For the french version, please scroll down.
Capitain Kolesnikov and the Seawolves
invite you to a sound experience on board of a Russian submarine called KOURSK K-141. This fictional travel emerges from a mix of sound landscape and nebulous beats which describes a sad day of august in the abysses of the Barents Sea. This dizzy crossing will reveal a deep atmosphere inherent to the use of analogical hardware and synthesizers.
Capitain Kolesnikov and the Seawolves will realize this journey with the intention to resuscitate the crew, action in the same vein as the projects of John Carpenter, dj Arowax, Legowelt and Arpanet among others.
Welcome on board!
Boarding on the 25th of April at 9:00 p.m
Capitain Kolesnikov and the Seawolves vous invitent à une expérience sonore à bord d'un sous-marin russe nommé le KOURSK K-141. Ce voyage fictionnel né d'un mélange de paysage sonore et de beats nébuleux décrit un triste jour d'août dans les abysses de la mer de Barents. Cette traversée vertigineuse créera une atmosphère profonde propre à l'utilisation des synthétiseurs et hardwares analogiques.
Capitain Kolesnikov and the Seawolves effectueront ce périple avec l'intention de ramener l'équipage à la vie, action dans la même veine que les projets de John Carpenter, dj Arowax, Legowelt et Arpanet parmi d'autres.
Bienvenue à bord!
Embarquement le 25 avril à 21:00 H.
A conference initiated by Elena Sorokina and Nataša Petrešin-Bachelez.
With contributions from Dessislava Dimova, Olga Kisseleva, Albert Heta and Agency.
Friday 23rd of April 2010, 15h - 17h at le Café Central: http://www.lecafecentral.com/
Through a series of polemic dialogues, we would like to trace different generations of intellectuals (artists, curators, philosophers, art historians) from the former East and West of Europe that deal with "shades of red", the afterlives of Communism and its (un) expected turning points in its most recent philosophical and artistic reception following the financial and, more generally, post-Fordist crisis.
After the collapse of the Soviet block, communism as idea, image or problem has been regarded as "outmoded, absurd, deplorable or criminal, depending on the case". Today, it is often presented by the mainstream media as a parenthesis of history, an aberration of the 20th century, as "a completely forgotten word, only to be identified with a lost experience". Although the communist hypotheses of previous eras may no longer be valid, their histories, narratives and key notions have never ceased to spark attention and inform recent discussions such as the communal versus the common, and material versus immaterial property, to name just a few. Perceived from a greater distance today, communism has re-emerged as a topic for investigation in artistic and exhibition production, that reflects it in diverse ways, addressing the relevance of the term today or inviting provocative comparisons with the present.
This seminar aims at presenting various works that recast ideas related to communism and revisit it as a complex and diverse arena of political and aesthetic attitudes, which varied between nations, communities and historical periods. By no means does the seminar intends to take a nostalgic tour through the past decades, but rather seeks to address thetopic through concrete art and exhibition projects realized recently. All of them are trying to deconstruct the idea of monolith, still very present in today's reception, and to recuperate various episodes, stories and notably, the "communist apocrypha" - texts, music, visualproduction - which have never been part of the established ideological canon, and whose intellectual patterns shed new light on what the contemporary uses of the notion of communism might be. Instead of treating communism as pure political abstraction, the projects presented by the seminar deal with concepts, events and/or particular personalities related to communism and its history which have survived the Bildersturm of the recent past and can be artistically reactivated.
The language of the conference is English. Admission is free.
The seminar will take place in Brussels and Paris, at The Public Schools.
Brussels: April 23rd, 3-5pm
Participants: Agency, Dessislava Dimova, Albert Heta, Olga Kisseleva
for more information please follow the link: http://brussels.thepublicschool.org/class/2336
Paris: April 24th, 3-6pm
Participants: Pietro Bianchi, Renata Poljak, Société Réaliste, Oxana Timofeeva
for more information, please follow the link: http://paris.thepublicschool.org/class/1773
Elena Sorokina is Paris/Brussels based curator and critic. She was a Whitney Museum of American Art ISP fellow in New York in 2004. Her recent projects include "Petroliana" at the Moscow Biennial 2007; "Laws of Relativity" at the Fondazione Sandretto Re Rebaudengo, Turin, Italy; "On Traders' Dilemmas" at YBCA, San Francisco, 2008; and “Scènes Centrales" at Tri Postal, Lille, France, 2009. She has been writing for Artforum, Moscow Art Magazine, Die Zeit and other publications.
Nataša Petrešin-Bachelez is a curator and critic based in Paris and Ljubljana. She is a Ph.D. candidate at the EHESS in Paris where she also runs a seminar on contemporary artistic practices with Patricia Falguieres, Elisabeth Lebovici, and Hans Ulrich Obrist. She is currently working as an associate curator at the Centre Pompidou in Paris. She is a member of the editorial board of ARTMargins and Maska.
Dessislava Dimova is a writer and curator based in Brussels. She is a PhD fellow at the Institute for Art Studies, Bulgarian Academy of Sciences, Sofia. Her scientific interests are in the field of contemporary art, Eastern European and post-communist art, the diverging modernism of the East and West. Her curatorial work focuses on the political and social role of contemporary art and experiments with exhibition formats as anti-events and vectors for cummunication. Recent projects include The Spam Show (internet, 2007-2008) and The School for Revolution (Kultura weekly, 1 Magazine, 2008 – ongoing). She is the founding member of Art Affairs and Documents Foundation, Sofia and is currently co-curating the 2d International Biennial in Antakya, Turkey, 2010.
Olga Kisseleva is a Saint Petersburg/Paris based artist. She is Professor and Head of Art&Science department of the University Paris 1 Pantheon Sorbonne and the editor of Plastik Art&Science revue (Editions de la Sorbonne, Paris, France). Olga Kisseleva exhibited at the Centre Pompidou (Paris), KIASMA (Helsinki), Guggenheim Museum (Bilbao), National Center for Contemporary Art (Moscow), ARC (Paris), Reina Sofia (Madrid), Art Institute (Chicago) and the Biennials in Venice, Istanbul, Dakar, Tirana and Moscow.
Albert Heta is an artist based in Kosova. Heta's works are often simple acts of intervention in an existing social condition, responses to a given situation, or rethinking of existing objects. His notable works ‘It's time to go visiting: No visa required’ (2003) or his 'Kosovar Pavilion Venice Biennial 2005' (2005) are not merely the installations or acts of appropriation, but also acts of engagements with the conditions under which the works were accepted by the curators, media, politicians, and the public. Since 2006, his work is also channeled through a collaborative intervention, project institution Stacion - Center for Contemporary Art Prishtina.
Agency is the generic name of an agency that was founded in 1992 by artist Kobe Matthys and is based in Brussels. Agency constitutes an ongoing list of things that witness hesitation in terms of the bifurcation of nature into the classifications ‘nature’‚ and ‘culture’. This list of things is derived from juridical processes, lawsuits, cases, controversies, affairs and so forth, where this bifurcation has been discussed. Agency invokes these things during varying assemblies inside exhibitions.
I am in Brussels until April, 12, 2010. My residency will explore the collaborative processes that give rise to exhibition making. Because the best exhibitions emerge from conversations, I need your opinion. Become an advisor ! Join now !
Isabelle Le Normand (1980) is curator at Mains d’Œuvres, Saint-Ouen, France. Mains d’Œuvres is a space based in Saint-Ouen near Paris Flea Market offering artist residencies and a public program. It covers visual arts, music, dance, theater, cinema, lectures and educational events. As curator, Isabelle Le Normand organized the collective exhibitions 23’17’’ (Mains d’Œuvres, September 2009), Mieux vaut être un virus que tomber malade (Mains d’Œuvres, September 2008), and Argument de la Diagonale (Bétonsalon, Paris, Summer 2008). She curated the first solo exhibtions by Estefania Peñafiel (Galerie Paul Frèches, Paris, June 2008), Charlie Jeffery (Mains d’Œuvres, December 2008) and Marie Hendriks (Mains d’Œuvres, February 2009).
[…] is a project that looks at alternative possibilities for the dissemination and distribution of ideas.[…] works through a process of commissioning new editioned artworks which are then set in motion within a variety of modes of circulation. The duration of the works is never determined, leaving room for an uncertainty in who, how and when a viewer will experience the work
[…] explores the legacies of conceptualism and mail art with emphasis on the mutability and variability in which ideas exist and evolve in the world, changing their meaning and significance as a result of their modes of distribution, transference and performance.
[…] works as a continuous ‘port’ for the production of artworks and ideas, […] is not anchored to any particular location, medium or network and aims to create new formulations of distribution for every artwork it presents, to find the artwork’s own topology of exchange and movement.
[…] The sharing of ideas through different modes and networks.
[…] Provoking an awareness of the journeys an idea undertakes.
• […] in Brussels from April 20 to 26th is curated by Sepake Angiama, Oliver Martinez Kandt, Thom O’Nions and Adam Thomas who will be responsible for sorting the editioned artworks by Ben Cain, Ruth Ewan and Shahin Afrassiabi.
Spaghetti alla Bolognese by Giusy Checola and Elisa Del Prete (Nosadella.due)
Spaghetti alla Bolognese is a typical Italian recipe that you can find on International Menus whereas it does not come from the Italian culture. How can it happen that Spaghetti alla Bolognese is wrongly considered as a typical Italian dish? When "identities" become flustered, they change and develop a necessity of integration and exchange.
Starting from this statement we will mix the idea of cooking together with a game involving the audience as the jury.
This structure is thought as a way to let the public speak since we think that the audience is the first element to do public art.
Food becomes the binder for sharing and discussing : it is a way of communicating, comparing, touching...
The audience is invited to contribute with a bottle of wine.
Elisa Del Prete (1978) is the founder and director of Nosadella.due. She has a degree in Cultural Heritage at Bologna University, master at Lincei Academy in Rome for a research on “Aby Warburg and Italy”. She also works as independent curator and journalist for “Corriere della sera” and for art reviews like “Arte e Critica”, “ArteIncontro”, “Espoarte” and “Combo”. Lately she has widen her research on the current development of the language of the images in art, as well as within society, communication, advertisement, with a special interest in the erotic imaginary in visual and performative art. She is also interested in recent developments of relational and participative art, pulling the idea of art as experience. Among the publications she has recently contributed to the book made by the artists Nico Dockx and Helena Sidiropoulos, Stickiness (2008).
Giusy Checola (1973) is independent curator and collaborator for Nosadella.due. With Elisa Del Prete, she curated “PASS - Produce Art (as) Social Strategy”. She has a degree in History of Art, department of Stage Designing at Brera Academy of Fine Arts in Milan, during her studies she focused on European Romanticism. She is also journalist for Purple Magazine, the review of Purple Press, dedicated to artistic editions and art publishers. She collaborated with the Southeritage Foundation of Matera within the frame of “Lab 12”, platform of discussion on the artistic and curatorial practises in the South of Italy, focusing on artistic projects in connection with other disciplines.
GANG FOREST / UN TERRITOIRE SANS CARTE
Présentation et workshop à l'école d'art La Cambre, le 30 mars de 14 à 17h
Cours d'actualité de l'art contemporain sur invitation de Frédérique Versaen
Donné par David Evrard & Michelle Naismith
Forest gang / Un territoire sans carte vise à inventer un territoire à partir de différents lieux ou plutôt non-lieux situés en Europe. Les actions, performances et installations prendront place dans des zones péri-urbaines sans pittoresque, pour un public local et international. Elles seront documentées dans une publication et une vidéo qui formeront une sorte de collage reliant des paysages à travers une cartographie fictive.
Le type de lieu qui nous intéresse est identifié comme non-lieu, lieu de transit entre les grandes villes, banlieues, villages, entre le rural, le post-industriel en Europe de l’Ouest et du Sud et l’après-guerre pour les Balkans. Il s’agit de créer des pièces et des performances dans ce qui est vécu comme le lieu non touristique par excellence, la périphérie, ce qui résiste au city marketing ou à la muséalisation de nos villages.
Forest gang / Un territoire sans carte propose des espaces de création et de diffusion pour confronter les clichés et inventer des récits du no man’s land, d’une mythologie des nouvelles économies, de l’artisanat, du hobby, de l’agriculture, en partant de microcosmes locaux. Nous identifions différentes régions en Europe qui formeront un archipel à la dérive. Le repérage de ces îles fait partie intégrante du projet donnant l’occasion aux artistes d’agir en collaboration avec des organisations locales, dans des endroits dédiés à l’art ou non.
Soulignons la poétique de l’absurde qui habite ce projet : Conférences en forêt, expositions sur des aires d’autoroutes, installations à des postes frontières, projections dans des granges ou des chapelles, centres culturels locaux, parkings, potagers, bistrots, chemins, prairies, magasins, étangs, usines, fermes - autant de lieux d’expérimentation pour les participants et le public.
Opérant une sorte de balayage paysager ou récit cartographique, les acteurs de cette Atlantide européenne s’appuieront sur des études historiques des régions et leurs représentations partagées lors de séminaires, workshops, immersions sur le terrain, collectes de documents in situ, prises de vues et de sons. L’ensemble de ces interventions - notations, projets, constructions, expositions légères, réalisés dans des espaces semi-urbains, ruraux ou naturels - fonctionneront comme des séquences, scènes d’un récit plus vaste qui se construit au rythme de son avancée dans le paysage. L’objectif de ces déplacements est d’inventer un territoire fictionnel tout en se confrontant aux histoires collectives et individuelles, à l’architecture et aux diverses formes de représentation des régions traversées. Cette manière de travailler aboutira naturellement sur une vidéo qui inclura les captations des performances et œuvres. La vidéo sera ensuite présentée dans des expositions.
Outre le travail des artistes, le livre inclura des contributions de cartographes, historiens, spécialistes régionaux ou « grands amateurs ». Prenant le guide touristique comme modèle, la publication fonctionnera comme un roman dont chaque chapitre correspond à une étape du périple. Détournement de l’imagerie d’une région, gigantesque collage sur des milliers d’hectares, cette expérience est une tentative de restitution autant que d’appropriation d’un paysage fragmenté.
Making video in the streets of Brussels:
Call for participation to workshop by Karin Schneider from 15 to 19 March on appointment:
Trying to exercise our eyes to perceive an underground order out of sight...
we will be walking on the streets, we will be seeing art in museums, having coffee at cafes, buying books at bookstores... a film with/out a camera. How can we break apart from this live experience, this gestalt experience of the fore/ground that generates the space of a "good form", a space of a "good gestalt"? a space of déjà vu in our western culture?
Is it possible to construct daydreams mutating things where incompatible situations can co-exist ? Is it possible to produce a film un/feeling, as Benjamin said, using a camera as a surgeon's knife, in order to penetrate deeply into reality? Or should we try to construct the optical field creating an entropic relation of our libido with chaos, where a heterogeneous time can co-exist in the construction of this im/possible Y-phone piece
Karin Schneider (b.1970) is a Brazilian artist. She was born in Rio de Janeiro. Between 1987 and 1991, she was educated in the UNB (Universidade de Brasilia), Brasilia, the Circulo de Bellas Artes, Madrid and the UFRG (Universidade do Rio Grande do Sul), Rio Grande do Sul. She then continued her education at New York University from 1996 to 1998.
In her first body of work, from 1989 to 1996, she explored sculpture. From 1996 to 2001 she worked with video, film, drawing and photography. From 2001 on she started to work with architecture. Her later work involves installations with oil paintings.
Schneider lives and works in New York since October, 1996. She married in 1999 with Nicolas Guagnini. In 1997, they created together an experimental film company called Union Gaucha Productions. Their first film Phantom Limb made in 1997 is a 30 minutes 16 mm fictional documentary that traces through formal analogies the history of Concrete Art from Argentina and Brazil, Neoconcretism from Brazil and Unicism from Poland. The film was showed for the first time inside a film theater designed by the artists at Artist Space in New York,1999.
Schneider's’ work has a strong play impulse and invites the audience to invert the logic of the art object bringing functionality to it. Her architecture models were transformed critically into domestic apparatus, her oil paintings became exhibition displays for projections. There is always a program inserted in her installations in order to connect the work with the present tense and with the reality outside the exhibition space. Her art installation “ two or three things you should” at Sculpture Center, New York, 2007 was an example of her installations/machines to create parallel realities that can be experienced simultaneously.
Reality or Symbolism
The Public School at Wiels Contemporary Art Centre, Brussels
For Aristotle, "Every politician is an artist... It's not easy to fool a nation without art, but every artist is not a politician." The relation between art and politics can create a feeling of emptiness since art is able to denounce or make problems visible, but can never function as a potent political device. This emptiness has a relevance to the society in which the work of art is created or shown. How can a work of art transcend into a political field? Much of the art produced that is linked directly with politics, becomes an ideological social device, whilst the remainder function as simple representations that operate upon the imagination of the viewer rather than within the realm of a social reality.
A debate initiated by Francisco Camacho with Dorothée Dupuis, Inti Guerrero, Matthieu Laurette and Theo Tegelaers. The subject being the relation between political ideas and art representations. From their research and project experience, they will illustrate various artistic positions which relate to specific political situations and how those are engaged positions.
Artist Francisco Camacho "seeks ways in which his work can exist within official social channels". Recent projects include several successful record breaking attempts in The Guinness World of Records, 'The Collective Wedding Petition' (Netherlands with SKOR) and 'The Truth Monument': a video and sculpture he created with the inhabitants of a city in New Mexico which underwent a name change. Last year, in the project 'Architecture Of Survival', Komplot presented an installation about the imprisonment of the artist's cousin in Columbia. These works are exercises that concern historical strategies and the way in which history is represented as a social field of reflexion. Francisco Camacho has been in residency at Komplot since January when he completed his residency period at the Rijksakademie in Amsterdam.
Before becoming director of the art centre and residency program Triangle (Marseille), in 2007, Dorothée Dupuis worked for Philippe Parreno and the Centre Pompidou. She is co-founder of the Paris based curatorial collective Le Commissariat and editor of Pétunia, an art revue that takes feminism as a critical approach to contemporary art practices.
Matthieu Laurette's work has been shown in venues such as Solomon R. Guggenheim Museum, ICA (London), 49th Venice Biennale, Castello di Rivoli (Turin), Deichtorhallen (Hamburg), Artsonje Center (Seoul), Palais de Tokyo (Paris) a.o. He uses various strategies to explore the relationships between conceptual art, pop art, institutional critique, economics and contemporary society. His best known works are 'Apparitions' (1993-ongoing), 'Money-Back Products' (Produits remboursés) (1991-2001), 'Citizenship Project' (1996-ongoing), 'El Gran Trueque' (2000) and 'Déjà vu, The International Look-alike Conventions' (2000-ongoing).
Theo Tegelaers founded the non-profit space BEAM in 1992 and was director of W139 between 1994-1998 in Amsterdam. He worked as a freelance curator and art adviser for the Chief Government architect of The Netherlands and simultaneously as affiliated curator of De Appel, from 2002-2005. He now works as a curator for SKOR, Foundation for Art on Public Space.
Inti Guerrero is an art critic and curator born in Bogotá, Colombia and based in Amsterdam. He is a former curatorial fellow of De Appel and was in residency at Fondazione Sandretto Rebaudengo in Turin and Capacete Entretenimentos in Rio de Janeiro. Guerrero writes for ArtNexus, Bogota/Miami. He has curated 'When The Bough Breaks', MARCO, Vigo and FRAC Lorraine, Metz, 2010; 'A cidade do homem nu', Museu de Arte Moderna de São Paulo, 2010; 'Duet For Cannibals', Royal Tropical Institute and Agentur, Amsterdam, 2010; 'Light Years: Cristina Lucas', Centro de Arte 2 de Mayo, Madrid, 2009; 'Deceiving The Enemy', Laboratorio Interdisciplianrio para las Artes, Bogotá a.o.
Delphine Bedel & Ayako Yoshimura
Talk and Film Screening
'The […] ambivalence of tourism, which also applies to our world in general, is reality and its copy at a time when copies are increasingly more realistic and reality is increasingly penetrated by the illusion of fiction' (Marc Augé)
'Beyond Paradise’ addresses the cultural and social changes that have altered our perspectives on tourism. As sociologist John Urry described in his breakthrough publication The Tourist Gaze, visual culture is central to the tourist experience. It could also be stated that the tourist industry, global mobility and media consumption and especially their abundant visual culture shape our vision of contemporary society. Tourist image production and narratives, as we know them from travel brochures, postcards, advertisements, films, are addressed in the works presented. They reflect on the construction of expectations, experiences and the social imaginary of places evoked by the ubiquitous and pervasive culture of tourism we are living in nowadays. ‘Beyond Paradise’ investigates modes of representation and visibility, starting from the mass production of images – a scheme central to the leisure industry – and the idealized imagery of places, and moves away from the familiar Tourist Gaze to construct unexpected fictional or personal narratives. The promises of these idealistic and seductive images are appropriated and eventually shifted in the works presented , to reveal other realities, and take us beyond paradise in order to question one of the greatest fictions of our times: that of tourism.
Delphine Bedel and Ayako Yoshimura will present the two-part project 'Beyond Paradise' -an exhibition and film programme- they curated at the Stedelijk Museum Bureau Amsterdam and Maison Descartes - Institut Français des Pays-Bas in 2008. A selection of film excerpts from the project will be presented, followed by the screening of the documentary 'Celebration' by Racké & Muskens. Delphine Bedel will introduce her last publication 'All that is solid melts into air, Notes on Tourism' (Episode Publishers, Rotterdam, 2008), a collective research investigating the relation between tourism and politics of memory.
‘Celebration’ by Quirine Racké & Helena Muskens (2005, 55')
The film shows six couples in search of utopia. They are the residents of Celebration; the latest version of the American Dream, built in Florida by Walt Disney. Walt Disney always said that dreams can come true. Is Celebration a dream come true in a world gone wrong?
The exhibition 'Beyond Paradise' included works by Bik Van der Pol, Patricia Esquivias, Hans-Peter Feldmann, Mustafa Hulusi, Arnout Killian, Matthieu Laurette, Sascha Pohle, Lisl Ponger, Erkan Özgen & Sener Özmen. The film programme presented a selection of documentary, short films and videos addressing various perspectives on tourism in diverse geographical and political contexts. It featured films by Quirine Racké & Helena Muskens, Kamal Aljafari, Olivo Barbieri, Mounir Fatmi, Kwang-Ju Son, Bik Van der Pol and Kai-Ting Lin.
Delphine Bedel is curator, artist and writer (http://blog.delphinebedel.com), Ayako Yoshimura is artist and curator. They are both based in Amsterdam.
Date: Saturday 20th March 2010
'Y-The Black Issue'
With SPECIAL DEDICACE by the artists!
And screening of 'Pinochet Porn: Trailer' (12') and 'Pinochet Porn: The Dictator and the Maid' (19') by Ellen Cantor accompagnied by Simon Popper who co-edited the video
At La Chaussette (2nd floor of L'Archiduc)
6, rue Antoine Dansaert
With Patrik Aarnivaara, All The Way To Paris, Félicia Atkinson, Fabienne Audéoud & France Valliccioni & John Russell, Constance Barrère Dangleterre, Anne Bossuroy, Jean-Daniel Bourgeois, Matthew Burbidge, Ellen Cantor, Isabelle Cornaro, John De Winter, Thibaut Espiau, David Evrard, Sofie Haesaerts & Colombe Marcasiano, Jean-Paul Jacquet & Loic Vanderstichelen, Kosten Koper, Lang/Baumann, Erwan Mahéo, Gérard Meurant, Karl Larsson, Jonas Locht, Jaro Straub, Charlotte Walentin
'Y-The Black Issue' looks for new collaborative processes in publishing and exhibition making. The publication is a script for the exhibition motivated by the desire to combat the darkness and cold through the gathering of fragments of conversations, poetry and images about SAD (seasonal affective disorder), melancholy, northern lights, weather, countryside or second residencies.
A project curated by Sonia Dermience
In residency at Far Away So Close
Exhibition until 14th March, 2010
Ystads konstmuseum, Sweden
THE CIRCULATION OF HOPE / IMAGINEERING THE NOW
or Everything you always thought you knew about hope, but are about to redefine!
collaboration between a.pt (advanced performance training) and Micromarché
In this practice-based workshop radical_hope and aude thensiau explore the mobility of hope within a city.
hope as the now, de-futurized
hope as a social body, de-individualized
hope as an social affect, de-personalized
hope as invention
hope as auto-poetry
hope as a moment of change
hope as a choreography
hope as movement
how can this hope be communicated throughout the city? how can hope be an answer to your own question?
how can you reach people you don't know to join in the circulation of hope.
in this 5-day workshop we will develop different strategies to make hope mobile and volatile,
make hope travel and return, set up conversations with unknown participants, start up dialogues with non-present collaborators.
Possible strategies, probably not to be used, but nice as a starting point: recounting, laziness, branding, self-instruction, wild card invitations, object-chain letters, ...
working times: monday to friday, 10-18h
last admissions: 20th of february
Strategies of Meaning-Production and Staging the Self in the Art World
Berlin based art critic Barbara Buchmaier invites Berlin artist Christine Woditschka to a dinner where they will discuss their current working situation and talk about scenarios and attitudes being confronted with the rules and anti-rules of the art system. The talk will be structured over three courses:
1st - Appetizer / Celery sticks garnished with Gorgonzola
2nd - Main Dish / Mushroom Risotto
3rd - Dessert / Kiwi Sorbet
The public is invited to eat and discuss.
During a cooking-show/lecture/performance, Marco Bruzzone and Danai Anesiadou
will discuss art and basic needs, kitchen´s rules and taste.
Fresh food and cool drinks will be served.
here it is
a chart summarizing the main points and the course of the workshop
This is Episode I of three episodes film questioning the Christmas and image culture! A try to create an unusual picture of Sinta!
Video would be uploaded soon...
Museum night intervention (Nov. 2009) was a reaction to the popular policies of the art museum or institutions for this night!
The Museum Night Intervention is an start of an experiment of self-organized interventions, exhibitions and performances that are consciously decided to take place outside the art institutions or rather the "white cube". An experiment and a try to argue a new wave of Institutional Critique as artists practice. A method of critique that can criticize the Institutionalized Critique or as S. Sheik said: " A machine of control within new modes of governmentality- politics and education"
Ali Likes Museums in front of Stedelijk Museum
Qualified to Satisfy in front of Nimk (Nederlandse Institute voor Media Kunst)
Shooting Stars in front of Van Gogh Museum
Night Cube in front of Foam
For More Images See this Link
More reading of Institutional Critique by Simon Sheikh see this Link
In this course we think about art as a critical creation, reflection or response to current social and political issues!
We can also read in our own timing or collectively some part of 'Escape the Overcode' by Brian Holems.
Why artistic intervention is necessary?
Can artists have a real effect on society and politics?
FOR MORE INFO. SEE NOTES!
Premiere of the film MARCEL
With performances by Meryll Hardt, Grégoire Motte, Douglas Park, Eléonore Saintagnan, Benjamin Seror, Pete Um
At Netwerk in Aalst
A film by The Marcel Collective
Year / Country : 2010 / Belgium. Duration : 27'00". Language: French / English / Dutch (w/ English subtitles). Shooting Format: DV / 8mm. Screening Format: DVD. Aspect Ratio: 4:3, Color. Sound Mix: Stereo. Supported by Flanders Audiovisual Fund (VAF). Produced by Komplot.
Marcel is a collective formed to make a film of the same name and give birth to a film director of the same name. A docu-drama about the factual and fictional assocation between three celebrated artists who gravitated around the surrealist movement in Belgium and France: Marcel Duchamp, Marcel Mariën and Marcel Broodthaers. A rocambolesque mise en scène, hallucinatory décor and spatiotemporal collages make the reappearance of these ghosts of surrealism possible. Marcel takes as its point of departure a reinterpretation of Marcel Mariën's controversial film, L'imitation du cinéma (The Imitation Of Cinema) (1959), itself a satire of the book The Imitation of Christ (Thomas A. Kempis, 1424). Playing on the intentionally outdated aesthetics of this historic film, Marcel critiques cultural historification in a similar way to Mariën who based his film on a book from the Middle Ages to critique surrealism and bourgeois Christian society.
The Voice Of Marcel : Pete Um
Marcel In Café: Constance Barrere Dangleterre
Young Bored Girl: Maaike Neuville
The Ghost Of Marcel Mariën: Bruno Marin
TV Presenters: Jean-Philippe Convert & Ivo Provoost
Director Of Foundation Marcel: Phillip Van Den Bossche
Independant Art Curator: Anne Grandhenry
Douglas Park : Himself
Soldier / Priest: Filip Gilissen
Performers In Bank: Meryll Hardt, Thibaut Espiau, Gérard Meurant, Laurent Anciaux, Marilyne Grimmer, Grégoire Motte, Benjamin Seror
The Police : Komplot & Renaud Perriches
Soundtrack with music from Meryll Hardt, Pete Um, Anne Sorel. Additional film footage courtesy of Remy Markowitsch.
Based on a script by Jean-Philippe Convert. After an idea by Douglas Park
This class that asks fundamental questions about art from the point of view of a personal research could meet some questions that are very large addressed in the proposal of Alain Servais: "What is art?" tout le monde en parle en discute les détails et les formes
mais avons nous pensé à son rôle, son but, sa fonction? Au niveau individuel? Au niveau social?
Qui sont ses acteurs?
What is really going on? No but really. REALLY. Really. really. r e a l l y . Really?
If all that is delivered to us is fiction, which delivery is most believable, which choice most useful?
A summary of clips, quotes and slides, the highlights of four years of sporadic/in depth conspiracy theory research.
Following the presentation, a discussion: In this context, what is art and how does it behave?
This collage party has the goal to design our flag in cut-out red, green and blue papers. The final collage will be later sewed in a textile flag.
Since the 16th century in France the Salon served as a platform for cultivating exchange of ideas, to support young talents in arts, literature and music. Despite its connotation with the circle of the bourgeoisie and aristocracy, salons also fostered critical debate, individual autonomy and cultural literacy, e.g. Voltaire and Diderot prepared the foundation for the French Revolution in a Parisian Salon.
In the spirit of critical debate and exchange Urban Salon invites everyone who is interested in presenting, exchanging and testing out ideas on the urban space, as a site in which multiple spaces, temporalities and webs of relations and produced meanings are co-present, and in which local sites and subjects are tied into globalising economic, social and political systems. (Depending on numbers of attendance the presentations should be ca. 15 minutes).
Berit Fischer has been an independent curator for contemporary art since 1999. Previously based in New York and London, she currently lives and works in Berlin, Germany. She is one of the co-founding curators of The Brewster Project (2001) and has
curated shows in the U.S.A. including the Brooklyn Waterfront Outdoor Sculpture exhibition at the Fulton Ferry Park, D.U.M.B.O Arts Festival, and Cuchifritos, and internationally at Intrude 366 at Zendai MoMA, Shanghai (China) and the Standpoint Gallery (London, UK) among many others. She was awarded a residency at Delfina Studio Trust (London, UK) and participated at the European Course for Contemporary Art Curators (Milan, Italy) with visiting professor Charles Esche. Additionally, Ms. Fischer
has worked since 2006 for the arts journal Afterall (London, UK).
In this series of workshops, participants will be exposed to the fundamentals of multimedia programming using the graphical environment Max, its object libraries for sound and video (MSP and Jitter), and strategies for connecting Max to the physical world. We will work with the basic building blocks of sound and video, and will investigate ways in which data from external input sources can be used to create interactive projects, algorithmic compositions and more. A hands-on approach will be emphasized; no prior programming experience is necessary.
Gym-training relax in connection with harmonic and spatial forces
It 's the practice of differents exercices and figures in interaction with the own notion of body and the space. This workshop is a physical experience in the context with ourself and the other. It 's somethings simple, essentiel, the exercices of movements gives you more consciousness of the spaces. The traning explore again differents positions and conditions in the space in aim to développ more effective reactions, it put question of the emotions in the action and how we can react.. (life, action, happening)
How we live our movements on the space ? it can be interressant to remind some possibility with a traning in physical situation. The life and the time the movement and the space...
Exercices yourself; this training is a link for this sign, doityourselfwithanotherone
er zijn mi heel wat mogelijkheden, kennis maken met de diverse kunstvormen binnen de verschillende religieuze instellingen, eventueel een klas belangstellenden, kunstenaars, artiesten die gezamelijk een parcour afleggen en ter plaatse de nodige uitleg ivm het kunstgebruik kunnen ontdekken, er kan ook een parcour gemaakt worden met nieuwe werken, (een grote diversiteit is mogelijk), als vorm van bindmiddel of ontdekkingsreis tussen de spirituele centra, een medium om wat meer wederzijds begrip, alvast tussen de artiesten, tot stand te brengen, nieuwe gezamelijke aktiviteiten, doelstellingen enz kunnen er een bron voor zijn, er kan ook nieuw werk gecreëerd worden door personen van verschillende relegie die eens samen een werk tot stand weten te brengen, het hoe en waarom van de kunst in deze centra lijkt mij boeiend,
Baoju Wang will lecture on Chinese contemporary photography in relation to the current social situation in China. By elaborating on 15 contemporary artists she will not only focus on the political and economical powers at work, but also on the effect of the market economy on the environment.
Organized with BAM
Baoju Wang (°1965, leeft en werkt in Beijing) is reeds een tiental jaar actief in de beeldende kunst. Als kunstcriticus interviewde ze verschillende Chinese, Europese en Amerikaanse kunstenaars en schreef ze artikels en essays voor divers internationale tijdschriften en catalogi. Ze gaf verschillende seminaries en cureerde een groot aantal belangrijke tentoonstellingen, waaronder 'Post Nora' en 'Borders of Utopia'. 'Post Nora', een internationaal kunstproject over femisme, kreeg in China en het buitenland veel lof van zowel het publiek als de pers. Sinds 2004 is Baoju Wang actief in het Today Art Museum, het grootste en belangrijkste museum voor hedendaagse kunst in Beijing, dat ook een grote publicatieafdeling heeft.
Nadine, Gallaitstraat 80
Le workshop se propose comme une investigation portant sur
l’architecture et les objets vernaculaires de Schaerbeek, dans sa
dimension imaginaire et exotique.
A la manière de « Learning from Las Vegas » de Izenour, Venturi et
Scott Brown, nous explorerons le quartier de Schaerbeek en vue de
créer une documentation nous invitant à repenser la localité de par sa
dimension narrative et fantastique.