have tried …“, für den Anlass „Alice Toklas reads her famous hashish fudge recipe“, der 2015 in Wien stattfand. In dieser Performance geht es um die Zubereitung von Fudge und um das berühmte Haschisch Fudge Rezept von Alice Toklas, um Hausfrauen, Sprache, Chemie, Zufall und feine Unterschiede. Ein Teil daraus findet sich in dieser Publikation.
Der Text „Die Frau als Einstiegsloch“ ist während der Gruppenausstellung No‑where? No-here! The Molecular Books of Life – Colleges of Unreason 2016 im Corner College entstanden. Mehrmals während der Ausstellungsdauer erschien eine neue Fassung des Texts als Fanzine. Der Text ist noch nicht abgeschlossen.
Auch weitere Beiträge dieses Buchs kamen schon an anderen Orten und in anderen Formaten vor. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. Einige waren bisher unveröffentlicht. Die Zeichnungen und Collagen sind aus der Zeit von ca. 1993-2016. Zusammen mit den Texten, die alle neueren Datums sind, sind sie jetzt für dieses Buch neu versammelt worden.
Wednesday, 26.10.2016
14:00h -
Friday, 28.10.2016
Mohammad Namazi: Entropische Iteration
On Thu / Fri / Sat, 27 / 28 / 29 October
each day from 14:00h to 18:00h
Public talk and discussion on Saturday, 29 October at 19:00h
Mohammad Namazi presents 'Entropische Iteration' (Entropic Iteration) as a reflection on his residency experience as part of the Freiraum-Stipendium – the index collective residency programme. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.
Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment.
Saturday, 05.11.2016
17:00h
Taking a Line for a Walk
Conversations #2: The lost assignment
Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Words fly out of a teacher’s or student’s mouth and quickly disappear into thin air. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time?
Guests:
Sarah Klein, designer and researcher, HGK Basel and Ecal Lausanne, CH
Leslie Kennedy, designer and researcher, Basel School of Design, CH
Michael Renner, director Institute Visual Communication, Basel School of Design, CH
Mediated by:
Nina Paim and Corinne Gisel
This conversation is part of a series of events investigating current issues in design education in relation to giving, writing, and preserving assignments, initiated by the authors of the book Taking a Line for a Walk, published by Spector Books Leipzig in 2016.
Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions.Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.
http://spectorbooks.com/taking-a-line-for-a-walk
Taking a Line for a Walk: Assignments in design education
Conceived by Nina Paim, Corinne Gisel, and Emilia Bergmark
280 pp.
15 black-white images
Wire-o with softcover in reverse binding
Spector Books Leipzig 2016
ISBN: 9783959050814
Edition Number: 1st
Size: 22 cm x 25.5 cm
Tuesday, 08.11.2016
18:30h
The Sonic Spectrum of Brazil's Tropicália: A Story Through Music
Where there are opinions, differences arise. Nonetheless opinions by academics, critics and music lovers generally agree on the fact that Tropicália as a musical movement marked an important change in Brazil's musical history: it clearly marks a before and an after. A lot has been said and written about the movement already, but in spite of all the information that is available, it continues to be difficult to summarize what Tropicália is without running the risk of leaving some key elements out. In my presentation I wish to introduce Tropicália through its own language: music. Different audio and visual fragments will be used to give an idea of the movement’s stylistic diversity, focusing not only on how it differs from other styles and currents in Brazilian music, but also emphasizing some important connections and continuities.
Jeffrey Pijpers
This event is also part of the Workshop Tropical, Tropicalismo, Tropicálias – Cultural (Counter)movements in Brazil at the University of Zurich.
Organized by Pauline Bachmann and André Masseno together with the Luso-Brazilian Studies department of the University of Zurich.
Friday, 11.11.2016
19:30h
Lena Maria Thüring at Home of the Brave
Lena Maria Thüring, Future Me, 2015, HD Video, single channel, 16:9, colour, sound, 11 min 49 sec, German subtitles. Video still.
[English below]
Lena Maria Thüring ist zu Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.
[Deutsch siehe oben]
Lena Maria Thüring is guest at Home of the Brave: Archeology of the Moving Image. A series of events by Corner College.
Lena Maria Thüring’s work explores individual stories in a reflection on social systems and their underlying constructions using various media, such as photography, performance, video or installation.
The interview forms both the starting point and the staging ground for much of Lena Maria Thüring’s recent filmic work. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Detaching the spoken narrative from the subjects’ bodies and even their voices, Thüring creates a fissure between seeing and hearing, identity and biography. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid.
Born in Basel 1981, lives and works in Zurich.
Thüring’s work had been shown in solo exhibitions at the Kunsthaus Baselland (2012) and the Museum für Gegenwartskunst Basel 2013 and in groupshows and screenings at the Kunstmuseum Bern, Kunsthalle Basel, Haus der Kulturen Berlin, the Reina Sofia National Museum Madrid in Spain and the Palais de Tokyo in Paris. She received several awards including Swiss Art Award (2008), Kiefer Hablitzel Foundation Award (2011), Grant from Zurich City (2012), Manorkunstpreis Basel (2013) and two artist residencies in Paris (2009) and New York (2010).
Thüring is a member of the Fachausschuss Audiovision und Multimedia BS / BL.
http://www.lenamariathuering.ch/
Home of the Brave:
Archeology of the
Moving Image
Archeology of the
Moving Image
Friday, 18.11.2016
17:00h -
Friday, 30.12.2016
Buon Lavoro!
Prose of The Day – Poetic Resistance
Cora Piantoni, Another Information: Terzo Radio GAP, 2016. Video still.
[English see below]
Einzelausstellung von Cora Piantoni
kuratiert von Dimitrina Sevova
Samstag, 19. November - Freitag, 30. Dezember 2016
Eröffnung: Samstag, 19. November 2016, ab 17:00h.
Öffnungszeiten
Mittwoch, 15:00h – 18:00h
Donnerstag, 16:00h – 19:00h
Freitag, 15:00h – 18:00h
Kuratorischer Text
Cora Piantonis Einzelausstellung im Corner College stellt eine Auswahl des Werkes der Künstlerin vor, basierend auf ihrer langjährigen Recherche zu arbeitenden Menschen und ihren Gemeinschaften, sowie zum Wandel der Arbeit in der sozialen Fabrik und zur Geopolitik der Arbeit.
“Langsam arbeiten” ist ein Protestlied und eine eingängige operaistische Hymne der 1970er Jahre in Italien: “Arbeite langsam / Und mühelos / Arbeit kann dich verletzen / Und du kommst ins Spital / Wo kein Bett frei ist / Und du gar sterben kannst. / Arbeite langsam / Und mühelos / Gesundheit ist unschätzbar.” Im Gegensatz zu den Slogans des italienischen operaistischen Widerstands der 1970er wählt Cora Piantoni als Haupttitel der Ausstellung einen affirmativen Ausdruck der Auffassung von Arbeit und greift damit feinsinnig die für die neoliberale Wirtschaft des Spätkapitalismus charakteristische, systematische Präkarisierung auf, das Bedürfnis, dass alle einen Job haben, und eine positive Einstellung zur Arbeit, die den Kämpfen der Arbeitenden für ein besseres Leben Kraft verleihen kann. Der italienische Gruss “buon lavoro” ist positiv besetzt als Wunsch, der die eigene emotionale Anteilnahme an jemand anderer Arbeit ausdrückt. Die deutsche Sprache kennt keine Redewendung, die dem direkt entsprechen würde. Gelegentlich werden Ausdrücke wie diese verwendet: Viel Spass bei der Arbeit! – Ich wünsche dir Erfolg bei deiner Arbeit! – Hals- und Beinbruch!
Als Geschichtenerzählerin folgt die Künstlerin den kleinen Erzählungen und der undokumentierten mündlichen Überlieferung gewöhnlicher Arbeitender, vor dem Hintergrund historischer Ereignisse wie des Falls der Berliner Mauer, der die Breiten- und Längengrade von Ost-West und Nord-Süd in der Dynamik der Wirtschaft, der Arbeitsmärkte und der Neuausrichtung der Produktionsprozesse erschütterte, die sich in Veränderungen in der Auffassung von Arbeit und Alltag niederschlugen, insbesondere jener von Handwerker_innen und eher marginalisierter, verkannter oder aussergewöhnlicher Formen unsichtbarer Arbeit wie Putzdienste, eine Kletterbrigade, Platzanweiser_innen in einem DDR-Kino, Operateure in Studio-Kinos oder, in einer früher Arbeit, Konzept-Künstler_innen, die sich in der Tschechoslowakei dem sozalistisch-realistischen Kanon verweigerten und es vorzogen, ihren Lebensunterhalt als Heizer_innen zu bestreiten. Die Ausstellung baut auf der Konsequenz des Konzepts der Künstlerin einer Archeologie der Arbeit, der Materialität der Begegnung, und der Alltagskämpfe und Poetik des Widerstands von Arbeitenden. Der ausgestellte Werkkomplex beinhaltet anachronistische und rückwirkende Aspekte. Mit der Verwendung von Videobändern anstatt der neuesten HD-Formate geht Piantoni Videotechnologie an sich sowie als Arbeitsmethode an. Die Videoarbeiten bauen auf Interviews auf, realistischen Porträts, die den Arbeitenden Raum lassen, in denen die Künstlerin als Zeugin hinter dem mechanischen Auge erscheint, wobei sie konzeptionell von Spezialeffekten absieht, wie auch davon, bei den Dreharbeiten oder beim Schnitt eine vorgefasste künstlerische Sprache darüber zu legen. Das Bild selbst ist nüchtern, ohne zu formalisieren. Mit dieser Vorgehensweise stellt die Künstlerin eine unerwartete Anwesenheit heraus, und nicht eine Repräsentation der Subjekte – das Leben gewöhnlicher Arbeitenden als Kunstwerk in einer Mischung aus dokumentarischen Fragmenten, Archivmaterial und poetischen Momenten, angetrieben vom Rhythmus der direkten Rede der Subjekte.
In der Geschichte der bewegten Bilder und des Kinos gibt es zwei Hauptströmungen, die eine in Anlehnung an D. W. Griffith and Sergei Eisenstein, die andere die molekulare Revolution des Alltags von Dziga Vertovs Der Mann mit der Kamera, ein Sammler der Nichtlinearität der Anwesenheit. In Cora Piantonis Werk findet sich etwas von Vertovs molekularer Empfindsamkeit. Die Künstlerin fragt unweigerlich nach den Grenzen zwischen Kunst und Alltag, Arbeit und Herstellen. Die Arbeiten sind ästhetisch und politisch engagiert, das Vermögen der Betrachterin zu entwickeln, die Subjekte aus einer Vielzahl von Perspektiven heraus zu sehen. Diese Konsequenz zeigt sich auch in der neuesten Arbeit der Künstlerin, Eine andere Information. Die Interferenzen von Terzo Radio GAP, die als Premiere in dieser Ausstellung zu sehen ist. Diese neueste Arbeit enspringt einer Residenz 2015 in Genua, während der die Künstlerin einer lokalen Geschichte antifaschistischen Widerstands in den frühen 1970er Jahre begegnete, die ihr als Inspiration diente, weiter zu recherchieren und den beteiligten Personen nachzugehen. Sie hat etwas vom ungewöhnlichen Genre der Nebula, verkörpert im neuen italienischen Epos gesichts- und namenloser Kollektive von Aktivist_innen und Schreibenden als kollektive Persönlichkeit, jenem politischer Romane, die sich der Mittel der Kommunikationsguerilla bedienen, und kündigt neue Formen affirmativen Widerstands und direkter Aktion an, die in den Prozess der Kommunikation und der Massenmedien als ideologische und technologische Dispositive der Gesellschaft eingreifen und sich von anderen Mittel politischer Aktion wie auch vom Hacktivismus in Raum des Internets unterscheiden.
Text: Dimitrina Sevova in Zusammenarbeit mit Alan Roth
[Deutsch siehe oben]
A personal exhibition by Cora Piantoni
curated by Dimitrina Sevova
19 November - 31 December 2016
Opening: Saturday, 19 November, 17:00h
Opening Hours
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h
Cora Piantoni’s personal exhibition at Corner College presents a selected body of works based on the artist’s continued research about working people and their communities, and the transformation of labor in the social factory and the geopolitics of work.
“Working slowly” is a protest song and popular workerist anthem in 1970s Italy: “Work slowly / And effortlessly / Work may hurt you / And send you to the hospital / Where there’s no bed left / And you may even die. / Work slowly / And effortlessly / Health is priceless.” In contrast to the slogans of the Italian workerist resistance in the 1970s, Cora Piantoni chooses as the main title of the exhibition an affirmative expression of the notion of work, sensitive to the systematic precarization characteristic of the neoliberal economy of late capitalism, the need for jobs for everyone, and a positive relation to work that can empower the struggles of the workers for a better life. The Italian greeting “buon lavoro” has a positive connotation and is used as a wish expressing one’s own emotional involvement in the work of someone. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! – Have a good day at work! – Good luck with your work!
As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers. The exhibition is set up on the consistency of the artist’s concept of an archeology of work, the materiality of the encounter, and the struggles of daily life and poetics of resistance of working people. The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage. The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects.
In the history of moving images and cinema, there are two main streams, one in the line of D. W. Griffith and Sergei Eisenstein, the other, the molecular revolution of everyday life of Dziga Vertov’s Man With the Movie Camera, who is a collector of the non-linearity of presence. In Cora Piantoni’s works, there is something of Vertov’s molecular sensibility. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives. This consistency manifests itself again in the artist’s newest work, Another Information: The Interferences of Terzo Radio GAP, which premieres in the exhibition. This latest work comes out of a residency in Genoa in 2015, where the artist encountered a local story from the Italian antifascist resistance of the early 1970s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.
Text: Dimitrina Sevova in collaboration with Alan Roth
Irene Müller über Cora Piantonis Ausstellung im Corner College, Kunstbulletin 12/2016, p. 77.
Saturday, 19.11.2016
11:00h
Titelbild © 1967 by Gerald D. Brimacombe, Getty Pictures Archive.
Aus Anlass des 10. Todestages von Ted Serios präsentiert der Hamburger Textem Verlag einen Fotoband mit bislang unveröffentlichten paranormalen Polaroid-Serien aus den 1960er Jahren. Der Bildband widmet sich mit Ted Serios’ übersinnlicher Fotografie “dem vermutlich bestdokumentierten Medium der Parapsychologie” überhaupt. Herausgeber des Bandes ist der Hamburger Filmemacher und Regisseur Romeo Grünfelder. Nach der Auftaktveranstaltung im Metropolis Kino Hamburg wird der Forschungszusammenhang am 20.November zur Matinee um 11:00 Uhr im Corner College in Zürich vorgestellt. Weitere Stationen in Deutschland, der Schweiz und Österreich schließen sich an.
Ted Serios wurde bekannt dafür, Gedanken mittels psychischer Energie auf Sofortbild übertragen zu können, was Wissenschaftler bis heute vor ein ungelöstes Rätsel stellt. In umfangreichen Experimenten entstanden über 400 paranormale Polaroids, die Grundlage der ausgewählten Fotoserien des Fotobandes bilden.
Ted Serios. Serien
Romeo Grünfelder (Hrsg.)
564 Seiten mit 352 Abbildungen
Mit Beiträgen von Philippe Dubois, Prof. Dr. Peter Geimer, Romeo Grünfelder (Hrsg.) und Prof. Dr. Bernd Stiegler Textem Verlag
978-3-941613-46-1
http://www.textem.de/index.php?id=2734
Zu Ted Serios
geb. 27. November 1918, arbeitete als Hotelpage in Chicago, als er für seine Produktion von »Gedankenfotografien« auf Polaroid-Film im Laufe der 1960er Jahre bekannt wurde. Er behauptete, Grundlage seien allein seine psychischen Kräfte, was Fotografen und Skeptiker seither zu widerlegen versuchen. Ted Serios starb am 30. Dezember 2006 in Chicago.
Zum Psychiater und Parapsychologen Jule Eisenbud
geb. 20. November 1908 in New York, USA, arbeitete nach der Erlangung der Doktorwürde an der Columbia University als Psychiater und eröffnete 1938 eine Praxis für Psychiatrie und Psychoanalyse in New York. Im Jahr 1950 wechselte er als außerordentlicher klinischer Professor für Psychiatrie nach Denver. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Er war einer der Ersten, der Gedankenübertragung und andere PSI- Fähigkeiten als Kommunikationsmittel in die Psychoanalyse mit einbezogen hat. Bekannt wurde er vor allem durch sein Buch The World of Ted Serios, New York 1967, in dem er seine Forschungsergebnisse zu Ted Serios zusammenfasste. Jule Eisenbud starb am 10. März 1999 in Denver, Colorado.
Zum Herausgeber Romeo Grünfelder
geb. 1968, ist Autor, Filmemacher und Regisseur, studierte in Hamburg Musik, Medienphilosophie und Kunst. Stipendiat u. a. der Villa Aurora in Pacific Palisades. Von
2008 bis 2010 unterrichtete er Dramaturgie und Philosophie an der Hochschule für Bildende Künste Hamburg. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt.
Er lebt & arbeitet als Regisseur in Hamburg und Berlin.
http://felderfilm.de
Zum Textem Verlag
Gegründert im Jahr 2004 von Nora Sdun und Gustav Mechlenburg mit Sitz in Hamburg. Der Verlag ist spezialisiert auf Veröffentlichungen von Literatur, Theorie, Künstlerbücher und Ausstellungskataloge. Seit Juli 2006 verlegt der Textem Verlag das Printmagazin Kultur & Gespenster. Bisherige Veröffentlichungen, das Verlagsprogramm und weitere Aktivitäten des Verlags unter
http://www.textem-verlag.de/
Thursday, 24.11.2016
19:30h
Efferveszenz
Im Herzen der Zeitgenössischen Mythologie
Efferveszenz
Im Herzen der Zeitgenössischen Mythologie
Text, Installationen und Konzept: Isabelle Capron Illustrationen: Marianne Smolska
Was haben ein Staubsauger, ein Kernreaktor eine Datingplattform, ein Musikvideo von David Bowie, eine Cola-Dose und ein Satellit gemeinsam? Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Durch sie äussert sich unser Glauben an dem technischen Fortschritt, genauso wie wir früher an Götter geglaubt haben. Aber wie alle mythologische Phantasmen neigen auch diese Dinge dazu sich wieder in Luftblasen aufzulösen und zu verschwinden.
Efferveszenz vereint drei poetische Installationen, die im Rahmen des Openair Literatur Festivals Zürich ausgestellt wurden. Ergänzt werden sie durch Illustrationen von Marianne Smolska. Efferveszenz, schreibt Capron, ist eine Frechheit, sie verkörpert alles Wilde, Flüchtige und vollkommen Freie, alles was lebendig, pulsierend, atmend, widerständig ist. Auf poetisch-satirische Weise untersucht Capron unseren Glauben in den technischen Fortschritt, sie lädt uns ein auf eine Reise ins Reich der zeitgenössischen Mythen.
Die kleine Apotheke der Liebe nähert sich dem neuen Imaginären der Liebe in Form von literarischen Heilmitteln. Das Horoskop der Hypermonster ist eine Galerie von zwölf Ungeheuern, gezeugt durch die Massenkultur der Hyperindustrie. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird.
Das Buch ist ein Plädoyer für einen verantwortlichen, pazifistischen Umgang mit den modernen Technologien. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen.
Die Autorin Isabelle Capron kam vor 20 Jahren als Korrespondentin von Paris nach Zürich, wo sie heute noch lebt. Sie studierte Philosophie an der Sorbonne. Heute unterrichtet sie Französisch an der ZHAW an den Studiengängen Kommunikation und Journalismus. Sie arbeitet an Projekten im Bereich plastischer Literatur und ist Mitglied des Autorenkollektivs Index, des AdS und der SSA.
Die Illustratorin Marianne Smolska kommt ursprünglich aus Paris und lebt heute in Hanoi. Sie arbeitet im Bereich der Illustration, Grafik und Gestaltung an verschiedenen Projekten für öffentliche und private Institutionen oder Unternehmen, sowie für internationale NGOs.
Monday, 28.11.2016
19:00h
19:00h Talk by Federica Martini: Pérruques, homers and pirate radios.
The « pérruque » is a tactic for diverting time from the factory work and indulge in creative no-profit labour. Like pirate radios, pérruques infiltrate production narratives with notions of desire and liberated time. Like quilts, the pérruques are a non-hegemonic class practice that is based on appropriation, storytelling and generosity. In resonance with Cora Piantoni's exhibition Buon Lavoro! Prose of The Day – Poetic Resistance at Corner College, in this talk the pérruque will play as a magnifying glass and a metaphor to read collaborations between artists and workers in factories in 1960s-1970s Italy. Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.
20:00h Conversation between Federica Martini, the artist Cora Piantoni and the curator Dimitrina Sevova, in the context of Federica Martini's talk and on the occasion of Cora Piantoni's personal exhibition Buon Lavoro! Prose of The Day – Poetic Resistance.
Tuesday, 06.12.2016
19:30h
Jennifer Bennett stellt ihr Buch SAVE vor, welches im September im Textem Verlag Hamburg erschienen ist. Dieses enthält wahre Begebenheiten und schildert Begegnungen und Gespräche mit existierenden Personen. Auf einer Reise werden unterschiedliche Protagonistinnen und Protagonisten gesucht und gefunden, um sie zu den Themen Selbstorganisation, Rebellion, Netzwerke, Territorium, Nation, Staatsangehörigkeit und mehr zu befragen. Es wird darin exemplarisch, welche Rolle Einzelne in der Gesellschaft und im eigenen Umfeld annehmen, und ist auch eine ganz persönliche Auseinandersetzung mit dem In-eine-Welt-geworfen-Sein, die von systemischen Aspekten bestimmt wird.
Aufgrund aktueller Ereignisse in den USA um die Dakota Access Pipelines wird die Buchvorstellung mit einigen Videobeispielen und einem gemeinsamen Brainstorming zur Frage der Solidarisierung und Formen von Engagement verbunden. Es zeigt sich, dass bei geplanten Grossprojekten 1000e Stimmen, die sich dagegen auflehnen, nicht berücksichtigt werden und häufig mit massiver Gewaltanwendung von Seiten des Staates zum Schweigen gebracht werden. Kurzfristige Profite stehen über der Erhaltung von Lebensgrundlagen, reichhaltige Umgebungen werden der Aufrechterhaltung des Kapitalismus geopfert. Die Frage, die sich stellt, ist das wirklich in unserem Sinn oder werden uns Bedürfnisse verkauft, welche uns die Opfer die wir bringen, vergessen lassen? Sind wir so resigniert, dass wir den Kopf noch tiefer in den Sand stecken oder möchten wir aktiv und miteinander überlegen, wie eine gangbare Überwindung des Gefühls der Hilflosigkeit aussehen würde? Wie müsste sich das Kräfteverhältnis verändern, damit die Stimme der Menschen genauso relevant wird, wie die Sprache des Geldes? Wie können diese Fragestellungen ins Zentrum der gesellschaftlichen Debatte gebracht werden und macht Kunstproduktion, welche im weitesten Sinn die Gegenwart archiviert Sinn, wenn parallel dazu alles getan wird, um eine mögliche Zukunft für alle zu verunmöglichen?
In diesem Brainstorming kann es nicht darum gehen, uns zu beklagen oder schnelle Lösungen zu finden, aber darum, dass wir uns diesen Fragestellungen mit ganzer Aufmerksamkeit zuwenden.
Weiterführende links zum Entstehungsprozess von SAVE und bisherigen Veranstaltungen:
http://jentleben.jbbooks.net/97-2/
http://www.oslo10.ch/episode5
http://www.2025ev.de/aktion_142.html