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





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



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)



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



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



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





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.



Electronic supernatural phenomenon magnetizes two bodies and brings them close.



Jso Maeder

Werkgruppe Fig. - Speicher
seit 2012 - in progress



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




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





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



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





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





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.



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.

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)

Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566347266879116

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

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.

[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.

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.

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

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.

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.

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

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

Friday, 27 May 2016 - Sunday, 26 June 2016


Program of the Finissage


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


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

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



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

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

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

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

JM/06-016


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


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

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

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

JM/06-016



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



Inspired by “Nature” by Ralph Waldo Emerson

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

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

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


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


Dreizehn 'interaktive' Erzählungen.

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



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



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