- 20th and 21st of November, Spaces of Anticipation @ ar / ge Kunst, Bolzano


20 November, 7 pm

Roberto Poli (UNESCO Chair in Anticipatory Systems, University of Trento)

Stephen Wright (writer and researcher, Collège International de Philosophie, Paris).


21 November,
10:30 – 1 pm / 3 – 6 pm

Bar Project (curatorial collective, Barcelona); Roberto Gigliotti (Professor UNIBZ, Bolzano); Emanuele Guidi (artistic director ar/ge kunst); Krüger & Pardeller (artists, Vienna); Lorenzo Sandoval (artist and curator, Berlin); Manuel Segade, (curator, Rotterdam).


21 November, 6 pm

The Politics of Fermentation
Daniel Salomon (artist, Berlin)

Curated by Emanuele Guidi and Lorenzo Sandoval

from past participle stem of anticipare: ante ‘before’ + capere ‘to take (care of) ahead of time’ [1]

‘1 Regard as probable; expect or predict.
1.1 Guess or be aware of (what will happen) and take action in order to be prepared.
1.2 Look forward to.
2 Act as a forerunner or precursor of.
2.1 Come or take place before (an event or process expected or scheduled for a later time’[2]

‘…If the last forty years have been marked by ‘posts’ (post-war, post-colonialism, postmodernism, post-communism), then today, at least, we seem to be in a period of anticipation – an era that museums of contemporary art can help us collectively to sense and understand.’ [3]

The forthcoming symposium at ar/ge kunst is the third iteration of the research project Spaces of Anticipation by Lorenzo Sandoval and Emanuele Guidi. The project began in May 2014 with an initial symposium at the EACC in Castellón and was followed by the research exhibition Making Room – Spaces of Anticipation at ar/ge kunst from June to July 2014.

Anticipation, both as ‘looking ahead’ and ‘looking forward’, evokes an idea of expectation and excitement towards what and who is yet to come. It also suggests the idea of taking action in the present to get prepared for potential encounters.
Anticipation is becoming a field of study in itself, a field that continuously analyses present conditions to respond to upcoming events, developments and trends. In its applications in design, architecture, marketing and even politics, the audience (as user, participant and consumer) becomes the main subject of anticipatory studies.

Starting from these considerations and implications, the project Spaces of Anticipation looks at this manifold notion in relation to artistic and cultural institutions. It proposes various strands of research that might help to define the fields of action in which institutions work and communicate with their communities. In these terms, the word anticipation is proposed as a conceptual and linguistic prop, a support from which the research unfolds and around which various positions are gathered in discussing institutional models, practices and attitudes.

The symposium brings together various contributors: artists, curators and researchers who, in their own practices and investigations, expand the grammar of exhibition making by intertwining it with other formats of (collective) knowledge production and distribution. Accordingly, their attention to forms of orality and ‘narratorship’, to the practices of care and hospitality and to the politics of time and display are essential when discussing modes of relations and exchange that can be established through and within the institution.

The Symposium is kindly supported by Acción Cultural Española (AC/E)

[3] Bishop, Claire, Radical Museology, or, What’s ‘Contemporary’ in Museums of Contemporary art?, Koenig Books, London, 2013.


- 11th of November. The Institute for Endotic Research @ Trading Zones.

TRADING ZONES - knowledge-oriented art initiatives in africa and europe

3 days' long open gatherings on knowledge-oriented art practices at Le 18, derb el ferrane, riad laarouss, médina, Marrakech
Initiated by curator Berit Schuck with the complicity of Le 18.

Detailed Agenda:

////////////////////// Tuesday, 10 November 2015 //////////////////////

Opening EN/AR/FR

Welcome & Orientation
Laila Hida, Francesca Masoero

Keynote EN

19:30– 20:00
A Brief History Of Trading Zones Or The True Story Of The End Of The World Trade Organization
Berit Schuck

Artist Talk & Screening Program EN

20:00 – 21:00
Establishing Trading Zones And The Challenges Of The Environment

Tobias Zielony will speak about his most recent project “The Citizens” (German Pavilion at the Venice Art Biennial 2015) and present some of his earlier projects like “Jenny, Jenny” (2013) and “Manitoba” (2009-2011).

////////////////////// Wednesday, 11 November 2015 ////////////////////////

Research Seminar EN/FR/AR

11:00 – 13:00
Session 1
On Knowledge-oriented Art

Who engages in knowledge-oriented art with whom and for what? A selection of recent projects and initiatives will be examined, analyzed and discussed with a particular focus on the actors, agents and sites involved in and shaped by these projects.
Led by Jan Philipp Possmann, Curator and Dramaturg

15:00 – 17:00
Session 2
Making Exhibitions

Recent exhibitions will be examined and various forms of visualizing new forms of knowledge and the forming of knowledge explored.
Led by Jan Philipp Possmann, Curator and Dramaturg

Short break

17:30 - 18:30
The Institute for Endotic Research / TIER

Lorenzo Sandoval introduces the work of TIER and speaks about his "Narrative Machine Series".

Short break

19:00 – 21:00
Elaborating A Set of Rules For Trading Zones

Filmmaker and visual artist Hulda Rós Gudnadóttir was asked to discuss her project “Keep Frozen” (since 2010) and her upcoming solo exhibition where she presents Icelandic dockworkers as performers.

Artist Dafna Maimon's ongoing performance and video project “The Class” (2015) explores how the Internet has altered our perception of bodies. It will be presented for the first time in Morocco in the form of a video installation.

////////////////////// Thursday, 12 November 2015 //////////////////////

Roundtable Programme EN/FR

11:00 – 13:00
The Politics of Independent Art Initiatives And Institutions

Curator and Professor of Art Theory at the Royal Institute of Art in Stockholm Nina Möntmann in conversation with the curator at Beirut in Cairo and director of the Imaginary School Programme Antoina Alampi, founding co-director of Beirut in Cairo Jens Maier-Rothe and political activist, artist and founding director of the Ali-Gana Museum Hadia Gana.

Artist Talks & Screening Programs EN/AR

15:00 – 17:00
Excavating Trading Zones

Imane Ibrahim will give an account on establishing the archive that she uses for her project on the prison architecture built by Hassan II and how she reflects on her research practice through the form of the project.
Video and concept based artist Walid Elsawi will address the programmatic orientation of his recent works.

18:30 – 19:00
A Researcher in The Field (via Skype)

Social anthropologist Dina Makram-Ebeid briefly presents the archive of images and texts that she created as part of her research on workers culture in Egypt and raises the question how and for whom this specific archive should be put on display and by whom.

19:00 – 21:00
Hybrid Representations

A private screening of the film “Out On the Street” by Jasmina Metwaly & Philip Rizk (Egypt, 2015), followed by a Q&A via Skype with the filmmakers

Preliminary registration required; registration desk open from 18:30 at Le 18, derb el ferrane.

//////////////////////////// Friday, 13 November 2015 /////////////////////////

Roundtable Program EN/AR/FR*

11:00 – 13:00
How To Do Things With Theory

Maria Lind, Director of Tensta Konsthall in Stockholm and Artistic Director of the Gwangju Biennial 2016 will address the programmatic orientation of contemporary cultural production, philosopher and curator Jonatan Habib Engqvist will contextualise artistic and intellectual engagement in the Nordic region, reflect on how the notion of practice-based research is understood and highlight the urgency for new research networks, co-director of SAVVY Berlin Elena Aguido provides a narrative retrospective of the organization’s art and research projects, Curator at large of documenta 14 and co-director of SAVVY Bonaventure Soh Bejeng Ndikung joins the discussion for a brief introduction of SAVVY’s most recent publishing and conferencing initiatives (on skype).

15:00 – 17:00
The Art Space As Hub

Hicham Khalidi, Curator of the Visual Arts Programme at the Marrakech Biennale 5, in conversation with Co-founding director of the independent space for art and research Atelier de l’observatoire Léa Morin and Curator of Dubai Arts Projects 2016 and aria in Algiers Yasmina Reggad.
The discussion will be moderated by Gallery Manager at the Marrakech Museum of Photography and Visual Arts and independent researcher Yvon Langué.

* The roundtable program will take place at Dar Al-Ma’amûn. A shuttle service will leave from Le 18 at 11.00 and return to the art space at 17:00 in the afternoon.


This program is curated by : Berit Schuck

Organizer : 18, derb el ferrane, Marrakech

Collaborators : Württembergischer Kunstverein Stuttgart & Dar al-Ma’amûn

Supported by : the Institute for Foreign Cultural Relations (ifa), the Goethe-Institut Rabat, the Goethe-Institut Cairo with means of the Moving MENA programme and the Berlin Senate Cultural Affairs Department, with additional support from Le jardin in Marrakech.


- 17th of September until 20th of September. FRENCH KISSES: On Tips of Tongues, and Feeling as Taste @ District & Other Locations.

French Kisses: On Tips of Tongues, and Feelings as Taste, Felicia von Zweigbergk, 2015.

FRENCH KISSES: On Tips of Tongues, and Feeling as Taste
Curatorial Practices. Fields and Techiques, Queering TASTE - Act IV
Amal Alhaag, Maria Guggenbichler
17 Sep 2015 - 20 Sep 2015

September 17 - 20 2015

With Hannah Black, Olive Michel & Fred Hystère/Anna Frei, Girls Like Us, Max Göran, Annette Knol, Andreea Pavel/D.R.E.E.A and Lorenzo Sandoval.

District Berlin in collaboration with Kreuzberg Pavilion in the frame of the Xchange-Program of Berlin Art Week, supported by the Mondriaan Fonds.


All events in English
** Please RSVP until September 15 to to sign up for the events on September 17, 19 and 20

Thursday 17 September 2015

Touching Tones with Tender Buttons**
A Touchy Sound-Lecture by Olive Michel & Fred Hystère/Anna Frei

Time: 17h
Location: District

Is it us who touch the tones or is it the tones touching us? A collective listening session with blacklight and non-newtonian fluids. Through the nightmares of reduction, the dreams of queer seduction, the staying-in-touch and letting go. Of ringing bodies, the languages of joy and fluidifying modes of representation. Hearing as a way of touching distance, distance as a way of listening closely.

Friday 18 September 2015

Time: 15-21h
Location: District

Kissing B2B DJ set, Girls Like Us magazine launch event, “BODY” issue feat. Many DJs and projections by Annette Knol

For a B2B DJ set two or more DJs play together. The DJs play in turn, sometimes song by song. The DJs complement each other; it is a form of collective and dialogical DJ mixing. For French Kisses we extend an invitation to everyone to play kissing songs, songs to kiss to, songs that make people kiss, songs that are kisses, and kisses that are songs.

We are joined by queer, feminist arts magazine GIRLS LIKE US, who will celebrate the launch of their new issue with us. The new issue’s theme is the body and it features K8 Hardy, Babette Mangolte, Hannah Black, Jessy Darling and Marianne Wex, amongst many others. New York based artist, and fame of Berlin’s greatest Kotti-Shop, Annette Knol, who is a contributor to the issue, will show materials of her ongoing research of Lesbian Hands.

Saturday 19 September 2015

Reading Room with Hannah Black**

Time: 14h
Location: District

Intimate afternoon seminar and conversation with writer and artist Hannah Black. For this seminar Hannah Black will offer thoughts that are a point of departure for a conversation that interweaves intimacy, taste and theory from black, feminist and communist traditions.

Giving and Receiving with Andreea Pavel/D.R.E.E.A.**

Time: 19h
Location: will be announced after registration

A special early evening listening session that guides us through Pavel's world of nightlife anecdotes, thoughts and music notes. Food and drinks will be provided.

Sunday 20 September 2015

The Institute for Endotic Research facilitated by Lorenzo Sandoval**

Time: 13h
Location: The Institute for Endotic Research, address will be announced after registration

During this event Lorenzo Sandoval gives us an insight to the activities of The Institute For Endotic Research. TIER looks to the imperceptible of the everyday life, to the visible but hidden details of the space and gestures of the bodies around us. It rescues the astonishment from the forgotten obvious, trapped by its naturalization.

Ohne Pointe, holding hands if you want to.**
A sunset Sunday walk across Tempelhof airplane field with Max Göran.

Time: Time: 18h
Location: Tempelhofer Feld, address will be announced after registration

Beers will be provided. (And I thought it could be nice to fly a kite, because for some reason I never did).

French Kisses: On Tips of Tongues, and Feeling as Taste

With French Kisses: On Tips of Tongues, and Feeling as Taste curator Amal Alhaag and artist Maria Guggenbichler initiate a four day long series of encounters with the aim to develop an understanding of taste which stems not from separateness, social distance or distinction, but from tasting as touching, being in touch, being touched and affected. While the workshops, conversations, DJ sessions, performances and gatherings are taking place in different locations around Berlin, French Kisses: On Tips of Tongues, and Feeling as Taste at District also materializes in the form of an open archive of stimulants and references.

Amal Alhaag and Maria Guggenbichler facilitate conversational events for, with and about intersectional feminist, queer, anti-colonial discourse and practices. Since 2014, their collaboration takes the shape of an independent room called "Side Room", which explores methologies of radical empathy.

The Side Room is an actual side room of the brewery and bar Butcher's Tears, which friends of Amal and Maria run in Amsterdam. It facilitates intimate and ongoing conversations and collaborations; gatherings, listening, learning, experimentation, doubts, critique, musings, and doings. It practices an understanding of art and culture which analyses, reflects and intervenes in personal, social, cultural, representational and political topics.

The formats of Side Room events vary and range from reading groups, to workshops, to consciousness-raising groups, to parties, film screenings, to non-sense events and absurd rituals. All these events have in common that they seek to investigate methodologies of radical empathy; they aim to nurture critical knowledge production and its rampant sharing, (re-) mixing and use.

The project developed out of the Open Call Queering TASTE: The art of failure is not hard to master / though it may look like a disaster and is realized as Act IV of the District series Curatorial Practices: Fields and Techniques.

Curatorial Practices: Fields and Techniques is a project series on current developments, problems and methods of the curatorial initiated by curators Susanne Husse and Michaela Richter at District Berlin in 2014. Through the combination of curatorial gestures and specific workshop formats in the form of so-called Acts the series provides a platform for the reflection and reconsideration of curatorial approaches, attempts and attitudes in light of current developments. A long-term goal of these regular encounters and surveys in different formats is the lasting promotion of actual methods of artistic and cultural work that challenge established doctrines and policies by formulating extended, informal, speculative, experimental, dedicated, situated and critical points of views.


Max Göran is an artist currently living in Berlin, having a long distance relationship with his soulmate Josefin Arnell (Amsterdam): the other half of HellFun: a duo practice/training in meaning making and friendship. ("Brave and pathetic is better than drowning in shame.")

Fred Hystère/Anna Frei lives and works in Zürich. She worked and works in collaborative art- and music projects, as a freelance graphic designer and as conceptrice of publications and editions (Edition Fink, Les Complices*, OOR Editions...), gives weekly Risograph workshops, organizes and curates several discursive experimental audio formats and concerts, and is a passionate vinyl-researcher and DJ. In 2014 she's co-initiated OOR (One’s Own Room), a record- and art bookstore, soundspace and sound related production context that is collectively run in Zürich. The OOR Saloon Series seek to create collective and discursive spaces for negotiations of emancipatory, contemporary artistic practices related to sound.

Olive Michel lives and loves in Marseille. Involved into several collective writing and performance practices on passing, passing names, naming, intimacy and the politics of dissolving.

Hannah Black is an artist and writer from London, now living in Berlin. Her work draws on autobiographical fragments, pop music, and theory from black, feminist and communist traditions.

Lorenzo Sandoval lives and works in Berlin. His practice is situated between art, curation, architecture, writing and editing. Sandoval combines tools from those different fields to generate platforms for encounters and discursive sites that work under the idea of spatial storytelling.

Andreea Pavel alias D.R.E.E.A. is an independent writer, organizer and DJ based in Berlin. Pavel plays music, writes and organizes events on the intersection of countercultures, global sounds and fashion.


-16th of August. A Soft Tragedy @ Project Space Festival

Kinderhook & Caracas and The Institute for Endotic Research present:

A Soft Tragedy

A spatial storytelling project by Lorenzo Sandoval with contributions from:

Olga Balema, Patrick Burkhardt, Pieterjan Gandry, Ethan Hayes-Chute, John Holten, Mirak Jamal, Valentina Karga, Hanne Lippard, Dafna Maimon, Michele Di Menna, Antoine Renard, Santiago Taccetti, Clémence de La Tour du Pin, Alex Turgeon and Elvia Wilk.

A Soft Tragedy is conceived as a 'navigable plot' taking place along the Landwehr Canal which presents a raft journey narrated by a collective voice of writings, interventions, and artworks. Revisiting the first part of Homer’s Odyssey, the Telemachiad, the narrative aims to reformulate a foundational myth through the removal of the central hero and the addition of an overall premise of 'gelification' as it metaphorically applies to the contemporary condition.


- 5th of August. Which book would you take to the square today? @ A Public Library

image by María Castelló CC BY-NC-SA

5 August 2015, 7:00 pm - 9:00 pm

Bookcamping is an online collaborative library that was initiated during the occupation of Spanish city squares on the days following the 15th of May, 2011 demonstrations. These occupations have become known as the 15M movement. At the time, the aim was to trace a bibliographical itinerary of the words and ideas that influenced the social and political context which gave rise to the protests. The initial motto was: “Which book would you take to your square? Because we don’t come out of nothing”.

Much has changed in the past four years since the wave of mobilization against austerity and social and economic inequality. Many of the demands of 15M and other similar movements have impacted debates and created cracks and shifts in the social and political landscape across the world, but have at times also been severely crushed under the relentless march of neoliberalism.

At the same time, the libraries that fed, and still feed us, contain more than books. They are made of relationships: between people, ideas and words. Of all the things we learned back then, there is still the impulse of sharing knowledge to help circulate thought and propel initiatives and relearn forms of political participation. But, what would it mean today to go back to the city squares? Which books would we take today? Which book would you take?

Bookcamping and Lorenzo Sandoval, along with A Public Library, invite you to choose one book or text based on this premise and join us on Wednesday August 5 for a collective reading. Starting at 7pm visitors will be sharing short passages from the book they brought along, tracing a new possible square of the here and now.

If you wish to participate please send a short email to Walk-ins are also welcome, but please bring along a book!

For more information on Bookcamping, see


- Market for Inmaterial Value, podctast :Un-quantifying value?

Michael Birchall, Xi Bei, Micha Bonk, Kristoffer Gansing, Renata Gaspar, Dafna Maimon, Hanne Lippard, Alex Roemer, Lorenzo Sandoval, Sumugan Sivanesan, Morgan Sutherland, Pelin Tan, Ben Vickers, Tessa Zettel
June 15, 2015

How can you value art or, in general, work that is not solidified into an object or a clear service? Our economic system has been upgraded into affective capitalism meaning that it can achieve to do exactly that. But the only way to achieve that, is for it to be able to designate value to all kinds of things that were once uneconomical. A consequence is applying economic reasoning in every human activity…

On June 15th, we gathered at The Institute for Endotic Research with a rather large group of people to discuss the above problematizations. It went somehow like this:

M.B.: Why are artists naturally inclined to do things for little or no money?

M.S.: They are not doing things for free, they get social capital in return.

M.B: I don’t believe in social capital!

D.M.: What characterizes artists is that they choose on their own to do things.

M.S.: I think the question could be rephrased: what is interesting about the ‘goodwill economy’? Apart from the artworld, think about wikipedia, open source software..

P.G.: Facebook…

V.K.: Maybe the gift economy theory has an answer: people have an inherent wish to be valued as givers.

K.G.: I think its interesting that economical reasoning has been inserted everywhere, in all sorts of social spheres and activities. It’s like saying, why waking up in the morning, without being paid for it?

B.V.: “Dollarsign of the mind”…. I think you should frame the scale: are we talking about planetary scale intervention?

M.B.: Religion is a good example then.

M.S.: I sense a dissatisfaction with the quantification of value. What is interesting about un-quantifying values?

VK.: The fact that you can never really measure value precisely and that now everything like personal things and social relationships are fungible, meaning translatable into money, caught into this misrepresentation of their value.

L.S.: Quantification is a tool for separation.

K.G.: The problem is who is capturing the value.

R.G.: Perhaps playing with the elements of pleasure and satisfaction is already disrupting of the system of quantification. How more ‘rich’ are we out of this discussion?

P.T.: I have worked for a project that was trying to hack the system from the inside and I can tell you is really difficult. It took 3 years to figure out all the legal stuff. When money generation is part of the artwork’s concept which is hosted by an institution, then who has the right to owe all these donations?

B.V.: I believe that, at the moment, there is interesting possibilities at the moment for artists to get VC funding and then create a whole different discourse. What if Silicon Valley becomes a studio practice?

Listen to the audio here.


-27th of July. 'Narrative Machine Series: Notes On the Endotic Set n.2': Jule 27th, Marcus Knupp and Sophia Le Fraga

The 27th of July, starting at 20:00 The Institute for Endotic Research hosts an evening with Marcus Knupp and Sophia Le Fraga.

Marcus Knupp is an artist and writer based in Berlin. His paintings have been exhibited at varied galleries including the former Arndt & Partner, Duve Berlin, and Exile. Most recently he participated in the Technosexual Symposium held at the ' Crash Pad ' an interactive installation by Greek architect Andreas Angelidakis during the 2014 Berlin Biennale. His writing currently explores topics such as Social Media, the modern work place, and post-internet identity - however he does so with the slightest of touch and mild sense of sarcasm.

Sophia Le Fraga is a poet and visual artist based in New York. She is the author of I DON'T WANT ANYTHING TO DO WITH THE INTERNET (KTBAFC, 2012); I RL, YOU RL (minuteBOOKS, 2013; Troll Thread 2014) and literallydead (Spork, 2015), as well as the anti-plays W8ING and TH3 B4LD 50PR4N0. She is the poetry editor for Imperial Matters and teaches at BHQFU, New York's freest art school. Learn more about Le Fraga's work online or at Büro Broken Dimanche, where she'll be exhibiting work starting on August 6th.

If you would like to join one of the events, please write to to confirm your spot, places are limited.

25th of May - Michelle Letellier
8th of June – Lea Porsager
15th of June – Market for Immaterial Value (Valentina Karga & Pieterjan Gandry)
29th of June –Lindsay Lawson
6th of July – Mirak Jamal
27th of July –Marcus Knupp and Sophia Le Fraga


-29th of June and 6th of July. Narrative Machine Series: Notes on the Endotic. Set n. 2. Fourth and fifth encounters: Lindsay Lawson and Mirak Jamal.

The 29th of June, starting at 20:00, 'Narrative Machine Series: Notes On the Endotic Set n.2' hosts an evening with Lindsay Lawson.

Three years ago, Lindsay Lawson found a rock for sale on eBay that would change the course of her artistic practice indefinitely. The rock is listed for $1,000,000 because it has an unusual feature making its rarity a cause for an astronomical price tag. On its polished face is an indisputable smiley face; it is the Smiling Rock. During this TEIR encounter, Lindsay will navigate the timeline of events that permanently intertwined her life with that of the eBay seller in a myriad of strange occurrences.

Born in the United States and living in Berlin, Lindsay Lawson received her BFA in Sculpture from Virginia Commonwealth University, her MFA in New Genres from UCLA, and attended the Städelschule in Frankfurt am Main. Her work spans media such as film, video, installation, photography, sculpture, performance, and poetry. Her practice deals with issues of presence and objecthood in virtual and physical spaces. Numerous recent projects investigate states of infatuation with virtual personas and both virtual and physical objects. Her first feature-length film, “The Smiling Rock” is was shot in Berlin and is currently in post-production.

The 6th of July, starting at 20:00, an encounter with Mirak Jamal.

Under the smell of comfort we have gathered all

homeboys pointing to

glories of old

leaning, caving

into taller postures

From saggy pants to wetted chests;

“Oo how great mama’s pies were!”

The howling alerts

The waiting concord spreads its wings

Mirak Jamal (b. 1979, Tehran) has recently been part of the shows "An Account of Discovery and Wonder" and "Conflicting Evidence" at 1857 in Oslo, “Windowlicker” at Center; “early works” at Kinderhook & Caracas; and “Deeeee”, all in Berlin; as well as at the Arran Gallery, Tehran; Thomas Erben Gallery, New York; the Marrakech Biennale 4; and the "2011111111111s" project, which traveled from Berlin to Tokyo. With Santiago Taccetti he is a founder of an ongoing collaborative project of outdoor exhibitions called “Stoneroses”. He has lived and worked in Minsk; Cologne; Texas; Minnesota; Toronto; and currently resides in Berlin.

If you would like to join one of the events, please write to to confirm your spot, places are limited.

25th of May - Michelle Letellier
8th of June – Lea Porsager
15th of June – Market for Immaterial Value (Valentina Karga & Pieterjan Gandry)
29th of June –Lindsay Lawson
6th of July – Mirak Jamal
27th of July –Marcus Knupp and Sophia Le Fraga


- 26th, 27th and 28th of June. The Living Room. Permanent and temporary structures @ Agora.

Affected by Georges Perec’s writings and the Oulipo group, the Endotic means to trace back the micro history and the everyday. The Living Room as a frame, a limitation, a constraint, a window, a performative exercise shaping this cooperative environment. We kindly invite you to feel at home in this collective art piece, focusing each day on three topics:

Friday 26.06: Mourning, telling & crafting

Saturday 27.06: Relaxing, reading & debating

Sunday 28.06: Playing, cleaning & sharing


Opening hours: 16.00 – 19:00

Agora 3rd Floor

Mittelweg 50, 12043


Join our FBK event!

A public program & publication project with artists: Barbara Cousin, Damien Rudd, Elien Ronse, Fala Buggy, Francisco Perez, Kyrae Cowan, María Alcaide Romero, Mariangela Tinelli, marjolijn kok, Martina Mäsiarová, Mia Sellmann, Paz Bardi and facilitator Lorenzo Sandoval

Module II of AFFECT 2015
Summer Program for Collaborative Artistic Practices in Berlin in cooperation with The Institute for Endotic Research (TIER). Coordinated by Paz Ponce.

Produced and hosted by Agora Collective e.V. with the kind support of EU Creative Europe Programme


-11th of June. Twelve 30 Minute Solo Shows at AGORA

June 11th from 4pm to 10pm
Agora 3rd Floor
Mittelweg 50
12053 Berlin - Neukölln

Inside of the frame of the Agora’s Affect residency program and The Institute for Endotic Reseach, the June Module Exploring the Endotic proposes an experiment translating the oulipian idea of constraint to the making of an exhibition.

The French group Oulipo, constituted mainly by mathematicians and writers, developed their writing practice setting up certain constraints as a way to spur the imagination. In order to reflect upon the limitations of the exhibition making, the artists participating in Exploring the Endotic invite us this Thursday experimenting with the duration of the solo show: no more and no less than thirty minutes. Each participant in the residency will have that predefined amount of time to install, present and dismount her or his artwork, producing a chain of solo shows in the span of an evening.

16:00 Elien Ronse & Pepe Dayaw
16:30 Marjolijn Kok
17:00 Barbara Cousin
17:30 Francisco Perez
18:00 Mia Sellmann
18:30 Fala Buggy
19:00 Kyrae Cowan
19:30 Martina Mäsiarová
20:00 Mariangela Tinelli
20:30 Paz Bardi
21:00 María Alcaide Romero
21:30 Damien Rudd
22:00 Lorenzo Sandoval


- 8th and 15th of June. Narrative Machine Series: Notes on the Endotic. Set n. 2. Second and third encounters: Lea Porsager and Market for Immaterial Value.

The 8th of June, starting at 20:00 we host an evening with Lea Porsager: mono-diet, facets, film and Wahe Guru!

Porsager’s artistic practice is one of speculative fabulation within esoteric and occult systems of ideas. Her mediums include film, sculpture, photography and text. While extensive research into chosen subject matters is a vital part of Porsager’s work, her objective is not to illustrate or explain spiritual concepts but to engage in mental, physical and social experiments. To do and undo through anarchy, entanglement, paranoia, nearness and “mad, non-violent speculation.”

Lea Porsager (b.1981, Frederikssund, Denmark) was educated at the Royal Danish Academy of Fine Arts in Copenhagen and the Städelschule in Frankfurt am Main. She received her MFA from the Royal Danish Acadamy of Fine Arts in 2010. Her recent exhibitions include Monash University Museum of Art | MUMA, Melbourne (2015);Künstlerhaus Bethanien, Berlin (2015); Sorø Art Museum, Sorø (2014); Moderna Museet Malmö, Malmö (2014); Henie Onstad Kunstsenter, Høvikodden, Norway (2013); Lunds Konsthall, Lund, Sweden (2013); The Emily Harvey Foundation, New York (2013); Neue Gesellschaft für Bildende Kunst, Berlin (2013); Contemporary Art Centre (CAC), Vilnius (2013); Museum voor Moderne Kunst, Arnhem (2013); Kunsthal Aarhus, Denmark (2013) and Fotografisk Center, Aarhus, Denmark (2013). In 2014 Porsager was awarded the Carl Nielsen the Anne Marie Carl-Nielsens Art Scholarship. In 2012, she participated in dOCUMENTA (13) with the Anatta Experiment.

The 15th of June, starting at 20:00 we will have an encounter with the project of Valentina Karga and Pieterjan Gandry, Market for Immaterial Value.

Market for immaterial value is an experiment in creating, validating and distributing art in an era of immaterial production. Through posing an alternative, collaborative method for art validation and ownership we aim to open up the possibility for creating surplus art value to everybody, creating an alternative to how the current art market functions: falling under the dictations of few alpha consumers. During our fellowship at the Vilém Flusser Residency Programme for Artistic Research 2015, for the conception and construction of this project, we are doing what we thought might be an engaging form of research, we call it ‘research through discussion’. We have a set of discursive formats, like coffee meetings with small groups, dinner salons with larger groups and one to one skype conversations. All conversations are recorded and will appear online, for the exchange and sharing of ideas, thoughts and reflections on art and economy and the search for new, alternative scenarios about building economically sustainable artistic practices.

On June 15, we will have a dinner salon at The Institute for Endotic Research where we will focus on creating organizations or institutions as artistic practice, as examples of conceptual and entrepreneurial synergy. Can such projects create alternatives for the remuneration of artistic and cultural work and new ways of organizing it? How can these institutions or organizations stand by themselves and how are they different when they are part of existing institutions? How do we deal with hierarchy and review processes in artistic organizations; are there examples that aim for cooperativism?

If you would like to join one of the events, please write us back to this email to confirm your spot:

Places are limited. Some food will be served during the event. Drinks are very welcome.

25th of May - Michelle Letellier
8th of June – Lea Porsager
15th of June – Market for Immaterial Value (Valentina Karga & Pieterjan Gandry)
29th of June –Lindsay Lawson
6th of July – Mirak Jamal
27th of July –Marcus Knupp and Sophia Le Fraga


- 28th of May. Participating in the opening discussion of Market for Inmaterial Value, a project of Valentina Karga and Pieterjan Gandry.

With: Federica Bueti, Daphne Dragona, Fotini Lazaridou-Hatzigoga, Lorenzo Sandoval, Gilly Karjevski, Kristoffer Gansing and Rebekka Kiessewetter.

Market for immaterial value is an experiment in creating, validating and distributing art in an era of immaterial production. It is an online platform which functions much like a public raffle: tickets for a specific artwork are available to the public at donations starting from one euro. Everybody, no matter how much they donated has equal chance in owning, experiencing or participating in the piece.

Through posing an alternative, collaborative method for art validation and ownership we aim to open up the possibility for creating surplus art value to everybody, creating an alternative to how the current art market functions: falling under the dictations of few alpha consumers.

Listen to the podcast here.


- 25th of May. Narrative Machine Series: Notes on the Endotic. Set n. 2. First Encounter with Michelle-Marie Letelier. & introduction of TIER. The Institute for Endotic Research.

I would like to let you know about the Set n.2 of my project Narrative Machine Series: Notes on the Endotic. In this new set, the program hosts a series of encounters with the new guests with whom to approach again both Perec’s notion of the endotic and practices that could be read as a microhistorical perspective. You can have a look here to expand the information about the project and Set n.1.

This Set n.2 is introduced as the first activity of TIER. The Institute for Endotic Research. This platform is an operative diagram to rehearse an institutional model that helps to develop projects in relation to spatial storytelling, expanded education, art projects and editorial approaches, which depart from analyzing the near everyday environments. One of the next activities of TIER is the workshop I am facilitating at the residence AFFECT. If you know someone who could be interested, there are still some places left.

The first guest of the Set n.2 is Michelle-Marie Letelier, next Monday 25th of May at 19:00.

Inspired by juxtaposed historical contexts, the work of Letelier deals with physical transformations of minerals and the landscapes where their exploitation and speculation take place. Exploring commodity compounds, their properties and energy production, her investigative processes enable situations in which the basic structures are carefully combined and led by physical methods into significant states or applied directly into her artworks. Simultaneously, it underlies crucial socio-political overtones; especially in times of unveiled globalization, the increasing scarcity of raw materials and the crisis of the neoliberal model.

"Induction for deduction, with a view to construction" (1)
Three different outputs that encompass a wider and metaphorical notion of Electromagnetic Induction, in regards to the concept of Endotic, will form the basis of this encounter. By reflecting of multiple aspects of copper - from its raw aspect as part of a landscape to its global speculation as a commodity - an audio object will enable an experiencing of the everyday imperceptible electromagnetic fields around the domestic space throughout the apartment.

(1): Isidore Auguste Marie François Xavier Comte, Attributed in John Arthur Thomson, quote at heading of chapter 'Scientific Method', Introduction to Science (1911)

If you would like to join this encounter or the next ones in the program below, please reserve your spot by replying to my email:; places are limited. Some aperitifs will be served. Drinks are more than welcome.

25th of May - Michelle-Marie Letelier
8th of June – Lea Porsager
15th of June – Market for Immaterial Value (Valentina Karga & Pieterjan Gandry)
29th of June –Lindsay Lawson
6th of July – Mirak Jamal
27th of July –Marcus Knupp and Sophia le Fraga


- 29th of April- 28th of June - @ Future History Museum: Pioniere von Marzahn. Inscribed Rituals – Bodies in Politics.

I am taking part in the project with the architecture I developed for dissident desire.

Future History Museum: Pioniere von Marzahn
Inscribed Rituals – Bodies in Politics

Opening 28 April 2015, 5-8pm

A DISTRICT exhibition in the Bezirksmuseum Marzahn-Hellersdorf

Bezirksmuseum Marzahn-Hellersdorf
Building 2: Alt-Marzahn 55, 12685 Berlin
Opening times: Monday-Friday 11am-5pm and Sunday 11am-5pm

The Future History Museum: Pioneers of Marzahn shows a constellation of texts, videos, drawings, sound recordings, surveys , banners and notations that have arisen from the artistic-performative engagement with Marzahn’s socialist past undertaken by the art and educational initiative Pioneers of Marzahn.

For over six months Marzahn children worked with the artists and choreographers Juliane Schmidt, Anna Till, Emma Haugh and Emma Waltraudt Howes to search for traces of the former pioneers in their every day environment and among their fellows. As a part of the interdisciplinary art and performance project The Forgotten Pioneer Movement (2.10. – 29.11.2014), the project The Pioneers of Marzahn: Inscribed Rituals - Bodies in Politics devotes itself to a choreographic exploration of socialist ritual as well as everyday gestures and ways in which they are inscribed in corporeal memory.

The former 'Haus der Pioniere' (House of Pioneers) in Marzahn was the research center and setting for the local historical explorations. The Future History Museum: Pioneers of Marzahn brings evidence of the artist-initiated re-imagination of history back in the museum. In unexplored proximities with archival documents from the district collection, the young “artifacts” put forth other stories and new relationships between history, the present, and the future.
An art and educational project within the framework of The Forgotten Pioneer Movement.

DISTRICT in cooperation with the youth center FAIR, Galerie M, Grundschule an der Geißenweide, Peter-Pan-Grundschule and Bezirksmuseum Marzahn-Hellersdorf. Supported through the Hauptstadtkulturfonds Berlin and Künste Öffnen Welten, a program of the Bundesvereinigung Kulturelle Kinder- und Jugendbildung e.V. (Federal Association of children and youth education e.V.) of the programme Kultur macht stark by the Bundesministeriums für Bildung und Forschung (Federal ministry for education and research). Exhibition architecture: Lorenzo Sandoval, dissident desire, 2013.

More information about the project here.

- 1st - 28th of June. Affect 2015 @ Agora, participating with Exploring the Endotic.

Narrative Machine Series: Movable Seating Chart @ The Performative Curatorial Studio, Agora.

AFFECT 2015 is conceived as a 5-month-long program consisting of four consecutive modules each led by an international artist, who invites participants to collectively explore a topic and develop a set of practices and research methodologies over the period of one month in the city of Berlin.

Resembling an immersive summer academy, AFFECT offers a diverse curriculum of four workshops growing out of the research and practice of the facilitating artists:

Stine Marie Jacobsen
Sensitive Observers, we are the world and how to construct social platforms for it
May 4 – 30

Lorenzo Sandoval
Exploring the Endotic
June 1 – 28

Yves Mettler
Europe City in Berlin: beyond the masterplan
July 1 – 31

Diego Agulló
The artistic mission, what is the role of an artist in a for-profit economy?
August 3 – 30

The program is initiated by Agora Collective and moderated by Fotini Lazaridou-Hatzigoga.

Each module takes the form of a participatory workshop revolving around a central research question supported by a series of activities proposed by the facilitators.

Participants will have the opportunity to collectively delve into the proposed research question, bringing in their own sensibilities, practice and experience. Collective exercises, urban explorations and site visits, readings and discussions will pave the way towards individual projects as well as a final event which will allow the group to share and exercise some of the module’s findings in a public format.

During the fifth month of the program, in September 2015, the four facilitators are commissioned to share, test out and expand on the findings of their month-long research in a public format, to be developed collaboratively. The program will be accompanied by a publication, to be published in the fall of 2015.

Practical information

Participants can choose to enrol in one or more individuals modules. Each module is open to 15 international and local participants, who will be selected from an open call. AFFECT is addressed to artists and creatives from a variety of backgrounds. Some of the main fields of interest for the development of the program are:
Visual Arts - Film - Sound and Music - Dance/Choreography - Theoretical Practices - Philosophy - Writing - Architecture - Curation - Performance - Creative Science Crossovers - Political/Social Activism - Web Programming - Design - Innovation - Animation – Technology.

The group will be meeting at least three times a week for a period of four weeks. The exact schedule will be announced at the beginning of each module. Meetings will take place at AFFECT’s space in Agora, but will also include visits to other spaces throughout the city and sessions in public space, according to the needs of each module. The space at Agora will be available as a shared studio space throughout the duration of each module.

The participating fee is 250,- EUR for each module. A small production budget will be provided for the final event of each workshop.


Redemption Jokes. Bureau for Paradoxical Relations, NGBK.

The event starts at 16:00, my talk will be at 17:30.

Graciela Carnevale, "Acción del Encierro", 1968


Liam O’Callaghan’s dramatic sculptural work has an ebullient over-the-top-ness, an anarchic vigour and tightly-held comic tension – but he arguably shows a resistance to the authoritative statement; his work standing against the heroic and the epic in art, delighting in awkwardness and asymmetry. His gloriously goofy constructions may often borrow the language of public monument-making or site sources in minimalism, but they are determinedly humdrum too, grounded in a quotidian rough-and-readiness. O’Callaghan’s art is a high-minded, high-spirited engagement with te low-grade ready made. (Declan Long)

Liam O'Callaghan is represented by the Rubicon Gallery, Ireland and Rsache Ripken Gallery, Berlin. Recent shows include “if and then” at the Butler Gallery and the Galway Arts Centre for the Arts festival. Solo exhibition/record ‘Bit Symphony’ at Temple Bar Gallery, was enthusiastically received by both peers and critics. As was his participation in Dublin Contemporary in Earlsford Terrace & The National Gallery. He was selected for the 20 year celebration of the Irish Museum of modern Art (IMMA) exhibition, entitled Twenty and was short-listed for the 2013 Venice Biennale. Recent exhibit’s abroad include the Moranokiang Gallery, LA and the Centro Torrente Ballester, Spain. Forth coming shows include a solo at the Rasche Ripken Berlin in June 2015.



'Ambientaciones', is how the Argentinean art critic Oscar Masotta defined the strategy of some artists. This concept was inspired by McLuhan’s idea of the media as an environment. Masotta recontextualized it into the critique of some of the artworks produced from the mid 60’s in Argentina, in a politically complex situation. This definition was not only pointing to the dematerialization of the work of art but also to the capacity of affect on the perception and in its expansion though time and space. He was describing highly scenographed environments. The ambientaciones were using a technique to create an atmosphere —which one can relate to the one defined some lines before in relation with the backgrounds. Those apparatus were setting up a new political grammar in the middle of relational settings. Like in different traditions of Latin American art, those devices were knots, joining highly intellectualized inputs with elements of popular culture with the aim of create political artefacts with an incidence in reality trough the use of the sense of humor.This talk will take Masotta's concept to propose a partial genealogy based on that technique.

Lorenzo Sandoval works in the crossing points of artistic practice, curatorial processes and spatial design. He was production manager of the EACC (Castellón, Spain). Within Transeuropa Festival, Sandoval organized the project ‘Visualizing Transnationalism’ together with Emanuele Guidi. Sandoval has won several curatorial prizes such as: Inéditos, with ‘Around Is Impossible. An Exploration Of The Unexpected In the Cartographical Systems Of Goggle’, in La Casa Encendida (2011), The Can Felipa Curatorial price with ‘(…) Science, Territory and Subjective Narratives‘ and Curatorial open call 2012 with ‘Case Report‘ in Nogueras Blanchard. He has curated ‘The Rescue of the Effects, Notes For a Theory of The Reader‘ at General Public (2012); ‘Field Studies‘ (2012), ‘Osmosis‘, together with Gabriela Acha, ClubTransmediale Vorspeil and ‘Disruptive Patterns. Plans, Plots and Movements‘at Altes Finanzamt. In collaboration with Susanne Husse, he has developed ‘dissident desire‘ at District (Berlin). ‘Mutant Matters’, produced together with S.T.I.F.F., was commissioned by Savvy Contemporary (Berlin) and presented at ar/ge Kunst (Bolzano). At the moment, Sandoval is developing project ‘Spaces of Anticipation‘ with Emanuele Guidi for EACC and ar/ge Kunst.

Oranienstr. 25, 10999 Berlin


- 25th of March: Narrative Machine Series. Notes On The Endotic. Sixth encounter: Valeria Merlini

This Wednesday the 25th I am hosting the last encounter of the first set of program 'Narrative Machine Series: Notes On the Endotic'. We will experience a series of field-recordings related to the everyday produced by sound artist, turntablist, DJ and curator Valeria Merlini. Afterwards, we will enjoy a hybrid between a game and a sound piece to exercise our capacities of listening and playing. We start at 19:00.

Valeria Merlini (Italy) is a Berlin based sound artist, turntablist, DJ and curator. After studying architecture in Florence, Italy, she obtained a Master’s degree in Sound Studies at The Berlin University of the Arts. Her work explores everyday sounds within an urban context through an interdisciplinary and critical approach. She is a co-founder of Studio Urban Resonance, a member of the Italian record label Burp Enterprise and co-runs Staalplaat Radio. As a DJ she focuses on experimental electronic music, constantly extending the conventions of turntablism, musique concrète, free improvisation and composed music. She is the director of Museruole - women in experimental music festival and has participated in numerous international events and exhibitions.

If you would like to join, please write me to this email to confirm your place, seats are limited:


- 18th and 19th of March: Narrative Machine Series. Notes On The Endotic. Fourth and fifth guests: Ethan Hayes-Chute and Isabel Lewis

This week I am hosting the next two encounters in the frame of 'Narrative Machine Series: Notes On the Endotic'. Next Wednesday, 18th at 19:00, the project will have as a guest artist Ethan Hayes-Chute. Starting at 20:00, Thursday 19th will be the turn for artist and choreographer Isabel M. Lewis who will delight our senses with one of her occasions.

Ethan Hayes-Chute's work explores different ways of living and various interpretations of home. Through drawings, models, and life-size installations, he interrogates ideas of self-sufficiency and self-exclusion. Fascinated with stopgap solutions, improvised tools and a job well done, Hayes-Chute is continually on the hunt for small interventions and simple inventions. He lives between Berlin, Germany and Freeport, Maine.

For this session, he will be showing and discussing some of his custom-made tools & jigs; a range of successful, useful, pointless and/or failed devices. Additionally, as a group, we will be exploring, perusing and blending a custom sprinkle-y spice-based mixture for later use in some aspect of this contemporary life we're living. Participants are requested to bring with them a small sample of their favourite granular matter for inclusion into the evening's concoction.

Isabel Lewis (1981, receives her mail in Berlin) is an artist of Dominican and American origin. She grew up on suburban island off the coast of southwest Florida. Isabel used to live in New York City where she danced for many choreographers and as well showed her own commissioned works from 2004 onward at various theaters across the city. In 2009 she quit reading things and making things and moved to Berlin. She spent the next two years being in love and working as an editor and a DJ. After some time she began working on a collection of notes that would become her solo show entitled STRANGE ACTION. She also started reading again. Isabel draws from her training in literary criticism, dance, and choreography as well as from party and popular culture. Her current work takes the form of hosted "occasions" Within the occasion hospitable conditions are generated for the mixing of modalities from the sensual to the discursive. The occasion is a celebratory meeting of things, people, plants, music, smells and dances.

If you would like to join, please write me to this email to reserve your spot, places are limited:


- 11th of March: Narrative Machine Series. Notes On The Endotic. Third guest: Santiago Taccetti

Continuing with the next steps of the 'Narrative Machine Series' project,I am developing 'Notes On the Endotic', from which you can find more information bellow. Next Wednesday I will host the next session of the program with artist Santiago Taccetti.

“What happens when it is the making that instructs the maker? What happens when the art makes the artist? When I make a work, there is sometimes a turning point; a moment when the conceptual and sensuous materials bind in such a way that the composition begins to resist my attempts to shape it according to my original intentions, and develops, against my will, its own sense of what must be done in order to be itself. It doesn’t happen all the time. But when it does, I feel relieved, because it means the minutes, days, or years of working up to this point were worth the effort. But there is also a degree of despair, because the initial conception of how the work ought to be no longer holds sway in how it will continue to evolve. I am no longer the prime mover of the work. My directions are no longer followed. Beyond this certain point there is no return. This point has to be reached. “
Paul Chan, A Lawless Proposition.

Santiago Taccetti centers his work on the concepts of simulation and deceit. Our relationship with technology and how it continuously defines our social identity is revised using everyday materials and found objects in ways that stimulate new perspectives from which to perceive contemporary culture. Taccetti's process thrives on the tension between planned and random elements encountered during the investigative process. The misuse of basic construction materials by means of an abusive interaction with external arbitrary factors like time and natural conditions, produce a series of errors and accidents that alter any predetermined output. All that emerges from these collaborations is embraced as part of the working process; they become fundamental tools redefining the conventional notions of identity and authorship.

Next encounter starts at 19:00, next Wednesday 11th of March.
If you would like to join, please write me to this email to reserve your spot, places are limited:

Some aperitifs will be served during the event.


- 05th of March: Text '1985 / 2015 – 40000. Buildings breathe and ferment' for Andrea Cánepa's 'Architectures of the past future', Miquel Casablancas' prize exhibition @ Sant Andreu Contemporary.


- 25th of February: Narrative Machine Series. Notes On The Endotic. Second guest: Caique Tizzi

Continuing with the new encounters of the 'Narrative Machine Series', 'Notes On the Endotic', tomorrow I will host the next session of the program with artist curator, cook and cultural producer Caique Tizzi, as my second guest. Caique who is Agora Collective´s founder, will cook a dinner while introducing Agora’s program and present AFFECT 2015, which will start in May moderated by Fotini Lazaridou Hatzigoga with Stine Marie Jacobsen, Yves Mettler, Diego Agulló and myself, and coordinated by Paz Ponce.
Agora is a project space founded in June of 2011 - in Berlin Neukölln - with the mission to create a prototype of a community that reflects on alternative models for cultural, social and economical production today.

After so many experiences working collectively - Agora felt the desire to conceive a program that would reflect Agora´s personality and its collaborative approach, which crystallizes it in AFFECT.

Tomorrows encounter goes from 18:00 till 20:30, Wednesday 25th of February.
If you would like to join, please write me to this email to reserve your spot, places are limited:

- 23rd of February: Narrative Machine Series. Notes On The Endotic. First guest: Valentina Karga

As the next step of my project 'Narrative Machine Series' I am organizing a series of encounters. I made my own kitchen into a habitable sculpture (as in the words of Mathias Goeritz) to explore the idea of the endotic. For each encounter, I invite a guest who will introduce her or his practice over the course of a dinner.

The first guest is architect and artist Valentina Karga. Valentina will introduce her practice, which often reflects on personal lifestyle choices and employs ordinary, common activities for the creation of a collaborative space between the artist and the public. On display, there will be a recent work, ‘the construction of fire and other stories’, which is an archive about catastrophe and how we interpret it. Bread making and eating will also be part of the program. We start at 18:00 Monday 23rd of February.

If you would like to join, please write me to this email to reserve your spot, places are limited:


February 23rd — Valentina Karga
February 25th — Caique Tizzi
March 11th — Santiago Taccetti
March 18th — Ethan Hayes-Chute
March 19th — Isabel Lewis
March 25th — Valeria Merlini

More information about the encounters will be added to my web soon.

What’s needed perhaps is finally to found our own anthropology, one that will speak about us, will look in ourselves for what for so long we’ve been pillaging from others. Not the exotic anymore, but the endotic.

Georges Perec,'The Infraordinary'

Narrative Machine Series. Notes On The Endotic

Conceived under the idea of an editorial space, Narrative Machine Series is an ongoing project that works as an architectonical device made of movable walls, chairs and displays. It has functioned as the architecture supporting and displaying other artists and curators’ work or presence. The interweaving of objects, displays and programs of activities produced space to reflect upon the social potentialities of the art spheres and to rehearse possibilities of organization of information, perception and bodies. Underlining its editorial nature, it has been released with an ISBN with Broken Dimanche Press.

The next direction in which this project develops is based on a term coined by George Perec, described in his book The Infra-ordinary: the endotic. Contrary to the exotic, the endotic is a very subtle but powerful tool to generate a situated practice from. I consider it subtle because it looks to the imperceptible of the everyday life, to the visible but hidden details of the space and gestures of the bodies around us. It rescues the astonishment from the forgotten obvious, trapped by its naturalization. I find it a powerful tool because it leads us to read and listen to our surroundings, always looking from unexplored stances. From this immanent display, the very local traces a priceless threshold from where to approach the complex global.

The structure supporting this research will be a domestic one: the wood used in the previous Narrative Machine Series is transformed into a new structure in my own kitchen. This room will host a series of conversations and performances, and artworks along few occasions. The aim is to investigate the idea of the endotic in collaboration with a group of guests. Our focus will lie on the supposedly insignificant elements of the everyday life.

These series of encounters will generate an archive through a recording of voices that will end up in a publication, an edition and possible artefacts still to be decided based on what is collected during these occasions.


- 31st January – 28th February. A Generative Library at Büro BDP.

Compiled by Shane Anderson, derek bealieu, Ida Bencke, Isabel Carvalho, Ann Cotten, Lars Mørch Finborud, Adam Fearon, FuchsBorst, John Holten, Katie Holten, Eduardo Kac, Hanne Lippard, Stine Marie Jacobsen, Filippa Petterson, Antoine Renard, Cia Rinne, Lorenzo Sandoval, Sam Smith, Oliver Spieker, Jon Ståle Ritland, Morten Søndergaard et al…

Books shape existence: some have been the teachers of our pasts, some have set the stage for how we have come to perceive our present, and some will be the guides to our future(s). There are the old, worn books we have read over and over throughout life; the books we wish we’d read and then there are all the potential, hypothetical books - the ones we dream about holding in our hands, and then there also those ones we can only hope will never materialize, those books of nightmares, impossible books.

For the opening of the new Büro BDP we have asked former and future collaborators to contribute to a generative library, a collective curriculum for the past and future practices of BDP, the books that have and will guide us through our future. The range is telling, from the old and manhandled to the paperless PDF, the school book that offered clandestine secrets to active assistants in current research projects. With this opening gesture, we hope to establish Büro BDP as an active space for book research, publishing and indeed reading.

Opening: Jan 31 2-10pm
Reading: 8pm


- Open Call till the 21st of January: Grosses Treffen

I am participating as reviewer at Grosses Treffen. More information about the application here.

- 07th of December. Walked Magazine, hosted by Agora.

From 14:00 till 16:00 (sharp). Starts at Agora.

The Walked Magazine was founded in Madrid by two editors, Miguel Nava and Rafael Lamata alongside many collaborators. WM is no more and no less than a duration of walking together, stopping in spots on a planned route in order to experience the art pieces included. Every stop is one page. The whole walk is the publication itself.

Contributions by: Nina Schuiki, Leon Eixenberger, Victor Remere, Martina Buhagiar, Maia Nichols, Sotiris Karamanis, Luda Lima, Joanna Fatorelli, Merlin Carter, Vinzenz Reinecke and Jieun Kim.

Edited by Jesús Acevedo and Lorenzo Sandoval.

After the (walked) magazine warm glühwine will be served at Agora Collective space.

Facebook event.


- Participating as facilitator @ Affect Residency, Module III Agora, Berlin.


- 28th and 29th of October. Inverting the Panorama symposium @ Node Center.

Ponentes: Mónica Amieva (México), Rodolfo Andaur (Chile), Ana María Maia (Brasil) y Florencia Portocarrero (Perú).
Curaduría: Lorenzo Sandoval

En los últimos años, la presencia latinoamericana en las citas artísticas internacionales ha eclosionado de una forma imparable. La creación de nuevas instituciones, las nuevas producciones de artistas contemporáneos, la actividad de los curadores latinoamericanos en todo el mundo y la relectura de la Historia del arte desde otros modelos, hacen que se haga imprescindible una mirada atenta a este continente para entender el entramado artístico global.

Los nuevas formas de relato que suponen las estrategias latinoamericanas, reescriben las líneas de la infraestructura del arte y provocan un desplazamiento sísmico de lo establecido desde otras latitudes, proponiendo modelos curatoriales que trabajan desde su propio contexto, situados, y de un carácter marcadamente relacional.

Con la intención de generar una lectura diversa y necesariamente inacabada del panorama latinoamericano, este simposio propone cuatro lecturas curatoriales de cuatro regiones diferentes. Estas propuestas provienen de un grupo de jóvenes curadores que presentan estrategias de producción institucional y discursiva desde su propia práctica.

En un ámbito en el que se experimentan cambios sustanciales en la concepción de la práctica curatorial y la generación de instituciones, este programa presenta algunas claves sobre las que aproximarse a cuestiones que tienen que ver con la pedagogía, el archivo, el territorio y la visibilidad en Latinoamérica. Tomando como modelo el archi-citado gesto de Joaquín Torres García invirtiendo el mapa, presentamos un panorama desde Latinoamérica, preguntándonos cómo modificar formas y contenidos, generando otras maneras de entender y producir los relatos que cuestionen los modelos dominantes de escritura histórica en relación a la práctica curatorial.

FB event
More info.


- 13th of October. Collaboration with a text for Inopias - Veränderung des Maßstabes. Spekulative Modelle, a solo show of Antonio R Montesinos @ Internationalen Künstlerhauses Villa Concordia.


- 07th - 11th of October. Third session of
the Workshop Toolbox for Cultural Organisation @ the 31st Biennal of São Paulo.

Seminar with: Bart de Baere, Ekaterina Degot and Orlando Maneschy.

- October 2014/ ƒƒ Lines @ Temporary Autonomous Zone 3 @ Teatr Studio, Warsaw.

ƒƒ Lines is a project by feminist artists from different generations who contributed to group drawings. The collaborative drawings were used as images for the PR campaign of the ƒƒ project Temporary Autonomous Zone/3 in Warsaw, 2014. Organized by Mathilde ter Heijne.

ƒƒ Lines Participants:
Johanna Abraham, Kristine Agergaard, Mirela Baciak, Candice Breitz, Agnieszka Brzezanska, Jozefina Chetko, Cullinan Richards, Anat Ben David, Christina Dimitriadis, Kathi von Dolffs, Milena Dragicevic, Mary Beth Edelson, Ali Fitzgerald, Delia Gonzalez, Mathiew Greenfield, Mathilde ter Heijne, Gittan Jönsson, Monika Karczmarczyk, Isabella Lewandowski, Dafna Maimon, Ewa Majewska, Antje Majewski, Kirsi Mikkola, Julia Phillips, Katrin Plavcak, Aleka Polis, Anne Sherwood Pundyk, Janneke Raaphorst, Jen Ray, Kirstine Roepstorff, Mathilde Rosier, Lisa Ruyter, Lorenzo Sandoval, Janne Schäfer, Ulrika Segerberg, Juliane Solmsdorf, Melissa Steckbauer, Anna Steinert, Betty Tompkins, Magda Tothova, Biliana Nahua Tzoneva, Dorota Walentynowicz, Ruth Weismann, Manuel Wischnewski, Zorka Wollny, Jean Pierre Zoetbrood


- Thursday 25th September, from 18-20h.
Reclaiming the Useful – From Modernism to Self-buildings in Latin America @ Kontshall C

Within Open forum (Öppet forum)* we present: RECLAIMING THE USEFUL – FROM MODERNISM TO SELF-BUILDS

Reclaiming the useful – from modernism to self-builds in Latin America is an evening of gathering and discussion that discloses tactics and strategies that are being developed in a complete different context but that might be transposed to ours.

Thinking of urban planning as a mechanism to exercise power and as a form of social control that mobilizes populations, the event focuses on the importance of improvised and “informal” architectural practices (self-built settlements) in shaping cities and in the articulation of personal needs and desire in Latin America today.

Curator Alba Colomo will talk about these topics using works by contemporary artists from Latin America.

Carla Zacccagnini (Brasil/Sweden)
Eliana Otta (Peru)
Edinson Quiñones (Colombia)
Isabel Ramill (Brasil)
Santiago Roose (Peru)
Lorenzo Sandoval (Spain/Germany)
+ "Emergent NeoAndean archiecture in Bolivia"

She will also talk about her research on emerging indigenous architecture or “Neoandean architecture” in the city of El Alto in Bolivia.

Moreover, artist and curator Lorenzo Sandoval's presentation will drift from Oscar Niemeyer's COPAN building in Sâo Paulo and MASP by Lina bo Bardi to some occupied buildings in the city together with recent strikes. From the worldwide modernist symbol to the re-appropriation of private spaces by the people.

Thanks to the Spanish Embassy in Sweden and Konstfack.

* Open Forum is a format to which Konsthall C invites externally produced, already made or initiated projects to take place. Konsthall C has asked itself how an art institution can find new ways of working. How can we immerse in our own work while at the same time be an open place for other actors? Projects that we find interesting but which are not part of the researches pursued by Konsthall C can find a space here. The activities under Open Forum can take place both at Konsthall C, in Pannrummet or in other spaces in Hökarängen, and may consist of different kinds of activities.

Kontshall C @
Cigarrvägen 14–16
123 57 Farsta, Stockholm
T-bana: Hökarängen (linje 18 mot Farsta Strand)


- 26h of August. PARTS OF A BODY / A BODY OF PARTS. A Choreographic Insert In The Shape Of Text @ Agora.

Tuesday, 20:30.
Mittelweg 50, 12053 Neukölln, Berlin, Germany

A text can be considered as composed by the movement of a variable number of bodies who activated their words and intervals with suave gestures.

A text is made of parts that many as it can content, represent, project or imagine. It is always unclear where is the beginning of a text or its end.

A text is foldable, repetitive, and rhythmic. Imagine to have together in a temporal vertical cut all of the readers, translators, publishers, sellers, carriers, and loaners relate to same one.

A text is choreographic as Emma Waltraud Howes demonstrates and Lorenzo Sandoval explores with this proposition.

A text invites you to join a humble experiment to be ending up in a publication as a choreographic insert in the shape of text.

This event is held in preparation for the following publication:

Ankyloglossia (n. tongue-tie) is a catalogue of parts, carefully composed through compiled notes, diagrams, and scores that act as an extension for the installation work of the same title by Canadian artist Emma Waltraud Howes. The artist book’s layout and dramaturgy are inspired by three seminal performance works - Yvonne Rainer’s choreography The Mind is a Muscle (1968), Samuel Beckett’s Not I (1972) and Quad (1981). Connections to and between these works are referenced, explored, and appropriated in a variety of textual contributions produced by Howes and her invited collaborators - B, Patricia Reed, Gregor Runge, Lorenzo Sandoval, Anna-Sophie Springer, and Maxwell Stephens. Brought together as an ensemble, these writers appear in the interludes, the intermission, and in scattered scenes, pronouncing their participation in what is an evolving theater.

The publication is published on the occasion of the premier of Ankyloglossia (n. tongue-tie) by Emma Waltraud Howes as a solo exhibition within the International Studio Programme at Künstlerhaus Bethanien, Berlin, between 9 October and 2 November, 2014. Emma Waltraud Howes is the 2013/14 grantee of the Conseil des arts et des lettres du Québec and the Ministère des Relations internationales du Québec.

Concept and Design: Emma Waltraud Howes and Franziska Morlok

Photography: Kai Wido Meyer

With contributions by B, Patricia Reed, Gregor Runge, Lorenzo Sandoval, Anna-Sophie Springer, and Maxwell Stephens

ISBN 978-3-941230-35-4


- Making Room. Spaces of Anticipation @ Contemporary Art Daily.


- 30th and 31th of August. Movable Seating Chat (Narrative Machines Series) @ Paréidolie, Salon du dessin contemporain, Marseille. Participating with L'Atelier-KSR.

Benjamin Laurent Aman I Renata HAR I Daniela Huerta
Clémence de La Tour du Pin I Nicolas Puyjalon I Lorenzo Sandoval

30. – 31. August 2014

Preview I Saturday 30. August, 9 – 11 am
Vernissage I Saturday 30. August, 11 am

Invited to the first edition of PAREIDOLIE – salon of the contemporary drawing, taking place in Marseille the 30th and 31st of August during the contemporary art fair ART-O-RAMA, L’Atelier-ksr will showcase its five represented artists while contracting as well an external artist to design the structure of it’s booth shelve.

Each work has been thought and selected specially in accordance to the context of a salon, keeping the experimental aspect that characterizes L’Atelier’s productions. Inspired by the pareidolia phenomenon, L’Atelier-ksr proposal will focus on drawing, referring to the media by suggesting it indirectively, opening the vision of the drawing to an enlarged definition.


- 17th of July. Biopolitics of the South Side @ June First Gallery.

With Rui Calzada Bastos, Paco Guillén, PSJM, Lorenzo Sandoval, José Otero, Martinka Bobrikova & Oscar de Carmen and Adrían Martínez.

Curated by Arístides Santana

Opening: July 17, 2014 - 19.00


- 17th of June. Text about the exhibition Forensis @ Concreta Magazine.


- From the 17th of June: Dispositivo 2> Plataforma Editable: Talleres de Formación Curatorial @ Centro Cultural de España, Santiago de Chile, Parque Cultural de Valparaíso ,Balmaceda Arte Joven Antofagasta and Consejo Regional de Tarapacá.

Entre martes 17 y miércoles 18 se desarrollará en el Centro Cultural de España los talleres y conferencias de plataforma editable.

El Área de Artes Visuales del Consejo Nacional de la Cultura y las Artes junto con el Consejo Nacional de la Cultura y las Artes de la Región de Antofagasta, Iquique y la Region Metropolitana, convocan a los artistas que transitan los caminos de la visualidad para participar del proyecto DISPOSITIVO> Plataforma Editable, un proyecto en conjunto con Balmaceda Arte Joven, Centro Cultural de España, Galería Gabriela Mistral y el Parque Cultural de Valparaíso, que a través de la obra y reflexión de destacados artistas, críticos y curadores, en conjunto con artistas locales cartografiaran desde las concurridas calles de Santiago, el horizonte pacifico del Parque Cultural y debajo del sol nortino los trabajos entre los artistas-habitantes y sus territorios.

Se propone la realización de talleres intensivos en Santiago, Valparaíso, Antofagasta e Iquique. Las actividades serán gestionada entre la dirección regional del Consejo Nacional de la Cultura y las Artes, el área de Artes Visuales de la misma institución y el curador Rodolfo Andaur.

Se desarrollarán talleres intensivos junto al curador español Lorenzo Sandoval con una destacada trayectoria en la curaduría, el artista chileno Ignacio Acosta quien realiza un doctorado en Londres sobre la visualidad de la industria minera en Chile, estas actividades se desarrollaran en el Centro Cultural de España.
En Balmaceda Arte Joven Antofagasta presentarán Benjamín Ossa, Libro temprano y Soledad García Archivar y Depurar las Curatorías.


Martes 17
Ignacio Acosta, Working in Progress: Geografía del Cobre, 17:00 hrs. Centro Cultural de España
Lorenzo Sandoval, Espacios de Anticipación, Centro Cultural de España, 19:00 hrs.

Miércoles 18
Pecha Kucha.
Lorenzo Sandoval, Ignacio Acosta y Rodolfo Andaur, Centro Cultural de España, 10:00 a 13:00 hrs.
Inscripción en y

Jueves 19/ Valparaíso
1.- Lorenzo Sandoval, Espacios de Anticipación, Parque Cultural de Valparaíso, 11:00 hrs.
2.- Ignacio Acosta, Working in Progress, Parque Cultural de Valparaíso, 12:30 hrs.
3.- Coloquio Conexión Territorial, Worm Gallery, 16:00 hrs.

- Viernes 20/ Sábado 21/ Domingo 22/ Antofagasta -

Viernes 20
1.- Rodolfo Andaur, Experiencias Curatoriales, Balmaceda Arte Joven Antofagasta, 18:00 hrs.
2.- Lorenzo Sandoval, Espacios de Anticipación, Balmaceda Arte Joven Antofagasta, 19:45 hrs.

Sábado 21
1.- Coloquio Territorios Expuestos en las Artes Visuales, María Elena, región de Antofagasta, 11:00 a 17:00 hrs.

Domingo 22
1.- Soledad García, Archivar y Depurar las Curatorías, Balmaceda Arte Joven Antofagasta, 11:00 hrs.
2.- Ignacio Acosta, Working in Progress, Balmaceda Arte Joven Antofagasta, 12:45 hrs.
3.- Benjamín Ossa, Libro Temprano, Balmaceda Arte Joven Antofagasta, 12:45 hrs.

- Lunes 23/ Martes 24/ Miércoles 25/ Iquique -

Lunes 23/ Martes 24
1.- Reconocimiento territorial, participan: Ignacio Acosta, Rodolfo Andaur, Benjamín Ossa y Lorenzo Sandoval.

Miércoles 25
1.- Lorenzo Sandoval, Espacios de Anticipación, Consejo Regional de Tarapacá, 18:00 hrs.
2.- Ignacio Acosta, Working in Progress, Consejo Regional de Tarapacá, 19:00 hrs.
3.- Benjamín Ossa, Libro Temprano, Consejo Regional de Tarapacá, 20:00 hrs.
Los cupos en Antofagasta serán limitados, para más información contactar a José Cortes Valenzuela




- 24th of June, FEMALE INTERVENTION @ Kleine Humbolt Galerie.

Participating female artist collectives
3 Hamburger Frauen, Der Strich, Die bösen Mösen, ff, Guerrilla Girls, Stoll & Wachall

The exhibition Female Intervention is dedicated to feminism. Assembling different artistic approaches, it creates an opportunity to discuss women's position in our society as well as in the art system. The focus of the exhibition lies on feminist artist-collectives. In contrast to individual artists, collectives can more readily explore different possibilities and cross boundaries. With their collective authorship, the female artists furthermore counteract the structures of hierarchy created by the art market as well as the idea of the individual artist as a genius.

Unlike former feminist artists, who claimed their rights in a radical, but sometimes tense way, the exhibited collectives act in a playful and humorous manner, in the tradition of the “Guerrilla Girls”. This allows for a lighter approach to a topic which in times of gender studies, is still a subject of unease and prejudice for many women, including female students. The question of female equality is of particular actuality at the Humboldt University: For the first time a female scientist, the Jewish nuclear physicist Lise Meitner (7.11.1878 - 27.10.1968), will be honored with a sculpture in the university courtyard.

Female Intervention presents works of different media (performance, video, photography, painting, sculpture and installation) which examine female role allocation in a critical and humorous way, create awareness of discrimination, deconstruct the art system or widen the male dominated historiography by a female perspective. Additionally the exhibition presents documentation of public actions and performances by the artists. The interactive archive by the feminist group “ff” will create an alternative contemporary art library with a focus on female artists and feminist literature. Thus, the exhibition space of the Humboldt University will gain a studiolo-like atmosphere and invite visitors to engage widely with the topic.

Participating female artist collectives
3 Hamburger Frauen, Der Strich, Die bösen Mösen, ff, Guerrilla Girls, Stoll & Wachall

curated by Conny Becker


For the opening on the 24th of June “ff” is creating a new performance (7-10pm).
On the 7th & 8th of July “Stoll & Wachall” offer a two-days workshop for students to playfully improve self-confidence (2 x 5-8pm).
On the 10th of July, Susanne Husse, art historian and curator (Dissident Desire), will show the various ways in which terms like feminism and collective are defined (lecture). Furthermore a sound piece will be presented (7pm).
For the finissage on the 18th of July a panel discussion about the current situation of female artists and art historians will take place (6-10pm).

June 24, 7-10 pm: Opening with performance by “ff”
July 7/8, 5-8 pm: Performance workshop with ”Stoll & Wachall” for students
July 10, 7 pm: Lecture by Susanne Husse & presentation of a sound piece by “ff”
July 18, 6-10 pm: Finissage with panel discussion

This exhibition is made possible thanks to the generous financial support of the Humboldt-Universitäts-Gesellschaft, the Verein zur Förderung des Instituts für Kunst- und Bildgeschichte e. V., the Norwegian embassy and the Bezirkskulturfonds Mitte.

Particular thanks to:
Dr. Angelika Keune, Dagmar Oehler and Lorenzo Sandoval/dissident desire for the exhibition architecture.


- 13th of June. Opening of Making Room. Spaces of Anticipation @ ar ge Kunst Galerie Museum, Bolzano.

14.06. – 02.08.2014

Brave New Alps & Paolo Plotegher,
Janette Laverrière in collaboration with Nairy Baghramian,
Alex Martinis Roe,
Marinella Senatore in collaboration with Assamble
and Mierle Laderman Ukeles.

Curated by Emanuele Guidi and Lorenzo Sandoval

Opening: 13.06.2014, h 7

Making Room – Spaces of Anticipation

Brave New Alps & Paolo Plotegher, Janette Laverrière in collaboration with Nairy Baghramian, Alex Martinis Roe, Marinella Senatore in collaboration with Assemble, Mierle Laderman Ukeles.

Curated by Emanuele Guidi and Lorenzo Sandoval

Making Room is an exhibition exploring the idea of space in relation to the artistic, cultural and curatorial practices that produce it. Accordingly, it brings together works and collaborations by artists, architects and designers from different generations and geographies, each of them stressing the mutual correspondence and influence between social practices and the environments that play host to them.

In all the projects presented, the act of proposing spatial settings and configurations unfolds in line with the desire to establish a bond between past and ongoing experiences – through collaboration, storytelling or simply by posing questions. Hence a domestic environment, a salon or a school, a display system, a cultural association or an art institution can all still be considered as models for facilitating possible encounter and common usership. In this context, the notion of ‘care’ is central to rethinking the way these ‘places’ can be designed, experienced and (collectively) maintained.

‘Making room’ in this sense becomes a gesture that welcomes other practices and knowledge as generative forms of transformation – a way of ‘giving space’ and ‘dedicating time’ to both alliances and conflicts, be that with partners, fellow colleagues or audience members.

Making Room is the research phase of the project Spaces of Anticipation, developed in collaboration with the EACC - Espai d’art contemporani de Castelló in Castellón de la Plana.

Special Thanks to
Silberkuppe (Berlin) e Ronald Feldman Gallery (New York)


- 13th - 17th of May. Second session of
the Workshop Toolbox for Cultural Organisation of the 31st Biennal of São Paulo.

Seminar "Areas of Conflict" with: Ricardo Basbaum, Daniel Lima, Galit Eilat, Luisa Duarte, Cauê Alves, Max Jorge Hinderer Cruz and Nuria Enguita Mayo


- 9th of May
Habitat. Exercises of Prospecting @ EACC.

Exhibition of the projects of the grantees of the 3rd Hàbitat Articistic Castelló.
With: Mauro Guzmán (Studio Brocoli), Carlos Montaño, Gema del Rey (Art al Quadrat), Adrián Samit and Agustín Serisuelo.

Together with the exhibition of the projects, Erick Beltrán presents his performance "DE UNIDADES, HERRAMIENTAS Y MÁQUINAS".

Curated by Lorenzo Sandoval.


- 2nd of May
Spaces of Anticipation
Symposium @ EACC


10:30 - 11:30 César Reyes Nájera. Dpr -Barcelona: The City After the Welfare

11:30 - 12:00 Break

12:00 - 13:00 Santiago Cirugeda : Cultural Misappropriation , the Right to be Different.

13:00 - 13:30 Panel discussion with Dpr -Barcelona , Santiago Cirugeda and José Luis Pérez Pont

16:00 - 17:00 Federica Bueti : Meet Me at the Bar. Stories of Incarnations , Relationships and Encounters

17:00 - 17:30 Break

17:30 - 18:30 Markus Miessen : Crossbenching

18:30 - 19:00 Panel discussion with Federica Bueti , Markus Miessen and Mijo Miquel ( AutoFormato )

19:30 Presentation of the book The Nightmare of Participation Markus Miessen , edited by Dpr -Barcelona

The Symposium Spaces of Anticipation is a project by Lorenzo Sandoval.

A parallel phase of Spaces of Anticipation will be taking place in June 2014 at the Kunstverein ar/ge kunst (Bolzano, Italy). On this occasion, contributions by artists and practitioners from different geographies and historical moments will be presented in the form of a research-based exhibition. Artworks, documents and projects will be assembled so as to continue to delve further into – and shed a different light on – the points that emerged during the conference at ESPAI de Castelló.



Location: Espai d' art contemporani de Castelló

Price : € 10 (free for students of the Master of Visual Arts Multimedia and UPV )

Payment: at the reception of EACC End of registration : to fill places (limited places)

For more information: ( tel. 964 72 35 40 )

Aimed at students and professionals from the following disciplines : architecture , art, art history, visual communication , arts Performing , philosophy, design and sociology , as well as anyone interested. Students attending the symposium will receive half credit .

This future does not have yet a name, but we are standing on its brink. If the last forty years have been marked by ‘posts’ (post-war, post-colonialism, postmodernism, post-communism), then today, at least, we seem to be in a period of anticipation – an era that museums of contemporary art can help us collectively to sense and understand.
Claire Bishop, Radical Museology.1

Ultimately, the idea of community leads to philosophies and ideologies marked by fear and impotence: the community as a disappointing experience and commitment to it as a failed requirement (something that is lacking). How does one move on from there?
Marina Garcés, Commitment.2

Spaces of Anticipation

When the novel developed in modernity as a frequent format for narration, it imposed a distance between the storyteller and the audience. It was a spatial distance, but also a temporal one. In conjunction with its capacity to distribute stories, it also produced a separation between the individuals through the object book. It worked as an isolation device. Telling a story was no longer shared time, partly because it was not a shared space, where people came together joining their experiences gained by travelling or listening to others. The consequences of this very well-known proposition3 of Walter Benjamin could be easily translated from the book device to exhibition making, as they were parallel in time in their appearance. The stories were detached from their usual ecosystems in social spaces as the artworks were taken out from their context to conform the modern experience of the exhibition and the visit to it: isolated individuals looking at artworks, navigating around supposedly in silence.4 With the raise of capitalism, orality suffered a loss of value with the radical separation of object and subject, as well as between subjects.

Certainly, there is an actual lack of public spaces (one would say common instead of public). Nowadays, there is an urgency of agoras, spaces of encounter and critical discussion, beyond the participation models we have witnessed in (art) institutions. If in the last twenty years we have been witnessing a huge number of projects, which promote participatory processes with no critical insight, it is only recently that agents have appeard who are looking at the phenomena with an analytical gaze. As Markus Miessen pointed out, participation has been used more as a promotional tool rather than a critical process on its own.5 When we look at all the social movements that are popping up in different geographies around the world, we should be aware of how those groups arrange their actions, because that has a correlation to art institutions: it has an impact on how spaces are designed and the experience is reorganized. The question that emerges from this is how to rethink institutions in terms of cultures of assembly, to use Miessen’s expression. This lack of a politic arena seems to claim to reassemble the spaces of experience that Benjamin claimed to have vanished, while adapting them to the current conditions. It brings forth the problem of how to restore the relations between subject and object and how to generate the experience of a common space.

It seems that we cannot elude the commitment towards building up the experience of the ‘we’. A crucial question, a fundamental question is opening up: what is it that commits us to others and to what extent?6 If we think about how different agents are organized in the space, the terms are not only architectural but also choreographical. If we look at the etymology of the word choreography, we find that is the writing of a chorus, of a plurality of voices, or tonalities or languages.7 The ongoing accelerated socio economic changes are reshaping the relations between individuals, and between them and objects. This rearrangement of relations has a reflection on how space is formulated and how bodies come together in art institutions. It is possible to trace how there is an embodiment of criticality, how the question about performativity and context appear again and again. This draws attention to the different positions of these situated agents, resulting in a cross-disciplinary praxis where the different roles permute. The focus is extensively expanded from the single artwork to the entire elements that shape an exhibition,8 producing a deep reflection of how those elements operate and are blurred. From the curators to the visitors and the critics, the architects and obviously, the artists — just to mention a few — including the artworks and the literature, are all involved in the production of the space and its storytelling, which shapes the exhibition.

In recent years, some agents have been reflecting upon all these processes. In terms of storytelling and organizing, it is pertinent to mention the analysis made by Claire Bishop: A more radical model of museum is taking shape: more experimental, less architecturally determined, and offering a more politicized engagement with our historical moment. (…) They do not speak in the name of the one percent, but attempt to represent the interests and histories of those constituencies that are (or have been) marginalized, sidelined and oppressed. This doesn’t mean that they subordinate art to history in general, but that they mobilize the world of visual production to inspire the necessity of standing on the right side of history.9 Though she writes about museums with collections, she presents a certain attitude, which is traceable in other kinds of art institutions too.

What is going to be addressed in this symposium is how there is a movement in some art institutions that reshape the experience of visiting an exhibition as a collective situation, where the orality is re-emerging as a critical tool. This moment of construction of the ‘we’ offers a moment of anticipation, proposing another way to think and design the space, one with conditions to exercise a political imagination. If we look at the program of the EACC since its formation, it has been presenting many different proposals working within these lines. This symposium takes those lines of work from the past and rethinks them projecting to the future.

Lorenzo Sandoval, Berlín, March, 2014.

1 BISHOP, Claire, Radical Museology, or, What’s ‘Contemporary’ in Museums of Contemporary art?, Koenig Books, London, 2013.
2 GARCÉS, Marina, Commitment, CCCB Breus, Barcelona, 2013.
3 BENJAMIN, Walter, The Storyteller, (1936). Editorial Taurus, Madrid 1991.
4 As clearly described by Dorothea von Hantelmann: Time is a vital factor here. Classical works of visual art tend to compress time in the object rather than manifesting it. But how can time be decompressed again in the exhibition? In late Renaissance and Baroque curiosity cabinets, it was often the prince himself who presented the objects to visitors. Seventeenth – and eighteenth- century painting galleries were social conversation spaces. (…) The perception of art required the spoken word in order to become a social event. Such conversation enriched the works not only with language but also with time. They linked the isolated work with temporal duration, repeated perception, and thought. Von HANTELMANN, Dorothea, Notes on the Exhibition, in doCUMENTA 13 The Book of Books, Hantje Cantz, Ostfildern, 2012.
5 Participation has become a radical chic, one that is en vogue with politicians who want to make sure that, rather than producing critical content, the tool itself becomes what it is supposed to be read as criticality. MIESSEN, Markus, The Nightmare of Participation. Crossbench Praxis as a Mode of Criticality, Stenberg Press, Berlin, 2010.
6 GARCÉS, Marina, Ibid. cit.
7 ROJO, Paz. Video-interview at
8 A very relevant example is the critic series initiated by After All Books on the subject called Exhibition Histories, where in each book they realize an extensive analysis of the exhibition they include.
9 BISHOP, Claire, Ibid. cit.

More info here.


-15th of April
Choreographed Transparency.
Exhibtion by Santiago Taccetti and Lorenzo Sandoval

@ Altes Finanzamt.

Opening 15th of April, 19:00
Finissage, 24th of April, 19:00
15th - 24th of April

It is mainly invisible walls made of crystal that define most of the spaces where our bureaucratic fluxes inhabit: tax offices, shopping malls, airports or banks. For a long time we have known them as non-places, they are the epitome of the architecture of transparency. These transit spaces represent in their very glass construction what is supposed to be hidden. In a way comparable to what happened with the appearance of credit cards and the ongoing disappearance of money as a physical object, today a similar process is happening with the representation of the infrastructures of power. On the transparent walls are some floating corporative logos as the customer care person is always within our sight. While one does not perceive the symmetry of power as it happened before, the architecture of transparency pushes our steps in a stealthy fashion. This transparency hides the rules of our regulated lives in its own immateriality.

In this exposed nothingness, we individuals are choreographed through the perverse management of our desire, very well described by Byung-Chul Han. In this mechanic conception of all movements, synchronized once more by an interior panopticon composed in our time by of a digital substance, it would seem that the gestures of defiance are the ones that propose a disruption in this machinery.

_Doval Holt, April 2015

Opening 15th of April at 19:00.
Exhibition continues until April 24th (visit possible by appointment)

With the support of:

Gabriela Acha,
Mirak Jamal,
and John Holten


- 3rd of March.
Guided tour @ Iza Tarasewicz's „The Strange Attractors“

The artist‘s first solo exhibition in Berlin @ the Polish Institute.

Thursday, 03 MArch 2014, 17:00
Location: Polish Institute Berlin, Burgstraße 27, 10178 Berlin
Curator: Lorenzo Sandoval
Exhibition open until 3 April 2014
in cooperation with the Künstlerhaus Bethanien.

More info here


- 15th of February.
Narrative Machines Series Workshop
at the online courses of Visions of Art.


- Interview by Anna Bromley at Sister Mag.


- 21st of February.
Mutant Matters II @ Savvy.

With: Luis Berrios-Negron and the editors of DiARTgonale Special Editions.

Friday, February 21, 2014, 7.00pm

Lorenzo Sandoval & S.T.I.F.F.

Art Directors: Dr. Bonaventure S.B. Ndikung, Dr. Elena Agudio

SAVVY Contemporary I Richardstraße 20 I 12043 Berlin-Neukölln.

Please join us for an evening of questions that explore knowledge at its various points of entry. We will discuss the ways contemporary artists outside Europe are drawing on public archives as a resource for their work, and more broadly, the ways in which knowledge is transformed by our attempts to navigate it and to deploy it out into the world.

This evening will welcome Luis Berrios-Negrón to introduce his practice of archival investigations, as well as the editors of DiARTgonale to present the second in a series of publications devoted to the ongoing research of libraries and archives in Africa.

What our guest speakers propose is not merely a transversal of either social or technical knowledge, but a tangent that weaves between them. Giving body to this notion is a device commissioned by SAVVY Contemporary and produced by Lorenzo Sandoval and the architect collective, S.T.I.F.F. (Florentin Steininger & Till-Moritz Ganssauge). The device Mutant Matters can adopt a variety of functions, moving between chair, bookcase, shelf, stage or wall. As such, it not only provides a physical and technical platform for one’s preferred approach to knowledge, but it is a conceptual and curatorial framework that envelops, as well as names, the ongoing series of bimonthly events.

More Info here.


- 20th of February.
Iza Tarasewicz „The Strange Attractors“

The artist‘s first solo exhibition in Berlin @ the Polish Institute.

Opening: Thursday, 20 February 2014, 19:00 pm
Location: Polish Institute Berlin, Burgstraße 27, 10178 Berlin
Curator: Lorenzo Sandoval
Exhibition open until 3 April 2014
in cooperation with the Künstlerhaus Bethanien.

More info.

- 07th of February
Todo, todo, todo está en los libros @ La Panera, Lleida.
Online show curated by Roberto Vidal.

Participating with Mountainislandglacier.


- Interview to Anetta Mona Chisa & Lucia Tkácová, as part of the publication of, a project curated by David Arlandis and Javier Marroquí, with an @ EACC.

Download the publication here.

- Narrative Machine Series @ The Future of Architecture Vol. II.


- 27th of April.
Invited to participate as a reviewer @ Grosses Treffen.

OPEN CALL (deadline 21 January, 2014) to Nordic artists wishing to strengthen their network in the Berlin art scene.

April 27th at Felleshus

Großes Treffen | Stormöte | Suuri kokous | Stort møte | Listastefna | Stormøde is a one day network event that offers the opportunity for Finnish, Swedish, Icelandic, Norwegian, Greenlandic, Faroese and Danish visual artists (also performers, sound artists, artists who create public artworks and interventions as well as designers and architects working within the visual arts field) to do portfolio presentations and get acquainted with key agents of Berlin’s art scene according to their specific interests.

The Nordic Embassies will host the event where 60 to 80 artists will be given the chance to meet a number of prominent Berlin-based curators representing a selection of vibrant art institutions, residency organizers, and festival curators. A jury will preselect the participating artists based on their submitted portfolios (deadline: 21 January, 2014).

Organized by the Nordic Embassies. Concept by Solvej Helweg Ovesen.

Participating Berlin-based REVIEWERS:
Oliver Baurhenn / CTM-Festival, General Public
Katja Blomberg / Haus am Waldsee
Ellen Blumenstein / KW Institute for Contemporary Art
Carson Chan / Program
Rhea Garboe Dahl / Praxes
Matthias Einhoff / ZK/U Centre for Art and Urbanistics
Anselm Franke / Haus der Kulturen der Welt
Kristoffer Gansing / transmediale
Sophie Goltz / n.b.k.
Susanne Husse / District Kunst- und Kulturförderung
Christy Lange / frieze d/e
Nora Mayr / insitu
Doreen Mende / Freelance Curator
Bonaventure Ndikung / Savvy Contemporary
Heiko Pfreundt / Kreuzberg Pavillion
Maud Piquion / Freelance Artist Manager
Aenne Quiñones / HAU Hebbel am Ufer
Lorenzo Sandoval / Altes Finanzamt
Virve Sutinen / Tanz im August
Antje Weitzel / uqbar

Please find more information on all reviewers HERE.

TO APPLY, please email us your application as pdf to by 21 January, 2014, consisting of:
- filled out application form (download here)
- portfolio + CV (maximum 10 pictures, 12 pages, and 3 MB)

Please name the application file(s) as follows: first country code (DK, FI, IS, NO or SE), then your last name and first name, e. g. SE_Johansson_ Lars.pdf. If there are more files, please keep the same filename yet add a number in the end.

If you have any questions, please contact us via e-mail:

Deadline applications: 21 January, 2014
Confirmation of participation: 1 February, 2014
GROSSES TREFFEN Portfolio reviewing event: 27 April, 2014

Participation is free of charge. Travel and accommodation costs must be covered by the participants, who may apply to local arts councils independantly. The respective addresses and deadlines:

Finland: FRAME |
Deadline: t.b.a.
Norway: Office for Contemporary Art (OCA) |
Deadline: 1 February, 2014
Sweden: IASPIS Internationellt kulturutbyte |
Deadline: 5 February, 2014

Concept, Curator: Solvej Helweg Ovesen
Nordic Embassies Team: Birgitte Tovborg Jensen (DK), Lena Kingelin (FI), Soffia Gunnarsdóttir (IS), Ida Svingen Mo (NO), and Mareike Röper (SE)
Artistic Coordinator: Kordula Fritze-Srbic
Graphic Design: Manuel Raeder


- 27th - 31st of January (first session)
Selected to participate in the workshop Toolbox for Cultural Organisation
@ 31 st Bienal de São Paulo.

With Ana Longoni, Ivo Mesquita, Walid Raad, Charles Esche and Pablo Lafuente.

- 22th - 28th of January

Online / Offline. Encoding Everyday Life @ Altes Finanzamt.
for Vorspiel Transmediale.
Opening 22th of January, 19:00

With Constant Dullart, Jodi, Nuria Güell, Sophie Lefraga, Lindsay Lawson, Ellis Macdonald,
Sam Smith and Kandis Williams.

Curated by Lorenzo Sandoval.

In the recently abundant texts about cartography, we sometimes find references to the tale Borges´ Del Rigor de la Ciencia which narrates the past existence of a map, which scale was 1:1 with the Empire. We would like to propose as a reflecting element to this story another fiction by the same author: Funes the Memorist, which outlines a map in the same scale, not of the land but of the memory. It speaks of a map of time, which simultaneously serves as an (quasi) infinite archive of variations and possibilities. The main character takes a whole day to remember a day in its totality. Furthermore, he is able to enunciate, applying a game of association, every remembrance he has. In effect, Funes not only remembered every leaf from every tree from every hill, but each time he had perceived or imagined them.
Instead of the term “surf” used in the Anglo-Saxon world, in Spanish one started to apply “navigate” as a verb for describing the circulation trough the Internet. In spite of its aquatic relation, this different perspective appeared when the Internet became popular in the Spanish-speaking world, where the first widely used browser was Netscape Navigator. It lost the browser battle when Microsoft introduced the Internet Explorer, since the latter was always included in the operative system commonly used at the time. Later, Netscape liberated the code, which led to the emergence of Mozilla.
This inaccurate Spanish translation, stemming from the term “to navigate” instead of “to surf”, places the net hopelessly in a metaphoric position that brings it together with the idea of the cartography by way of navigation. If the term “to explore” had become popular due to the Microsoft browser, it could have generated a similar correlation. In fact, the internet is commonly represented in the form of a map. One could say, that there is a continuity within the history of maps and their usage. Therefore, their logic goes far beyond the mere circulation through the sources of information, the net creates a continued extension of the domain; a colonization of life´s spaces.
This can be observed in the areas of use, which exceed the personal and the work space: email, social networks, desktop in the cloud, pornography, dating sites, maps, video servers and a large etcetera that amplifies, dominates and codifies the spheres of communication, emotion and action. And beyond this doppelgänger we find the physical reality: mobile devices, cable networks that cross the oceans and the applicable legal environment specific to each of the countries in which they are located.
This set of techniques composes a digital skin over the space and the body, constituting a virtual and physical infrastructure of control, but also of affect, an emotional bureaucracy built of technological prostheses.
This project proposes an analysis of how those technologies are introduced in the everyday life, change the configuration of relationships and encode our perception of the world.


- Interview about Mutant Matters @ ATP diary.


- Article about “Part Two: My School of Architecture”, in which I'm participating with S.T.I.F.F., with the project Mutant Matters @
ar / ge Kunst Galerie Museum @ the magazine Domus.


- 10th of December

Please join Broken Dimanche Press @ Motto for a drink to launch a publication by artist Isabel Carvalho.

plateau singers merge languages together
Preface by Doval Holt
Design by Nuno da Luz

128 pages, soft cover

Edition 150
ISBN: 978-3-943196-17-7
This publication was published on the occasion of the exhibition with the same title by Isabel Carvalho at Künstlerhaus Bethanien, Berlin. 22nd Aug - 22nd Sept 2013

The element of air is a propelling agent for movement or change. Carvalho applies this notion metaphorically, aligning the dynamics of wind to the relations/tensions between community and personal subjectivity; and inhalation/exhalation as akin to expression/communication between inner and outer space.


- 7th of December
Finissage of dissident desire. Chapter 1: Exercises of Critical Body Building and dissident desire. Chapter 2: Terrain of Threshold Voices. @ District


Chapter 2: Terrain of Threshold Voices.

15:00 h Stätte - Stimme am Subjekt Performance Performance tour through the KiezWilhem Klotzek
( Meeting point: S-Bahnhof Priesterweg, please register)

Performance tour through the Kiez* Hanne Lippard.
(Meeting point: DISTRICT,please register)

Chapter 1: Exercises of Critical Body Building

7. December
17:00 h The Potent Self: a study of spontaneity, compulsion and resistance Workshop / by Alicia Frankovich with Christiane Lillge
19:00 h The Potent Self: a study of spontaneity, compulsion and resistance Demonstration by Alicia Frankovich with Dr. med. Robert Margerie
20:00 h Physical Education: Exercises in Embodying Discourse
Reading Troupe, 02* von / by Emma Haugh
21:00 h The She The Same Performance by Dafna Maimon with John John and Dramachandran*


- 15th of November

Part Two
: La Mia Scuola di Architettura
Gianni Pettena, Pedro Barateiro, Otobong Nkanga, Lorenzo Sandoval & S.T.I.F.F.

@ Ar / Ge Kunst Bolzano

15 November 2013 – 11 January 2014
Opening on Friday, 15 November 2013, 7 pm

Curated by Emanuele Guidi

La Mia Scuola di Architettura (Dialogue)
26 November, 7 pm
With Gianni Pettena (Artist), Pierre Bal-Blanc (Director of CAC Brétigny) and Emanuele Guidi (Artistc Director of ar/ge kunst).

More info.


- 12th of November

dissident desire Chapter 2 / Aliens of Extraordinary Abilities? Part II

@ District

A collaboration between DISTRICT Kunst- und Kulturförderung and ENGLISH THEATRE BERLIN - International Performing Arts Center, supported by Hauptstadtkulturfonds.

With Anna Bromley, Constant, Larissa Fassler, Jaume Ferrete, Pieterjan Grandry & Valentina Karga, Wilhelm Klotzek, Hanne Lippard and Nasan Tur

A project by Susanne Husse & Lorenzo Sandoval in collaboration with Daniel Brunet

Opening 12.11.2013, 19:00 h

13.12.2013 – 07.12.2013

Exhibition opening hours: Tuesday to Saturday 2 to 6 pm.

Terrain of Threshold Voices is dedicated to forms of artistic research on language in relation to the transformation of urban landscapes. Engaging with the interstices of different languages and cultures of space, the exhibition manifests as a performative zone of dissent.

Both the exhibition and the performance tours in the Tempelhof-Schöneberg neighborhoods of District Kunst- und Kulturförderung map out terrains, structures and movements which emerge at intersections and ruptures between different social narratives of Berlin.


10. November
20:00 - 21:00 h
A City After Our Heart`s Desire LAUTSTROM#35 Radiofeature, UKW 88,4 MHz in Berlin & 90,7 MHz in Potsdam

12. November
18:00 h Opening
19:00 h La langue Schaerbeekoise Lecture and discussion* CONSTANT / PETER WESTENBERG
21:00 h Voz Mal Sola Concert performance JAUME FERRETE

23. November
15:00 h PHONE-IN, CALL OUT Performance tour through the Kiez* HANNE LIPPARD

(Meeting point: DISTRICT, please register)

18:00 h Terrain of Threshold Voices - Reader Presentation* PIETERJAN GRANDRY & VALENTINA KARGA
20:00 h Dime Bumshow

Readings presented by* BROKEN DIMANCHE PRESS
21:00 h In-between-ness: creating, writting and living in-between languages, genres and forms
Lecture and discussion* CAMILLE DE TOLEDO

30. November
15:00 h Stätte - Stimme am Subjekt
Performance tour through the Kiez WILHELM KLOTZEK
(Meeting point: S-Bahnhof Priesterweg, please register)

18:00 h City says Vortrag und Diskussion / Lecture and discussion NASAN TUR
19:30 h Touristen fisten ist auch keine Lösung Vortrag und Diskussion / Lecture and discussion PETER LAUDENBACH

07. December
15:00 h Stätte - Stimme am Subjekt Performance Performance tour through the Kiez WILHELM KLOTZEK
( Meeting point: S-Bahnhof Priesterweg, please register)

Performance tour through the Kiez* HANNE LIPPARD
(Meeting point: DISTRICT,please register)

18:00 h Closing Performance program in conjunction with dissident desire Chapter 1: Exercises of Critical Bodybuilding with ALICIA FRANKOVICH, EMMA HAUGH, DAFNA MAIMON, MIRYANA TODOROVA

* Events in English

More info here.


- 08th of November
Dublin Art Book Fair 2013
, @ Temple Bar Gallery and Studios, participating with Broken Dimache Press.


- Published the 1st of November, prepared for the 8th of October.

Online exhibition Madam I'm Adam @ Mister Motley Mag, curated by Dafna Maimon and Lorenzo Sandoval for the Salon series.

With: Vilayanur Ramachandran, Erick Beltrán, Julia Philips, Jorge Luis Borges, Kabbala, Hans Breder, Gemini, the Thing, Dina Kelberman, Maidova, Adolfo Bioy Casares, Lindsay Lawson, Chris Hadfield, Jumana Manna, Carol Rama, Cipri & Maresco and the Ross Sisters.


- 29th of October and 4th of November

I'm very glad to have been invited to make some studio visits @ Bethanien


- 24th of October
Opening dissident desire CHAPTER 1

@ District

25.10.2013 - 07.12. 2013


Melanie Bonajo, Libia Castro & Ólafur Ólafson, Alicia Frankovich,
Núria Güell, Emma Haugh, Dafna Maimon, Johannes Paul Raether, REINIGUNGSGESELLSCHAFT, Miryana Todorova

Ein Projekt von / A project by Susanne Husse und / and Lorenzo Sandoval

25.10. - 7.12.2013
Ausstellung geöffnet: Dienstag bis Samstag 14 bis 18 Uhr.
Exhibition open: Tuesday to Saturday 2 to 6 pm.

Exercises of Critical Body Building ist ein Ausstellungs- und Performanceprojekt, das im Rahmen des kulturellen Forschungszusammenhangs von dissident desire einen Proberaum für körperbasierte Wissensproduktion und unkonforme Handlungsmodelle öffnet. Kapitel 1 vereint künstlerische Ideen, die den Körper als molekulares Archiv technologischer, ideologischer und ökonomischer Flussgrößen befragen und im alltäglichen Zwischenraum von Prekarität und Begehren Formen politischer Subjektivität aufzeichnen und aktivieren.

Exercises of Critical Body Building is an exhibition and performance project, which opens up a rehearsing space for body-based knowledge production and non-conformist modes of operating within the ongoing research framework of dissident desire. Chapter 1 juxtaposes artistic ideas which question the body as a molecular archive of technological, ideological and economical fluxes and which record and enact forms of political subjectivity in the inbetween-room of precarity and desire.


24. Oktober Eröffnung / Opening
19:00 – 20:30 h The Potent Self: a study of spontaneity, compulsion and resistance Begegnungen / Encounters von / by Alicia Frankovich
20:30 h How to expropriate money from the banks?
Konferenz von / Conference* by Nuría Güell mit / with Enric Duran

2. + 3. November 11:30 – 17:00 h
Physical Education: Exercises in Embodying Discourse
Workshop - Reading Troupe,01* ** von / by Emma Haugh

21. November
18:00 h Expanded Objects for Shared Living: A Procession
Performance von / by Miryana Todorova
19.30 h Transformella Institut Reproduktiver Zukünfte
Workshop* von / by Johannes Paul Raether
21:00 h MΔTRIX BOTΔNiCΔ: Biosphere Above Nations
Performance von / by Melanie Bonajo

7. December
17:00 h The Potent Self: a study of spontaneity, compulsion and resistance Workshop** von / by Alicia Frankovich mit / with Christiane Lillge
19:00 h The Potent Self: a study of spontaneity, compulsion and resistance Demonstration von / by Alicia Frankovich with Dr. med. Robert Margerie
20:00 h Physical Education: Exercises in Embodying Discourse
Reading Troupe, 02* von / by Emma Haugh
21:00 h The She The Same Performance von / by Dafna Maimon mit / with John John und / and Dramachandran*

* Veranstaltungen in englischer Sprache / Program in English language.
** Nur mit Anmeldung / By registration only.

COMING SOON: dissident desire, Chapter 2: Terrain of Threshold Voices.Opening 12.11.2013, 18:00 h.

Kunst- und Kulturförderung
Malzfabrik, Bessemerstraße 2-14
12103 Berlin
030 710 93 093

By foot: Exit S-Bahn Südkreuz on the east side. Walk under the overpass, past Ikea, and through the parking lots. Enter the Malzfabrik compound with its four tall smokestacks. By bus: From S-Bahn Südkreuz, take bus number 106 (direction Schöneberg/Lindenhof) to Eresburgstraße. The bus runs every 20 minutes.


- Article of Martina Angelotti about Mutant Matters @ ar / ge Kunst
Galerie Museum @ the magazine Domus

- 1st of October 2013

Mutant Matters I
@ Savvy

Saturday, 1st October 2013, 7pm

Lorenzo Sandoval & S.T.I.F.F.

Mutant Matters is one-of-a-kind device, produced by Lorenzo Sandoval & S.T.I.F.F. It manifests a crossing point between an archival system and social space. The basic module of the dispositif is a chair, allowing for various configurations and combinations. Users can adjust the flexible, ‘mutant’ structure according to their needs and preferences. Different permutations of the modules result in a bookcase, shelf unit, archival solution, stage, or even an exhibition wall.
The project seeks to offer a platform for socialization and the activation of the unique architectonical composition. Mutant Matters will be presented in a series of bimonthly sessions, curated by Sandoval & S.T.I.F.F.
The first session will focus on the formulas underling the original idea and a set of references that inspired the project.

Art Directors: Dr. Bonaventure S.B. Ndikung, Dr. Elena Agudio

SAVVY Contemporary I Richardstraße 20 I 12043 Berlin-Neukölln

More info.


- September 19th - 22nd MountainIslandGlacier @ NY art Book Fair.

We are inside of the selection by Max Schumann (Associate Director de Printed Matter) made from Libros Mutantes, representing the independent publishers from Spain. We are participating also in the stand of Múltiplos.


- September 19th - 22nd , Broken Dimanche Press @ Miss Read, Berlin

Participating with:
- MountainIslandGlacier.
- (...) Science, Teritory and Subjective Narratives.
- Mutant Matters.


- 16th of September 2013

Disruptive Patterns. Plots, Plans and Movements. Prelude.
@ Altes Finanzamt

Opening: 16th of September.
Exhibition: From the 16th till the 20th of September.

Exhibiton with Samuel Beckett, Isabel Carvalho, Chistopher Kline, Hanne Lippard, Laura McLardy, Georges Perec and Aiko Tezuka.

Performances by Hanne Lippard, Christopher Kline and
Laura McLardy feat. Tammin Julian Lee.

A project by Lorenzo Sandoval.

How were transitions to be made from mathematical spaces (i.e. from the mental capacities of the human species, from logic) to nature in the first place, to practice in a second, and thence to the theory of social life – which also presumably must unfold in space?
– Henri Lefebvre, The Production of Space.

.-dis – cursus – Originally the action of running here and there, coming and going, measures taken, plots and plans. (…) The fragment of discourse can be called figures. The word is to be understood, not in its rhetorical sense but rather in its gymnastic or choreographic acceptation.
– Roland Barthes, A Lover´s Discourse.

A fickle repetition, which emerges in the shape of architectonic activity planning.
A permutation of four rotationally symmetric paths in a quadrant.
A choreographed displacement of senses.
A dyslexic logic of the reiteration of the words.
A conscious plan for a distortion of a western tapestry.
A routine of diagrammatic gestures from a political score.
A series of definitions that intersect at the meaning of the space.
Disruptive Patterns: camouflage trances for productive spaces of resistance, the practice of an Oulipian imagination growing over the architecture of the discipline. Compulsive fragments of meaningless data in meaningful connections which conforms a cognitive plot.

Exhibition opens at 19:00.
Performances start at 20:00.

More info.


Moderated bus tour at 18th September 2013.
Prize for the independent space I've been initiated in 2010 with some colleagues, Altes Finanzamt.

The Network of Berlin Independent Project Spaces and Initiatives organises the prize giving ceremony of the award presented to art project spaces and initiatives in the field of visual arts for the year 2013 by Berlin’s cultural affairs department. The prizes will be awarded by André Schmitz, Permanent Secretary for Cultural Affairs in the context of a bus tour during Berlin Art Week.
At the same time a publication will be produces.

In this year the prizes will be awardes to the following prize winners:
• Altes Finanzamt
• Kreuzberg Pavillon
• Netzwerk-Projektraum “Hip Hop Stützpunkt mit From Here To Fame
& Common Ground Gallery“
• uqbar e.V.
• Walden Kunstausstellungen e.V.

The prize giving ceremony will take place at September 18th 2013 in form of a moderated bus tour. Attendance on invitation of Berlin’s cultural affairs department.

More info.

Opening September 12, 2013, 19h at The Wand // The Oracle // What is your prophecy for the future?
5. Juli 2013 · by ff · in Projects

The Oracle: »What is your prophecy for the future?«

Spatial design developed together with Lorenzo Sandoval.

Opening: September 12, 19h
Exhibition: September 12 – October 06, 2013
The Wand, Paulstrasse 34, 10557 Berlin
Opening Hours: Thursday – Sunday, 14h – 18h

The Oracle is a research project by ƒƒ about how the future is envisioned today. By generating wishes for a utopian future or by channeling fears of a dystopian nature, the project generates an overview of reflections on today’s society. The Oracle is a collective imagining realized by its participants. Instead of the traditional and supernatural voice of a sole oracle, its power is redistributed to include a multitude of voices, with the site of reception localized at The Wand.

“What is your prophecy for the future?”

Participants (list in development):
John Phillip Abbott, Michel Aniol, Nina Backman, Ada Bell, Enrico Bertelli, Magdalena Bichler, Melanie Bonajo, Amanda Brennan, Mark Briggs, Agnieszka Brzezanska, Benjamin Busch, CALL: Ida Lennartsson, Gitte Jabs, Anik Lazar, Stine Mitsaether/Easter, Sandra Poppe, Jana Schumacher, Anna Steinert, Cathrin Ulikowski; Anetta Mona Chisa & Lucia Tkacova, Catherine Chung and Faye Chiao, Sebastian Cichocki, Coco Rosie, Tammi L Coles, Juliette Déjoué, Kai Dieterich, Christina Dimitriadis, Milena Dragicevic, Viviana Druga, Sophie Dupont, Mary Beth Edelson, Eve Eisenstadt, Korhan Erel, Sophie Erlund, Xenia Fink, Ali Fitzgerald, Wolfgang Ganter, Adrienne Goehler, Björn Gottstein, Gabriele Franziska Götz, Cecilie Gravesen, Mathiew Greenfield, Mariola Groener, Eva Grubinger, Guðný Guðmundsdóttir, Hulda Ros Gudnadottir and Claus Lehmann, Nilbar Gures, Constantin Hartenstein, Veronika Hauer, Risk Hazekamp, Manfred Ahriman Heinfeldner, Hesselholdt & Mejlvang, Sue Hlavenka, Sonja Hornung, Michelle Howard, J&K (Janne Schäfer and Kristine Agergaard) and The Artist Kelsie, Anne E. Johnson, Renata Kaminska, Barbara Kapusta, Anna Kostreva, Linards Kulless, Julia Lazarus, Hanne Lippard, Max Lust, Mad Kate & Sadie Lune, Matthew Magee, Antje Majewski, Lorena Mal, Marta Marce, Matthieu Martin, Kate McCurdy, Mary Meixner, Paula Johanna Mierzowsky and Christian Philip Berger, Kirsi Mikkola, Linda Mary Montano, Ingo Niermann, Nissa Nishikawa, Hester Oerlemans, Kirsten Otzen Keck, Kirsten Palz, Laura López Paniagua, Isabel Parkes, Kai Pfeiffer, Marcello Pisu, Barbara Piwowarska, Anne Sherwood Pundyk, Diana Puntar, Mildred Rambaud, Roseline Rannoch & Claudia Zweifel, Tonia Reeh, Cornelia Renz, Oliver Ressler, Jorge Rojas, Jerry Saltz, Dennis Schep, Eva M. K. Schippers, Inez Schippers, Frauke Schmidt, Tanja Schomaker, Maria Schoof, Joshua Schreier, Kerstin Schröder, Ulrika Segerberg, Philip Shafer, Jason Shulman, Alexander Skora, Hildegard Skowasch, Sylvia Sadzinski, Kathrin Sohn, Juliane Solmsdorf and Mathilde ter Heijne, Aurin Squire, Eliza Stamps, Marie Steckbauer, Melissa Steckbauer, Monica Steckbauer, Bettina Steinbrügge, Madeline Stillwelll, Stoll & Wachall, Suwanne CCtv, Alex Tennigkeit, Mathilde ter Heijne, Rosa ter Heijne, The Oracle, Tiedeken, Betty Tompkins, Magda Tothova, Jessica Vaughn, Naomi Vona, Renate Wagner, Klaus Weber, Anna Weilhartner, Annette Weisser, Melanie Jame Wolf (Savage Amusement), Huang Xiaopeng, Ella Ziegler, Paul Zopel, Sherry Zopel, Christina Zurfluh

The Oracle will continue to receive text-based submissions throughout the project:

Two evenings of performance will accompany the project:
Wednesday, September 25, 19h
Wednesday, October 2, 19h

Organized by Melissa Steckbauer /ƒƒ and Mathilde ter Heijne /ƒƒ

More info.


- 6th of September 2013
Mutant Matters @ ar / ge Kunst
Galerie Museum
In collaboration with S.T.I.F.F.

Prologue (Part One): References, Paperclips and the Cha Cha Cha
06 September - 31 October 2013

Stephen Willats, Curandi Katz, Gareth Kennedy, Hope Tucker, Lorenzo Sandoval & S.T.I.F.F.

Curated by Emanuele Guidi

Opening, 6 September, 7 pm


Folk Fiction & Critical Anachronisms

Presentation by Gareth Kennedy

24 September, 7 pm

Prologue is the first exhibition project under the artistic direction of Emanuele Guidi at ar/ge kunst Galerie Museum.
Prologue is a moment that anticipates and prepares the future activities of the Galerie Museum.
Prologue is a beginning in two parts structured around the intention of moving along a line of continuity with the history of ar/ge kunst, and at the same time looking for a modality in which to continue its narrative.

The titles Part One: References, Paperclips and the Cha Cha Cha and Part Two: La Mia Scuola di Architettura (my school of architecture) are composed of keywords, concepts or titles from the artworks exhibited. They outline the constellation of references, themes, artistic practices and narrative methodologies which will be at the core of forthcoming research at ar/ge kunst. These two parts respond to a specific need: that of progressively constructing a conceptual and installative framework to support exhibition projects and discursive programs that follow different strategies and temporalities.

In 1982 the artist Stephen Willats publishes the workbook Cha Cha Cha (Coracle/Lisson, London), which tells the story of the Cha Cha Club, one of the most famous venues in the London post-punk scene. The book is the result of a long collaborative process between Willats and the founders, Michael and Scarlett. Daytime photographs of locations and objects are contrasted to nocturnal portraits and excerpts of interviews with the club members, who describe how this kind of self-organized ‘capsule’ represented their opportunity to resist, reinvent or escape ‘normal’ society.

In a Britain of Margaret Thatcher’s liberal-conservative politics and a London marked by strong social tensions and riots, Willats describes the decision to set up a club as an act in which “Money is definitely not the prime motive, much more important is providing a context for the group to become a community and for the manifestation of something very extreme through creative forms of self-identity, clothing, make-up, hairstyles, etc.”[1] The Cha Cha Club in particular “captured the spirit of this new generation’s attitude perhaps more than any other, where everything was possible if your attitude was right.”[2]

The pages of the Cha Cha Cha workbook will be arranged in a site-specific display at ar/ge kunst alongside and in dialogue with the audio installation Inside the Night (1982), as a reflection on the notion of self-organized community that Willats developed during his career and on the possible forms of exchange, collaboration and representation that can be engendered with it. At the same time, Cha Cha Cha – which was published in conjunction with the more familiar work Are you Good Enough for the Cha Cha Cha? – comes to exemplify a practice that acknowledges artist's books and editorial activities as parallel, autonomous modes of expression.

From the ’sixties onwards, Willats defined the work of art as a “model of human relationships”, an “open-ended process” and a “learning system”[3] which operates as “its own institution and as such is independent of art institutions.”[4] For ar/ge kunst, as an institution of contemporary art, this definition provides a sound basis for self-reflexive confrontation and investigation.

Lorenzo Sandoval & S.T.I.F.F, Hope Tucker, Curandi Katz and Gareth Kennedy expand and enrich this scenario with interventions and artworks specifically conceived or adapted for this first project. Mutant Matters (2013) is a collaboration between the artist and curator Lorenzo Sandoval and the German architects’ collective S.T.I.F.F. It is a versatile and flexible structure which takes a chair as its basic module and can be transformed into a bookcase, an archive, a wall, a series of seats, or, more generally, a support structure for other works. In its first iteration, Mutant Matters will be arranged as a shelf/bookcase which will allow the audience to access the ar/ge kunst archives for the first time through a thematic selection of publications. Later on, the structure will be turned into an integral part of the institution’s architecture and, in dialogue with Sandoval & S.T.I.F.F., will be reconfigured to accommodate various presentations and projects.

In this context, the duo Curandi Katz (Valentina Curandi and Nathaniel Katz) presents a printed and bound version of twenty-eight translations of the book From Dictatorship to Democracy by Gene Sharp, all available for free download at (The Pacifist Library Action #5: Dispersal 2013). Over the last twenty years this American intellectual has been considered a key point of reference for dissidents all over the world (from Burma to the former Yugoslavia to Egypt) thanks to his research and publications on non-violent methods of resistance. Sharp has said that one of his own formative influences was the clandestine press produced and distributed by Norwegian school teachers during the Nazi occupation.

It was this idea of subverting the role of an institution through the act of smuggling that led Curandi Katz to open a do-it-yourself editorial station at ar/ge kunst. The audience is invited to retrieve archival material from the shelves on the condition that they photocopy it (and subsequently bind it) directly onto the blank verso pages of the printouts of Sharp’s From Democracy to Dictatorship.

The American filmmaker Hope Tucker also shares this interest in Gene Sharp’s work and tells another story of the Norwegian wartime resistance in the video Vi holder sammen (We hold together 2011). At the end of the nineteenth century, the Norwegian inventor Johan Vaaler patented a paperclip which, due to its non-competitive design, was never really produced on an industrial scale. But this paperclip was given a second lease of life when people in occupied Norway began to wear it as a covert symbol of unity and community that remained unintelligible to the occupying forces. Tucker develops a font from the paperclip itself and writes about the collective gesture that transformed the function and the meaning of an object that had become obsolete, thereby reincorporating it into the Norwegian imaginary.

Finally, the Irish artist Gareth Kennedy has been invited to contribute in the form of a presentation and book launch on 24 September. The lecture will introduce his notion of Folk fiction and the invention of tradition, as well as being the first stage in a one-year project. Kennedy will be back in Bolzano throughout 2014 for a series of short research and development residencies during which he will produce a specially commissioned work. The project will be accessible to the public from the outset, not just in order to communicate and document its temporal scope, but also to provide occasion for encounter; a context for the sharing of sources, references and interests that might inform and feed into the research itself.

Via Museo 29


- 29th of August 2013
5th Activation of the dissident desire archive @ District.

A project by Susanne Husse & Lorenzo Sandoval

Bessemerstraße 2-14
12103 Berlin.

dissident desire
Chapter 0: daydreams of precarious bodies.

August 29th, 8 pm

7 pm

Exhibition Opening Warp and Woof – it’s a matter of storytelling with DieuwkeBoersma, AdiLiraz, Natalia Irina Roman, Moran Sanderovich and LeratoShadi

8 pm

Opening Performance Insight Skin by Moran Sanderovich

9 pm

Lecture Extremlaut und unglaublichvergessen – Frauenbewegungen in der DDR by Katrin Gottschalk

9.30 pm

Sound & Video Lecture Clipped Pop Feminist Archivesby Sonja Eismann

7 – 10 pm

Film Screening We won't eat your hate like love (A/D 2013, 18 Min.) by Juliana Lindenhofer, Veronika Mayer, Nina Prader and Isabel Rodriguez

from 10 pm

Party with DJ Set by That Fucking Sara

More info


- 28th of August 2013
Language Leaps @ Plan B

Potsdamer Strasse 77-87, 2. HH
10785 Berlin

29 - 31 August, 12 - 18 h

Opening: 28. August, 19 h

Readings by:
John Holten at 20 h
Hanne Lippard at 21 h

with John Holten, Saskia Noor Van Imhoff, Calla Henkel and Max Pitergoff, Matei Cioata, Hanne Lippard, Lorenzo Sandoval and Marius Engh

Curated by: Adriana Blidaru


Cyprus Dossier
Issue 05: Collabonation

Contribution in collaboration with Laura Mclardy.

Distributed in Cyprus and Venice as part of the 2013 Venice Biennale Cyprus + Lithuania pavilion curated by Raimundas Malašauskas under the title oO, featuring Cypriot artists Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis and Natalie Yiaxi.

Contributors to the issue:
Alev Adil, Alevgül H. Şorman, Alexandra Saliba, Alexandros Demetriades, Alexandros Pissourios, Alexis Karkotis, Andreas Vrahimis, Anna Cortesi, Antonis Hadjikyriacou, Boaventura de Sousa Santos, Γιάννης Στίγκας, Cacique Celio Guerra, Christina Kaili, Christina Skarpari, Chrystalleni Loizidou, Constantine Christoforou, Constantinos Taliotis, David Graeber, Demetra Ignatiou, Despina Kannaourou, Despina Rangou, Despo Passia, Dimitrios Tsouris, Dimitrios Zikos, Eleni Bagaki, Eleni Christou, Ellada Evangelou, Evi Tselika, Ghassan Joseph Hage, Giorgos Moleskis, Group 102, Gür Genç, Jenan Selçuk, Latinterraneo, Laura McLardy, Lefki Savvidou, Leontios Toumpouris, Lia Haraki, Lito Kattou, Lorenzo Sandoval, Maria Anastassiou, Maria Hassabi, Ντενίσα Καραντζά, Natalie Yiaxi, Nayia Savva, Neriman Cahit, Nico Stephou, O. Emiddio Vasquez Hadjilyra, Petros Siammas, Phanos Kyriacou, Raimundas Malašauskas, Re-Aphrodite, Το Χαράτσι, Thalia Charalambous, The Cyprus Friendship Program, Theodoulos Polyviou, T.J. Demos, Utopia Collectiva, Yiannis Toumazis