August 2017
05.08.2017 -
31.08.2017
2017 / 201708 / Ausstellung
Black Quarry
Form(les)s Dwellers of Life

Nora Schmidt, Katharina Swoboda, Kosta Tonev
 

September 2017
10.09.2017 -
08.10.2017
2017 / 201709 / 201710 / Ausstellung
knowbotiq
The Swiss Psychotropic Gold Refining
what is your mission?

knowbotiq (Yvonne Wilhelm & Christian Huebler)
 

Saturday, 05.08.2017
17:00h -
Thursday, 31.08.2017

 

2017 / 201708 / Ausstellung
Black Quarry
Form(les)s Dwellers of Life

Nora Schmidt, Katharina Swoboda, Kosta Tonev
 

The exhibition is concerned with the production of space or elliptical sense between the three positions and the works on display by Nora Schmidt, Katharina Swoboda, and Kosta Tonev, and to what extent the aesthetic use of research or research creation (lightening of sense) refers to what Jean-Luc Nancy calls the “knowledge of a condition of possibility that gives nothing to know.” It is rather about “the syndrome known as life,” or “the sense of being which calls for more form.”

Curated by Dimitrina Sevova & Alan Roth.

Saturday, 5 - Thursday, 31 August 2017.

Opening: Saturday, 5 August 2017, 17:00h

Finissage: Thursday, 31 August 2017, 19:00h
with, starting 19:30h,
Performative reading Altered State by Nora Schmidt
Lecture-performance Practice as Research – Research as a practice (Video Narratives) by Katharina Swoboda
Lecture-performance Wilfred Wyman by Kosta Tonev

Sunday, 6 August 2017, 16:00h - 19:00h: Guided tour with the curators and Kosta Tonev, with coffee, tea and cake.

Opening Hours
Thu/Fri/Sat: 16:00h - 19:00h
or by appointment



Nora Schmidt

Altered State
2017. Installation and performative reading.




[English below]

Prolog: Alles, was ich während meines Aufenthaltes an jenem Ort tat, war, das Innen mit dem Aussen abzugleichen.
Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten.
Dass die Oberfläche, die ich zu sein glaubte, die mich umschloss und in welche ich gleichzeitig eindrang, die Form eines Poetischen Faktums annahm…

“[…] Zu unterscheiden ist das poetische Faktum von der poetischen Kunst – die zum Ziel hat, solcher Art Faktum zu produzieren oder zu provozieren oder zu präparieren oder zu isolieren.
Jedes Ereignis, jeder Eindruck, der von sich aus Erregung, Produktion von ungebundener Energie bewirkt, ohne auf ein präzises Bedürfnis, eine unmittelbare Handlung zu zielen, ohne Vorhaben, ein Begehren hervorzurufen (ausser der Bewahrung, Fixierung, Erfassung dieser Erregung selbst) – ist ein poetisches Faktum, Objekt oder Ereignis.”
(Paul Valéry, Cahiers/Hefte: Die vollständige Pléiade-Edition)






[Deutsch oben]

Prologue: Everything I did during my stay in that place was to match up the inside with the outside.
To show what was seemingly obvious, in the negative. Took the measure of objects that contributed to defining this place.
That the surface I believed to be, that enclosed me and into which I penetrated at the same time, took the form of a poetic fact…


“[…] The poetic fact is to be distinguished from poetic art - which has as its aim to produce or to provoke or to prepare or to isolate facts of this kind.
Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire (besides the preservation, fixing, capture of the excitation itself) - is a poetic fact, object or event.”
(Paul Valéry, Cahiers/Notebooks)



Katharina Swoboda

Marguerite’s Desires
2017. Site-specific installation, video, archive materials, wallpapers.




Marguerite’s Desires is a video work about French Feminist Marguerite Durand (1864-1936). The work makes a connection between two places founded by Durand: the pet cemetery Cimetière des Chiens and the Bibliothèque Marguerite Durand in Paris. Durand, a former actress at Comédie-Française, became interested in politics after the Congrès féministe international in 1896. She then founded the journal La Fronde (The Sling), a journal solely written and edited by women. Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. In 1899 she founded the pet cemetery Cimetière des chiens in Asnières-sur-Seine, close to Paris. Although an animal lover, she founded the cemetery for purely hygienic reasons. In 1932, she donated her extensive collection of journals and literature to the government, and the Bibliothèque Marguerite Durand was founded. It was the very same place where Durand died in 1936 of a heart attack.






Practice as Research – Research as a practice (Video Narratives)
Lecture-performance (at the finissage on 31 August 2017)

As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition. In Marguerite’s Desires, I use the figuration of Marguerite Durand to explore her progressive ideas and their relevance today. My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall. In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events.



Kosta Tonev

Wilfred Wyman
2014-2017. Object and sound installation, 23′30″.




The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman (1859-1939). Set against the backdrop of real, historical events, Wyman’s life witnessed the developments in post-Darwinian science and their dire consequences. The human body is a recurrent theme in Wyman’s own work, which resonates with the scientific and intellectual discourses of his time. A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the 1930s.







The project is part of the Corner College platform Transferences: The Function of the Exhibition and Performative Processes in the Practices of Art – Questions of Participation, initiated by Dimitrina Sevova and Alan Roth.


Mit der freundlichen Unterstützung des Bundeskanzleramts Österreich.

Posted by Corner College Collective

Sunday, 10.09.2017
18:00h -
Sunday, 08.10.2017

 

2017 / 201709 / 201710 / Ausstellung
knowbotiq
The Swiss Psychotropic Gold Refining
what is your mission?

knowbotiq (Yvonne Wilhelm & Christian Huebler)
 




[English below]

Eröffnung: Sonntag, 10. September, 18h-20h
verschiedene performative Settings und Heilungen von post-/kolonialer Amnesie:
DJ Fred Hystère und Nina Bandi (molecular listening session),
Martina Buzzi (golden acupuncture/charming the ghost points) und
Gabriel Flückiger (meditation on pure gold)

Donnerstag, 14. September
Workshop trans-shine mit Gabriel Flückiger: 18h-20h, Anmeldung erforderlich
Rohit Jain und knowbotiq im Gespräch über Swiss Psychotropic Gold und latente Archive, 20h

Finissage: Sonntag, 8. Oktober, 16h-19h

Öffnungszeiten
Do– Sa 16:00h – 19:00h
oder nach Vereinbarung


Detailliertere Infos: corner-college.com und knowbotiq.net/psygold

Seit mehr als drei Jahrhunderten ist der Schweizer Rohstoffhandel Teil von kolonialen, postkolonialen und neoliberalen Verflechtungen. Er ermöglichte sowohl die frühe moderne Industrialisierung als auch die Konstituierung des Finanzplatzes der Schweiz. Er brachte aber auch spezifische ästhetische, affektive und moralische Ökonomien hervor. Der Schweizer Mythos der Neutralität verwandelt die “schmutzigen” Materialitäten und Geschäfte mit den Rohstoffen zu einer opaken und diskreten Form von Technokratie, Sicherheit, Philanthropie und weißer Vorherrschaft.

The Swiss Psychotropic Gold Refining fabuliert über den Rohstoffhandel und das Raffinieren von Gold. Am hochglänzenden, zärtlich schützenden Metall molekularisieren sich die Narrative über Gewalt, Zugriffe auf schwarze Körper, derivative Bereicherungen, psychotrope Energien und wechselseitige Schulden. Das calvinistische Gold durchläuft, einmal gefördert, einen sich wiederholenden Zyklus von Reinigung/Raffinierung, Verarbeitung und Wiedereinschmelzung – es wird aber nie gezeigt. Es eignet sich für jegliche Form von Spurenlöschung und Anonymisierung als auch Heilung von post-/kolonialer Amnesie.

in Zusammenarbeit mit ifcar, Institute for Contemporary Art Research Zurich


[Deutsch siehe oben]

10 September – 8 October 2017

Opening: Sunday, 10 September, 18h-20h
different performative settings and healings of post-/colonial amnesia:
DJ Fred Hystère and Nina Bandi (molecular listening session),
Martina Buzzi (golden acupuncture/charming the ghost points) and
Gabriel Flückiger (meditation on pure gold)

Thursday, 14 September
Workshop trans-shine with Gabriel Flückiger: 18h-20h, registration required
Rohit Jain and knowbotiq in conversation about Swiss Psychotropic Gold and latent archives, 20h

Finissage: Sunday, 8 October, 16h-19h

Opening Hours
Thu – Sat 16:00h – 19:00h
or by appointment


Further information: corner-college.com and knowbotiq.net/psygold

For more than three hundred years, Swiss commodity trading has been part of a mesh of colonial, postcolonial and neoliberal entanglements. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy.

The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold. Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. It goes through repeated cycles of purification/refinement, processing and remelting – making it suitable for any form of erasing traces and anonymising, as well as the healing of post-/colonial amnesia.

in collaboration with ifcar, Institute for Contemporary Art Research Zurich

Posted by Corner College Collective