News
- 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

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

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- 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.

PROGRAMA COMPLETO

Martes 17
Conferencias
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 www.ccespana.cl y actividades@aecichile.cl

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 jose.cortes@cultura.gob.cl

Colaboran:

plataformaEditableBottom



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- 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

Program

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.

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- 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)

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- 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

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- 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.


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- 2nd of May
Spaces of Anticipation
Symposium @ EACC




Program

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.



Inscription

Registration: actividades@eacc.es

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: actividades@eacc.es ( 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 http://escenasdiscursivas.tkh-generator.net/2011/04/interview-paz-rojo/#more-45
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. http://www.afterall.org/books/exhibition.histories
9 BISHOP, Claire, Ibid. cit.

More info here.

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-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

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- 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

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



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- Interview by Anna Bromley at Sister Mag.


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- 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.

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- 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.

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



Participating with Mountainislandglacier.

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- Interview to Anetta Mona Chisa & Lucia Tkácová, as part of the publication of 7.000.000.000, a project curated by David Arlandis and Javier Marroquí, with an @ EACC.



Download the publication here.
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- Narrative Machine Series @ The Future of Architecture Vol. II.



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- 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 grossestreffen@nordischebotschaften.org 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:
grossestreffen@nordischebotschaften.org

SAVE THE DATES!
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 | www.frame-finland.fi
Deadline: t.b.a.
Norway: Office for Contemporary Art (OCA) |
www.oca.no/grants/international/about-international-support/
Deadline: 1 February, 2014
Sweden: IASPIS Internationellt kulturutbyte | www.konstnarsnamnden.se
Deadline: 5 February, 2014

Team:
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

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- 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.




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- 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.
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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.

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- Interview about Mutant Matters @ ATP diary.


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- 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.

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- 10th of December



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



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.
www.brokendimanche.eu

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



Program

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)

16:30 h PHONE-IN, CALL OUT
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*


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- 15th of November

PROLOGUE
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.

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- 12th of November

dissident desire Chapter 2 / Aliens of Extraordinary Abilities? Part II
TERRAIN OF THRESHOLD VOICES

@ 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.


Program

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

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)

16:30 h PHONE-IN, CALL OUT
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.



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



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- 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.


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- 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
EXERCISES OF
CRITICAL BODYBUILDING

@ District



25.10.2013 - 07.12. 2013

EXHIBITION
ENCOUNTERS
PERFORMANCES
WORKSHOPS
ARCHIVE
PUBLICATIONS


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.


Programm

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.

DISTRICT
Kunst- und Kulturförderung
Malzfabrik, Bessemerstraße 2-14
12103 Berlin

www.district-berlin.com
030 710 93 093
post@district-berlin.com

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



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- 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.


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- 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.

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




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

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- 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.

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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
• KUNSTrePUBLIK
• LEAP
• 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.

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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: oracleberlin@gmail.com.

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.


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- 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


Lecture

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 http://www.aeinstein.org/organizationsde07.html (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
Bolzano
Italy

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- 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.
5th ARCHIVE ACTIVATION

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



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- 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


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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