A group exhibition with Robert Estermann, Jakob Jakobsen, Lara Jaydha, Jso Maeder, Aya Momose, Saman Anabel Sarabi & Josefine Reisch

curated by Dimitrina Sevova and Alan Roth,
co-curated by Miwa Negoro and Swati Prasad.


Opening: 24 February 2017, 19:00h

Opening Hours / Öffnungszeiten
Wed/Fri 15:00h – 18:00h
Thu 16:00h – 19:00h


Saturday, 25 February 2017, 17:00h (doors open 16:30h)
17:00h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose, Miwa Negoro and the audience.
Japanese artist Aya Momose will screen Exchange Diary (2015-; 48 min), made in collaboration with Korean artist Im Heung-soon.
19:00h Discussion between the artists Robert Estermann, Jakob Jakobsen, Jso Maeder, Saman Anabel Sarabi & Josefine Reisch and the curators Dimitrina Sevova and Alan Roth.


Thursday, 2 March, 19:00h
Screening of The Judgment, video by Kosta Tonev, and discussion with the artist.


Saturdays, 4 and 11 March, 14:00h
INTERMEZZO (locus solus), in which the audience is invited to a public visit of Jso Maeder's storage to select a few wrapped pieces or parts of installations, based on their wrapped shape, without seeing them. They will then be transported to Corner College for a public mis a nu par un objet.

14.00h: Meet at Bhf. Oerlikon, bus stop 62 direction “Schwamendingerplatz”, or
14.15h: Werkerei Schwamendingen, Luegislandstr. 105, 8051 ZH (Eingang Halle)
17.30h: Corner College (le public mis a nu par un objet)


Sunday, 19 March, 16:00h
Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin. high times at Corner College: http://www.hightimepublishers.com


“The machine has to be rediscovered under the sensibility which is no more than a theatrical effect of it.” (Jean-François Lyotard) 1
“Someone must have traduced Joseph K., for without having done anything wrong he was arrested one fine morning.” Despite that “K. claims to be innocent and doesn’t even know the Law,” he has been convicted.

The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Written between 1914 and 1915, it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K. or the reader. The world is subject to rules and obeys laws – there is order in this world, and knowledge of this world comes by knowledge of its ‘law,’ as Isaac Newton might have said. At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October 1914 and published 1919, which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours. Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics.

“Baumgarten published his Aesthetica, the first aesthetics, in 1750. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.” (Lyotard)

The flashing K-function in the middle is a micro intra-process of reflective actions in a pre-reflexive impersonal consciousness – the real(ity) of virtuality, the power to affect and to be affected, what Deleuze defines to be a theater without a stage. There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it.
In Hegel’s negative dialectics, they are Abstract, Negative, Concrete, or Immediate, Mediated, Concrete. In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false (the fancy, or funky). The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control.

The exhibition tests the ‘other’ logic of Labor of negativity (Hegel), which resonates in Karl Marx’s Theories of Surplus Value, in which he constructs the notion of an “other” to “consciousness” or an “other” to “productive” labor as the case may be. The ability of labor to recognize itself in terms of its own otherness, or to ‘create a void in front of themselves.’ (Althusser) Only in the void can solidarity become concrete. There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics.

Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth.

We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters.



Robert Estermann

Out of the Fog
2016. Video, HD, 20′35″, looped.



I let the rider ride. I set up a spectacle („I“ not being a less speculative claim than „spectacle“). Everywhere (prism-like), are uncounted drum-like cylinders (to use an image) with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. The wobbling „man with the movie camera“ is just one of these revolving cylinders in this beach-scape. There is no relationship between them – none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording. During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices.

„In this larger-than-life zoetrope, the individual riders merge, so to speak, into a single rider. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. The background does not refer to a concrete geography more closely defined in temporal and spatial terms, but is rather the visual correspondence of a more diffuse kind of “beach-likeness” with a heavily metaphorical element: distance, culturally protected zone, state of emergency. Once again we are dealing not with a literally political discourse - for which read sexually reformist, generally “liberationist” – although it is also possible to discern an atmosphere of this kind in Distant Riders. This atmosphere is produced by the hallucinatory effect of the signifiers of the 1970s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision. One consequence of this hallucinatory treatment of signs may be that another context interposes itself over the sexually reformist and generally “liberationist” discourse of the 1970s: the question of the economic, political or even erotic relationship between humans and animals. But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit 451, or as a distant coastal zone as in Distant Riders. This counter-world is rich in sensations and full of sensual freshness (in Fahrenheit 451, this is represented by the constant light snowfall in the protected zone of the forest). But as it is freed from the everyday, and its inhabitants are often in a kind of temporally and/or culturally exceptional condition, there is always something unreal – phantasmatic – about the counter-world. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening (as opposed to social anaesthesia), psychical continuity (as opposed to schizoid fragmentation), and develop ethical care (as opposed to moral cynicism).“
Excerpt from: Improper Thinking by Daniel Kurjakovic
in: Robert Estermann, Pleasure, Habeas Corpus, Motoricity. The Great Western Possible, ed. Susanne Neubauer, Kunstmuseum Luzern, Museum of Art Lucerne, edition fink, Zurich, 2007, ISBN 978-3-03746-105-1


Scenic Tongical
2015, two artist’s newspapers, concept with Georg Rutishauser, Edition Fink, Zürich.





Jakob Jakobsen

Antiknow Scene 2. The Body Event (Plumbing). On improvisation, unlearning and antiknow
2013-2017. Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge. Directed by Jakob Jakobsen.



The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. The term ‘Antiknow’ was originally introduced by John Latham as his course title for the Antiuniversity of London in 1968. It is doubtful whether this course ever took place.

During his six-month residency at Flat Time House, starting in April 2013, visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy. Jakobsen set up the Antiknow Research Group, involving young artists from FTHo’s MFI Graduate Group as well as a number of artists, writers and therapists with whom Jakob has collaborated for many years. This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance. Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. Also involved in the group were John Hill, Mary Vettise, Henrik Heinonen, Claire Louise Staunton, Katriona Beales, Mohammad Namazi, Danny Hayward, amongst other incidental participants.



This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event (Plumbing), and the Hand. In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama (or anti-drama) between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. The improvised/unskilled music is produced together with Paul Abbott and Gabriel Humberstone.



Lara Jaydha

Broken and open
2017. Moving Image | A series of digital collages (work in progress)



We reach out for a real connection to stay afloat in a sea of submerged emotions. From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved.

This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion? Can we look at it without judgment? Could it symbolize a source of inner strength?



Jso Maeder

INTERMEZZO (locus solus)
2017. Two visits to the artist's storage, on 4 and 11 March 2017. Public mis a nu par un objet.


B°N-BATTERIE
2017. Video installation.



B°N-BATTERIE. amuse-um/TRICKSTER’S TANK

„We are getting rid of ownership“ - John Cage, „Silence“

The trickster, showing up like sort of keeper of the gap as far as he widens out a line normally/normatively marking a dualities’ explicit distinction/discrimination, that appearingly determines and legitimises a difference between two positions like also hierarchic classification (true/contingent, active/passive, dominant/submitted to etc.), to a proper area in between (thus: a gap), compromising/corrupting these positions and so far the ‚system’ of segregations establishing them as obligatory rules valid by its law/language.

Therefore, like a dissimilation by not correctly choosing a position but taking the gap, the trickster breaks the dialectic matrix of a historiography basically reflecting differences as functions of volition and, by consequence, a notion of rationalism of decision making character, whose logics always justify that some corpus has/is to rule: a fix scheme of continiouity or change in an antagonistic scenario, succession or revolving replacement regarding dominant positions as given by an abstract order within rulers/winners and victims/loosers (reproduced in terms of ‚culture & science‘ by modern disciplinarity in theory like economics as a referential construction of social efficiency). So an agent provocateur, if on purpose or not, disobidient and without respect in a way of not reaching any given part in such dispositions, one hardly can localise the trickster’s ambitions or motivations.

Like an analog concept of dis-sense and an incongruousness under that aspect of being regardless of culturally prevalent principles/the institution’s régimentality, his trouble making behaviour/inter-actement is morelike similar to a setting/display like the one of bricolage’s (a way of disobidience in/through matters of knowledge in comparison to the ingenieur/professional standards): what is brought together/assembled and taking place in a combination, is not functionally predefined by controlling instances nor can consequently become conclusion of this kind - there’s more the occasion/opportunity than a goal in the bricoleurs parapractice, a non-repetitve making of also temporally, not a stepwise efficient development from a to b, or a specific sense that predetermines logically the actions, which also and finally means that they remain conflicting as they cannot automatically be assumed as useful being connected with an intentionally positive assertion.

Text: Jso Maeder



Aya Momose

Lesson (Japanese)
2015. Video, HD, 7′16″, looped.



Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning. In this work, in the bottom of the screen, there is a Japanese written with a roman character / pronunciation and English translation distorted as an “(fictional) Educational Video for Japanese Language Learners”. The sign language is false after all, the definition and the context which the gesture and the voice (sound) sends becomes separated eventually. The separation is suddenly broad between the expression on her face and the voice, and the parole subjective becomes ambiguity / multiple. Here, there’s a fight for ethnicity and the language, between the sorrow and the grievously of the oppressed / enforced, and the cruelty and deception by the oppressing / enforcing. Beyond its non-expression mask, there’s an alternation theater made by their change of the voice’s intonation.


To Cuddle a Goat, a Poor Grammar Exercise
2016. Single channel video, HD, 13′50″.



Distinguished by its adroit ability to overturn the link between voice and body, Momose’s works have dealt with misunderstandings and discrepancies associated with communication, and reversals in the relationship. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others. The work implies the oppressed subjects and bodies in the history beyond any boundaries.



Saman Anabel Sarabi & Josefine Reisch

How to sing in the midst of the capitalization of art: the desirable table of Josefine. An orientation device
2017. Installation, table, cloth.



Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of 2017. Extending, stretching and flipping the semi-autobiographical short story of Franz Kafka titled Josefine die Sängerin oder das Volk der Mäuse they use their rather specific orientation device to articulate questions on the autonomy of art in our time within which the capitalization of art has been already fully articulated. Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February 2017.

18:30h: Doors open

A temporary video installation of The Judgment by Kosta Tonev will be on display all evening.

19:00h: Presentation by Kosta Tonev, and discussion with the artist




Kosta Tonev

The Judgment
2011, dual-channel video, 4 min 44 sec.

The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it.
The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event. In the second, a group of actors impersonate the characters of her story.


The Judgment
2011, 2-Kanal-Videoinstallation, 4 Min 44 Sek.

Das Video erzählt die Geschichte eines Gegenstandes. Ein Künstler stiehlt eine Scherensperre von der Polizei und stellt sie danach in einer Galerie aus. Eines Tages wird die Putzfrau der Galerie von einer Gruppe von PolizistInnen überrascht, die ihre Scherensperre zurückfordern.
Im ersten Kanal dieser Videoinstallation erzählt die Putzfrau von dem Ereignis. Im zweiten werden die Personen aus ihrer Erzählung von SchauspielerInnen dargestellt.


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

INTERMEZZO (locus solus), in which the audience is invited to a public visit of Jso Maeder's storage to select a few wrapped pieces or parts of installations, based on their wrapped shape, without seeing them. They will then be transported to Corner College for a public mise a nu par un objet.

14.00h: Meet at Bhf. Oerlikon, bus stop 62 direction “Schwamendingerplatz”, or
14.15h: Werkerei Schwamendingen, Luegislandstr. 105, 8051 ZH (Eingang Halle)
17.30h: Corner College (le public mis a nu par un objet)

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

Zine – to March, Clandestine Life of the BoycottGiiirls! 2017

Mit Beiträgen von / With contributions by
Tonjaschja Adler, Madeleine Amsler, Ariane Andereggen, Nicole Bachmann, Martina Baldinger, Mirjam Bayerdörfer, Marina Belobrovaja, Sofia Bempeza, Denise Bertschi, Ursula Biemann, Klara Borbély, Johanna Bruckner, Patricia Bucher, Sarah Burger, Françoise Caraco, Bettina Carl, Delphine Chapuis Schmitz, Teresa Chen, data | Auftrag für parasitäre* Gastarbeit, Brigitte Dätwyler, Kadiatou Diallo, Bettina Diel, Mo Diener, Quynh Dong, Marianne Engel, Klodin Erb, Anne-Laure Franchette, Anna Francke, Ipek Füsun, Monica Germann, Clare Goodwin, Co Gründler, Gabriela Gründler, Sabine Hagmann, Marianne Halter, Andrea Heller, Samia Henni, Seda Hepsev, Anke Hoffmann, Cathérine Hug, Patricia Jacomella, Monica Ursina Jäger, Sophie Jung, Anastasia Katsidis, Verica Kovacevska, Isabelle Krieg, Sandra Kühne, Georgette Maag, Julia Marti, Federica Martini & Petra Elena Köhle, Angela Marzullo, Maya Minder, Rayelle Niemann, Caroline Palla, Ursula Palla, Katherine Patiño Miranda, Leila Peacock, Cora Piantoni, Annaïk Lou Pitteloud , Maria Pomiansky, Elodie Pong, Isabel Reiss, Marion Ritzmann, Ana Roldán, Aoife Rosenmeyer, Dorothea Rust, Margit Säde, Saman Anabel Sarabi, Julie Sas, Lisa Schiess, Annette Sense, Dimitrina Sevova, Francisca Silva, Veronika Spierenburg, Vreni Spieser, Claudia Spinelli, Marion Strunk, Milva Stutz, Una Szeemann, Lena Maria Thüring, Yota Tsotra, Jana Vanecek, Anne Käthi Wehrli, Nives Widauer, Martina-Sofie Wildberger, Angela Wittwer, Sophie Yerly.

Konzept und Realisierung / Concept and realization: Nadja Baldini, Dimitrina Sevova, Tanja Trampe

Herausgegeben von / Published by Corner College Press

[English below]
Vor dem Hintergrund der gegenwärtigen politischen Lage und in Solidarität mit den weltweiten Protesten von Frauen gegen Sexismus, Rassismus, Gewalt, Homophobie, religiöse Intoleranz, Klimawandel und ökologische Ungleichheit haben wir Künstlerinnen und Theoretikerinnen eingeladen, je einen A4-Druckbogen Querformat (bzw. zwei A5-Seiten Hochformat) beizutragen, Text oder Bild/Zeichnung, schwarz-weiss.

Veranstaltung im Corner College am 8. März um 20:00h, mit einer Vorschau-Slideshow der Druckbogen des Zines, und DJ-Sets von Monica Germann und DJ Sweatproducer. Die Einnahmen von der Bar gehen an die Druckkosten.

DJ Sweatproducer:
Strassengeräusche, Haushaltslärm, Trompeterinnen in den Wohnungen.
Das Denken und die Gefühle scheinen jetzt schon zu laut zu dröhnen, Hauswänden und Böden zittern und knacken.
Gebüsch im Wind.
Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch.
Durch die Luft, so dominant, man hört es, schon den kleinsten Mucks!

Zine-Vernissage und Auktion am 1. Mai 2017 im Corner College.

[Deutsch oben]
Against the background of the current political situation and in solidarity with the worldwide protests of women against sexism, racism, violence, homophobia, religious intolerance, climate change and ecological inequality, we invited artists and theoreticians to contribute one A4 landscape format spread each (or two pages A5 portrait format), either text or image/drawing, black and white. The income from the bar will go towards the printing costs.

Event at Corner College on 8 March at 20:00h, with a pre-launch slideshow of the spreads of the zine and DJ sets by Monica Germann and DJ Sweatproducer.

DJ Sweatproducer:
Street sounds, household noise, women trumpetists in the apartments.
The thinking and feelings seem already now to buzz, as house walls and floors shake and crash.
Bushes in the wind.
Railing out the window, songs, poems and furious speeches reach the neighbors upstairs.
Through air, so dominant, one can hear it, even the slightest sound!

Zine release and auction on 1 May 2017 at Corner College.

Talk organized by the Postgraduate Programme in Curating CAS/MAS ZHdK in collaboration with Corner College.

Marc Streit is currently the associate artistic director at Tanzhaus Zürich and founder of zürich moves! festival for contemporary arts practice in performing arts. As freelance curator he has mandates for various institutions in Europe and the US. He is an alumnus of the Postgraduate Programme in Curating.

The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics. Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance.

http://www.zurichmoves.com
http://www.tanzhaus-zuerich.ch

This event on the on-curating mailing archive: http://us4.campaign-archive2.com/?u=97fd3828d94e99dfeceaa8b3b&id=04632005d8

INTERMEZZO (locus solus), in which the audience is invited to a public visit of Jso Maeder's storage to select a few wrapped pieces or parts of installations, based on their wrapped shape, without seeing them. They will then be transported to Corner College for a public mise a nu par un objet.

14.00h: Meet at Bhf. Oerlikon, bus stop 62 direction “Schwamendingerplatz”, or
14.15h: Werkerei Schwamendingen, Luegislandstr. 105, 8051 ZH (Eingang Halle)
17.30h: Corner College (le public mis a nu par un objet)

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

Talk organized by the Postgraduate Programme in Curating CAS/MAS ZHdK in collaboration with Corner College.

On March 17, Tenzing Barshee's talk at the Postgraduate Programme will discuss and compare the following projects: On March 23, the exhibition Der Verdienst. 2014-2017 will open at the project space Oracle in Berlin. It’s a follow-up project to an exhibition titled Le Mérite. 2014-2016, which happened last October in Paris. The two exhibitions will resemble and question each other. Le Mérite reflected on the adolescence of power—how authority is claimed and in which formats it is established—while the individual experiences trauma collectively. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. Der Verdienst will mimick Le Mérite. Le Mérite was afraid that Der Verdienst might happen. The first project was all about testing limits. The second one tries to draw the line.

Der Verdienst. 2014-2017 features the work of Carla Accardi, Andrea Büttner, Angeletti/Rossetti, Alexia Cayre, Paul Collins, Timothy Davies, Buck Ellison, Marina Faust, Rochelle Feinstein, Philipp Friedrich, Heike-Karin Föll, Deanna Havas, Samuel Jeffery, Matthew Lutz Kinoy, R. B. Kitaj, Jean Leclercq, Justin Lieberman, August Macke, Luigi Ontani, Kirsten Pieroth, Nicolas Roggy, Aura Rosenberg, Emanuel Rossetti, Salvo, Ben Schumacher, Lucie Stahl, Studio for Propositional Cinema, Student Art Collective, Mitchell Syrop, Lilli Thießen, Astrid Wagner, Genichiro Yagyu, Min Yoon, HP Zimmer a.o.
Oracle, Joachimsthaler Straße 14, 10719 Berlin, oracle@theoracle.works, open by appointment

Last year, Tenzing Barshee curated a two-person exhibition with Anne Speier and Judy Fiskin at wellwellwell, Applied Arts University Vienna, and the exhibition Le Mérite. 2014-2016 at Treize in Paris. He co-curated Rochelle Feinstein's exhibition In Anticipation of Women's History Month with Fabrice Stroun for Centre d'Art Genève, the group show Passo Dopo Passo with Molly Everett and Dorota Michalska for Fondazione Sandretto Re Rebaudengo in Torino, and Margaret Honda's exhibition An Answer to 'Sculptures' with Fanny Gonella for Künstlerhaus Bremen. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in 2014.

This event on the Curating mailing archive: http://us4.campaign-archive2.com/?u=97fd3828d94e99dfeceaa8b3b&id=019d785630&e=614f2be470

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

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