Juli 2017
08.07.2017 -
29.07.2017
2017 / 201707 / Ausstellung
Studium, nicht Kritik
Lucie Kolb
 
29.07.2017
2017 / 201707 / Bildungsfernsehen
Bildungsfernsehen #3: «Television, Images, Messages and Ideologies»
Lucie Kolb, Philipp Messner
 

August 2017
05.08.2017 -
31.08.2017
2017 / 201708 / Ausstellung
Black Quarry
Form(less) Dweller of Life

Nora Schmidt, Katharina Swoboda, Kosta Tonev
 

2017 / 201708 / Ausstellung
Black Quarry
Form(less) Dweller 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



Nora Schmidt

Altered State




[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 Dream




“Marguerite’s Dream” 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.








Kosta Tonev

Wilfred Wyman
2014-2017. Object and sound installation, 23 min 30 s.




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

2017 / 201707 / Bildungsfernsehen
Bildungsfernsehen #3: «Television, Images, Messages and Ideologies»
Lucie Kolb, Philipp Messner
 




Bildungsfernsehen #3:

«Television, Images, Messages and Ideologies», Society and social science: a foundation course (D103) pt. 9., Open University, UK, 1991

Der Kulturtheoretiker Stuart Hall (1932–2014) wirkte zwischen 1979 und 1997 als Professor für Soziologie an der Open University (OU), einer britischen Fernhochschule, nachdem er zuvor das wegweisende Centre for Cultural Studies an der Universität Birmingham geleitet hatte.

Die Sendung «Television, Images, Messages and Ideologies» behandelt das Problem der Ideologie am Beispiel britischer Nachrichten- und Unterhaltungssendungen. Sie ist Teil des von Hall konzipierten Einführungskurses «Society and Social Science» der von der OU produziert und 1991 von der BBC ausgestrahlt wurde. Das Erwachsenenbildungsprogramm steht für ein Bemühen, akademische Fragestellungen über den geschlossenen Kreis der bestehenden Universitäten hinaus zu vermitteln.


Diese Veranstaltung ist Teil von Lucie Kolbs Ausstellung Studium, nicht Kritik.

Posted by Corner College Collective

2017 / 201707 / Bildungsfernsehen
Bildungsfernsehen #2: «The Politics of Equal Opportunity»
Lucie Kolb, Philipp Messner
 




Bildungsfernsehen #2:

«The Politics of Equal Opportunity», Society and social science: a foundation course (D103) pt. 8. [Prof. Stuart Hall], Open University, UK, 1991

Der Kulturtheoretiker Stuart Hall (1932–2014) wirkte zwischen 1979 und 1997 als Professor für Soziologie an der Open University (OU), einer britischen Fernhochschule, nachdem er zuvor das wegweisende Centre for Cultural Studies an der Universität Birmingham geleitet hatte.

Die Sendung «The Politics of Equal Opportunity» ist Teil des von Hall konzipierten Einführungskurses «Society and Social Science» der von der OU produziert und 1991 von der BBC ausgestrahlt wurde. Das Erwachsenenbildungsprogramm stellt den Versuch dar, akademische Fragestellungen über den geschlossenen Kreis der bestehenden Universitäten hinaus zu vermitteln. Die gezeigt Folge vergleicht Massnahmen zur Organisation von Chancengleichheit in Grossbritannien und den USA.

Vor der Sendung geht Philipp Messner auf Halls Engagement als Autor und Mitherausgeber bei der 1957 gegründeten Zeitschrift «Universities & Left Review» ein, aus der 1960 die äusserst einflussreiche «New Left Review» hervorging, bei der Hall Anfangs ebenfalls als Herausgeber fungierte.

Der Inhalt der beiden Zeitschriften ist frei online zugänglich:
«Universities & Left Review» (1957–59): http://banmarchive.org.uk/collections/ulr/index_frame.htm
«New Left Review» (1960–): https://newleftreview.org/search


Diese Veranstaltung ist Teil von Lucie Kolbs Ausstellung Studium, nicht Kritik.

Posted by Corner College Collective

2017 / 201707 / Bildungsfernsehen
Bildungsfernsehen #1: «The Question of Sovereignty»
Lucie Kolb, Philipp Messner
 




Bildungsfernsehen #1:

«The Question of Sovereignty», Society and social science: a foundation course (D103) pt. 7. [Prof. Stuart Hall], Open University, UK, 1990/91

Mit einer Einführung von Lucie Kolb und Philipp Messner.

Stuart Hall (1932–2014) war ein Kulturtheoretiker und marxistischer Intellektueller. Seit 1979 wirkte er als Professor für Soziologie an der Open University, einer 1969 gegründeten Fernhochschule, nachdem er zuvor das wegweisende Centre for Cultural Studies an der Universität Birmingham geleitet hatte. Die gezeigte Sendung ist Teil des von Hall konzipierten Einführungskurses «Society and Social Science» der 1991 von der BBC ausgestrahlt wurde. Das Erwachsenenbildungsprogramm stellt den Versuch dar, akademische Fragestellungen über den geschlossenen Kreis der bestehenden Universitäten hinaus zu vermitteln. «The Question of Sovereignty» fragt vor dem Hintergrund der damaligen Integration Grossbritaniens in die Europäische Union nach der Bedeutung des Konzepts der nationalen Souveränität.

Diese Veranstaltung ist Teil von Lucie Kolbs Ausstellung Studium, nicht Kritik.

Posted by Corner College Collective

2017 / 201706 / Diskussion
Cahiers d'Artistes 2017
Discussion panel ART SPACES II with Hard Hat, Corner College, Dr. Kuckucks Labrador, and DEPO

Alan Roth, Dimitrina Sevova
 




At Kaserneareal in Basel:

ART SPACES II
Hard Hat, Geneva
Corner College, Zurich
Dr. Kuckucks Labrador, Basel
DEPO, Istanbul

The discussion is part of the broader three-day event organized by Pro Helvetia to present the Cahiers d'Artistes. For Corner College, Dimitrina Sevova and Alan Roth are taking part.

The Cahiers d’Artistes will be presented throughout the week at LIVING ROOM, a temporary space conceived as a place for discovering emerging Swiss artists, an open platform for discussion as well as a meeting point for the public. Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts.

http://cahiers.ch/event/

Posted by Corner College Collective

2017 / 201706 / Buchvernissage / Lesung
Buchvernissage und Lesung
In den Lebensmitteln drin geht es zu und her wie in einer Stadt

Anne Käthi Wehrli
 




In den Lebensmitteln drin geht es zu und her wie in einer Stadt
Anne Käthi Wehrli
Corner College Press, 2016

17:30h Türöffnung
18:30h Lesung

Der Titel dieser Publikation stammt aus einem Gedicht, enstanden bei der Arbeit an einem Beitrag, der Performance "These we have tried …", für den Anlass "Alice Toklas reads her famous hashish fudge recipe", der 2015 in Wien stattfand. In dieser Performance geht es um die Zubereitung von Fudge und um das berühmte Haschisch Fudge Rezept von Alice Toklas, um Hausfrauen, Sprache, Chemie, Zufall und feine Unterschiede. Ein Teil daraus findet sich in dieser Publikation.

Auch weitere Beiträge dieses Buchs kamen schon an anderen Orten und in anderen Formaten vor.

In Fanzines, Ausstellungen, Radiosendungen, Zeichnungen an Performances, Gedichte als Teil von Texten. Die Zeichnungen und Collagen sind aus der Zeit von ca. 1993-2016. Zusammen mit den Texten die alle neueren Datums sind, sind sie jetzt für dieses Buch neu versammelt worden.

Posted by Corner College Collective

2017 / 201707 / Ausstellung
Studium, nicht Kritik
Lucie Kolb
 




Ein Ausstellungsprojekt von Lucie Kolb

08.07. 16:00h Opening
17.07. 20:00h Bildungsfernsehen #1: «The Question of Sovereignty», D103 pt. 7, Society and social science: a foundation course (D103) [Prof. Stuart Hall], Open University, UK, 1990/91
24.07. 20:00h Bildungsfernsehen #2: «The Politics of Equal Opportunity», D103 pt. 8, ibid.
29.07. 20:00h Bildungsfernsehen #3: «Television, Images, Messages and Ideologies», D103 pt. 9, ibid.

Weitere Veranstaltungen siehe unten.

Opening Hours // Öffnungszeiten
Thu/Fri/Sat 16:00h–19:00h

08 - 29 July 2017


Ich habe mir kürzlich die Science-Fiction-Serie «The 100» angesehen. Eigentlich nicht die Serie, sondern bloss die Storyline von Clarke und Lexa: Zwei Teenagerinnen, die in einer postapokalyptischen Welt rivalisierende Gemeinschaften anführen. In der siebten Folge der dritten Staffel stirbt Lexa kurz nachdem sie mit Clarke im Bett gelandet ist – ein Moment der über zwei Staffeln aufgebaut wurde.

Auf Twitter wird Lexas Tod unter dem Tag #lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert. Die Fans lancieren eine Kampagne in deren Verlauf nicht nur eine Reihe von Drehbuchautor_innen zur Unterzeichnung eines offenen Briefs gewonnen werden, Geld für LGBT-Zwecke gesammelt wird, sondern den Produzenten der Serie auch Todesdrohungen erreichen. Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Die Macht von Nutzer_innen, die ihr Recht geltend machen, bei der Ausarbeitung einer fiktionalen Geschichte mitzusprechen? Im digitalen Raum verändern sich wirkmächtige Vorstellungen von Autorschaft und Storytelling und machen Platz für Neues. 
Die Fans sind abgetaucht in die Abgründe der Fan Fiction. Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. Die Story ist Teil von «The 100», aber nicht von ihr. Sie isoliert sich nicht, weicht aber von der Serie ab, überzieht sie.

+ Study
«When I think about the way we use the term ‹study›, I think we are comitted to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held unter the name of speculative practice. The notion of a rehearsal – being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory – there are these various modes of activity. The point of calling it ‹study› is to mark that the incessant and irreversible intellectuality of these activities is already present.»
Fred Moten

Beiträge von Zoran Popović und Jasna Tijardović

Texte von u.a. YGRG, Tyna Fritschy, Stephan Geene, Barbara Kapusta & Cathrin Mayer, Ludovica Parenti, Marion von Osten: http://www.brand-new-life.org/b-n-l/tag/study

Bildungsfernsehen mit Philipp Messner: «Society and Social Science – A Foundation Course» (Stuart Hall, Open University/BBC, 1991)

Screening/Talk «Struggle in New York» 1976 with Zoran Popović und Jasna Tijardović at Migros Museum für Gegenwartskunst Zürich (06.07., 19:00h) and Forde Genève (07.07., 19:30h).


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.

Posted by Corner College Collective

2017 / 201706 / Lecture
Decolonisation and the Scopic Regime
Nkule Mabaso
 


Installation view: Looking After Freedom. Michaelis Gallerie, 2017. Image by Carlos Marzia Studio courtesy of the Michaelis Galleries, UCT


This talk is based on my current and ongoing project on Decolonisation and the Scopic Regime.

Without falling into these traps in the quest towards engaging with the call towards decolonisation in South Africa’s education institutions, how does one pose questions or develop responses that reflect on how have we taken ownership of the ideological space that creative production occupies in the popular imagination in the face of the complexities of and representing a new post colonial if not a decolonised reality. Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection.

Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals:

the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose. The second denounces what the West has done (and continues to do) to Africa in the name of these definitions. The third provides so-called proofs which, by disqualifying the West’s fictional representations of Africa and refuting its claim to have a monopoly on the expression of the human in general, are supposed to open up a space in which Africans can finally narrate their own fables (self-definition) in a voice that cannot be imitated because it is authentically their own.

These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added.

Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.

Posted by Corner College Collective

2017 / 201705 / Vortrag
Guest lecture of the Postgraduate Programme in Curating CAS/ MAS ZHdK
Rohit Jain: How to Affect Postcolonial Public Spaces?

Rohit Jain
 




Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares?

In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism.

Informed by ethnographic and artistic research as well as from activist interventions Rohit delves into the unruly archives of forgotten stories, displaced feelings and interrogates the hegemonic machinery of making things und humans un/happen.

Starting from the transformative notion of „structure of feelings“ (Raymond Williams), the talk unravels the affective nature of postcolonial amnesia in Switzerland. On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger. On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly (Judith Butler).

Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities. The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism.

Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics. Rohit has done research and published on the entanglements of racism, humor and anti-PC in TV comedy, on transnational politics of representation among “second generations Indians” as well as on the connection between the Swiss public discourse of Bollywood, yoga and IT and postcolonial anxieties. Recently he has collaborated in artistic research projects on the “An/aesthetics of Suburbia” and on “Swiss Psychotropic Gold” (both at IFCAR Zurich) and on urban citizenship (at Shedhalle Zurich). He is co-founder of “Laugh Up. Stand Up! Antiracist Humor Festival” and of “Salon Bastarde”, a series of postmigrant happenings in Zurich.

The is a guest lecture of the Postgraduate Programme in Curating, ZHdK.

Posted by Corner College Collective

2017 / 201704 / Vortrag
Guest lecture of the Postgraduate Programme in Curating CAS/ MAS ZHdK
Joshua Simon: Verschüttete Traditionen // The Great Soviet Encyclopedia: Communism and The Dividual

Joshua Simon
 




[English below]

Der israelische Kurator Joshua Simon untersucht in seinem Vortrag “The Great Soviet Encyclopedia: Communism and The Dividual“ ein Poster von Eliezer Lissitzky (1890-1941), das der russisch-jüdische Künstler 1929 für die Eröffnung einer Ausstellung im Gewerbemuseum Zürich gestaltet hat. Es widerspiegelt den inszenierten Enthusiasmus über die forcierte Industrialisierung der Sowjetunion und die damit einhergehende veränderte Bedeutung des Individuums. Simon sieht Parallelen zu heutigen Formen von Subjektivität, was er auch in einem aktuellen Projekt untersucht hat: Die von ihm betreute Ausstellungsreihe „The Kids Want Communism“ (2016/17) öffnet den Blick auf das utopische Potenzial des Kommunismus, gerade auch in Israel, wo die sozialistischen Staats- und Gesellschaftstraditionen durch Globalisierung und Privatisierung verschüttet wurden.

Der Vortrag findet in englischer Sprache statt. Einführung: Dorothee Richter, Leiterin des „Postgraduate Programme in Curating“ an der Zürcher Hochschule der Künste (ZHdK).

Joshua Simon ist Autor, Filmemacher und Direktor des MoBY-Museums in Bat Yam. Er ist Mitbegründer von „Maayan Publishing“ in Tel Aviv, eines Magazins für Dichtung, Literatur und Ideen. Er ist Autor von „Neomaterialism“ (Sternberg Press, 2013) und Herausgeber von „Ruti Sela: For The Record“ (Archive Books, 2015). In letzter Zeit kuratierte er die Ausstellungen “Factory Fetish” in Melbourne und „Roee Rosen: Group Exhibition“ im Tel Aviv Museum. Er hat am renommierten Londoner Goldsmiths College ein Postgraduiertenstudium in „Curatorial Knowledge“ absolviert.


[Deutsch siehe oben]

The entry point for this talk is the Russian Exhibition which took place at the Museum of Applied Arts in Zurich (Marc-April 1929), and especially its poster, designed by Eliezer Lissitzky (1890-1941). The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm. These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan. This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well.Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks. In his talk, Joshua Simon will present The Kids Want Communism, a yearlong program of exhibitions marking 99 years since the October Revolution, which he initiated in collaboration with State of Concept Athens, Free/Slow University of Warsaw, Tranzit Prague, Skuc gallery in Ljubljana, the Visual Culture Research Center in Kiev, Westspace Melbourne, and MoBY-Museums of Bat Yam. The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order.

The talk is a cooperation of Onamut and Postgraduate Programme in Curating, ZHdK and Corner College.

Posted by Corner College Collective

2017 / 201705 / Buchvernissage
Buchvernissage
Christoph Kappeler: Josef Maria Schröder




Buchvernissage
Christoph Kappeler
Josef Maria Schröder

Edition Patrick Frey

Mit Texten von
Christoph Kappeler, Ulrich Kinder, Michael T. Ricker
Gestaltung
Hi, Megi Zumstein, Claudio Barandun
Gebunden, 152 Seiten, 153 Farbabbildungen
17 × 24 cm
ISBN Nummer: 978-3-906803-37-1
Sprache: Englisch

Einzelheiten zum Buch siehe bei Edition Patrick Frey.

> Flyer

Posted by Corner College Collective

2017 / 201705 / Ausstellung
PRESENT PROGRESSIVE
Abel Auer, Lisa Biedlingmaier, June Crespo, Ulrika Jäger, Bernadette Wolbring
 

[English below]

PRESENT PROGRESSIVE

Corner College, Zürich
Kuratiert von peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)

Teilnehmende KünstlerInnen: Abel Auer (DE), Lisa Biedlingmaier (CH / DE), June Crespo (ES / NL), Ulrika Jäger (DE), Bernadette Wolbring (DE / SE)

Eröffnung Samstag, 13. Mai 2017, 19:00h
Finissage Samstag, 10. Juni 2017, 17:00h

Zusätzliche Veranstaltungen siehe unten.

Samstag, 13. Mai - Samstag, 10. Juni 2017

Öffnungszeiten
Mi: 15:00h - 18:00h
Do/Fr: 17:00h - 19:00h




Present Progressive; Zeitform, Englisch

Das Present Progressive ist eine Verlaufsform der Gegenwart. Dieses Tempus kann sich sowohl auf die Gegenwart als auch auf die Zukunft beziehen: Zum einen wird das Present Progressive für Handlungen, die jetzt gerade stattfinden, verwendet, zum anderen für sich ändernde Situationen und bereits vereinbarte Handlungen in der Zukunft. Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt.

peekaboo! präsentiert die Arbeiten von fünf KünstlerInnen, die sich mit Vorstellungen von Zeit und dem Ineinandergreifen von Vergangenheit, Gegenwart und Zukunft beschäftigen. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern. Die Zeitreise wird als eine Möglichkeit vorgestellt, die Zukunft zu gestalten. Angeregt durch Chris Kraus´ „naive Vorstellung, dass es möglich ist dem Unglücklichsein zu entkommen, indem man einfach den Kanal wechselt“, hebt die Ausstellung Present Progressive die Gleichzeitigkeit von Ereignissen hervor – sei es in Vergangenheit, Gegenwart oder Zukunft.

Das Ausstellungsdesign besteht aus einem genau 68,38 m langen Gewebestreifen, der in Erinnerung ruft, dass es auch andere Vorstellungen von Zeit und zeitlichen Zusammenhängen gibt. Die Maße und die Materialität des Streifens beziehen sich nämlich auf den Teppich von Bayeux (entstanden im 11. Jh., 0,53m × 68,38m). Der Mediävist Peter Czerwinski stellt die These auf, dass im Mittelalter ein anderer Zeitbegriff existiert habe, der im Gegensatz zur heutigen Wahrnehmung der Zeit von einer Simultanität ausgehe (in Gegenwärtigkeit: Simultane Räume und zyklische Zeiten, Formen von Regeneration und Genealogie im Mittelalter, 1993). Kausal zusammenhängende Ereignisse, die in unterschiedlichen Zeitebenen stattfanden, wurden – laut Czerwinski – als gleichzeitig gedacht. Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird.



Grundriss mit Skizzen für das Ausstellungsdesign für „Present Progressive“. // Floor plan with first drafts of the exhibition design for „Present Progressive“.


[Deutsch oben]

PRESENT PROGRESSIVE

Corner College, Zurich
curated by peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)

Participating artists:
Abel Auer (DE), Lisa Biedlingmaier (CH/DE), June Crespo (ES/NL), Ulrika Jäger (DE), Bernadette Wolbring (DE/SE)

Opening Saturday, 13 May 2017, 19:00h
Finissage Saturday, 10 June 2017, 17:00h

Additional events see below.

Saturday, 13 May - Saturday, 10 June 2017

Opening hours
Mi: 15:00h - 18:00h
Do/Fr: 17:00h - 19:00h

­Present Progressive, tense, English

This tense is used to suggest either the present or the future. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.


peekaboo! presents the work of five artists that are dealing with perceptions of time and how past, present and future are interconnected. Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. Encouraged by Chris Kraus’s “naive recognition that it might be possible to escape from unhappiness just by changing the channel,” the show highlights the simultaneity of events – be it in the past, present or future.

The exhibition design consists of a 68.38m long strip of fabric running through the space to evoke a different idea of how time can be perceived. The strip’s measurements and materiality refer to the Bayeux Tapestry (0.53m × 68.38m). The German medievalist Peter Czerwinski claims that in the Middle Ages a different notion of time existed (in Gegenwärtigkeit: Simultane Räume und zyklische Zeiten, Formen von Regeneration und Genealogie im Mittelalter, 1993). In contrast to today’s chronological perception of time, the tapestry – like other medieval works of art – depicts a notion of time that assumes simultaneity. Here past and present are not clearly distinguishable – therefore causally related events are depicted in the same space, separated merely by elements of architecture.

Additional Events

Listening Sessions: RSI 92.3 FM Douala, Cameroon or any other proposals

Friday, 19 May, 5-6 pm
Thursday, 25 May, 5-7 pm
Friday, 26 May, 5-7 pm

“emotion reigns, information governs” is a thematic radio station dedicated to sports, music, and culture.

RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon. In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters.

with Lisa Biedlingmaier

Posted by Corner College Collective

2017 / 201704
Talk by Melanie Boehi: Multispecies histories of South African colonial formations
followed by a discussion between her and Uriel Orlow

Melanie Boehi, Uriel Orlow
 


“String figures are like stories; they propose and enact patterns for participants to inhabit, somehow, on a vulnerable and wounded earth.” Donna Haraway, Staying with the Trouble, 2016, p. 10/String design installed in the Kirstenbosch National Botanical Garden’s annual section to prevent geese from eating young seedlings. Photograph by Melanie Boehi, December 2016.


This talk is concerned with histories of South African colonial formations featuring gardens and plants. It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden.

Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era. In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism. This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants.

In 1913, the Kirstenbosch National Botanical Garden was established in Cape Town. Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country. In 2004, UNESCO listed Kirstenbosch as a natural World Heritage Site and it currently attracts over one million visitors per year. Through plant collecting, design and what I term “monumental gardening”, Kirstenbosch gave rise to South African colonial and imperial formations. These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism. In 1948, the Nationalist Party came to power and apartheid became the official state policy. Parallel to the rise of local and international criticism of apartheid, the South African state began to use Kirstenbosch as a stage for political spectacles, deploying botanists as well as plants themselves as ambassadors in what I call “floral diplomacy”. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally. The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them. The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical – an understanding that needed to be continuously reproduced and in the late 1980s was challenged by activists and artists opposed to apartheid. The South African National Botanical Gardens have continued to thrive in the post-apartheid era. They have been reframed as tourism destinations and sites of post-apartheid nation building. However, they have been continuing to reproduce “colonial presents” (D. Gregory, The Colonial Present, 2004) and “occluded histories of empire” (A.-L. Stoler, Duress, 2016).

The talk is concerned with such histories of South African colonial formations. They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses. It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography (the reading and writing with flowers).

This event is part of the personal exhibition of Uriel Orlow at Corner College, Geraniums Are Never Red.

Posted by Corner College Collective

2017 / 201703 / Lecture
Guest Talk of Programme in Curating CAS/MAS ZHdK
Tenzing Barshee: New Projects


Student Art Collective, The Lesson of the Master, 2015


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

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

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

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

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

Posted by Corner College Collective

2017 / 201703 / Lecture
Guest Talk of Programme in Curating CAS/MAS ZHdK
Marc Streit: Zurich Moves!




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

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

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

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

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

Posted by Corner College Collective

2017 / 201704 / 201705 / Ausstellung
Uriel Orlow personal exhibition
Geraniums Are Never Red

Uriel Orlow
 




Corner College, 01 April - 6 May 2017

Opening on Saturday, 01 April, 16:30h

17:00h Discussion between Uriel Orlow and TJ Demos

You can find here and read an interview with Uriel Orlow by Dimitrina Sevova in the context of the exhibition (also printable as PDF 3.65MB)

Opening Hours / Öffnungszeiten
Wed/Fri 15:00h – 18:00h
Thu 16:00h – 19:00h
or by appointment (+41-79-792 77 44)
Additionally open on Saturday, 6 May, from 14:00h to 18:00h


[English below]

In seiner Ausstellung im Corner College betrachtet Uriel Orlow die botanische Welt als Bühne für Geschichte und Politik im Allgemeinen. Die gezeigten Arbeiten wurden in den letzten zwei Jahren entwickelt und befassen sich mit dem Vermächtnis der botanischen Forschungsexpeditionen, Pflanzenmigration, Blumendiplomatie und botanischem Nationalismus aus dem doppelten Blickwinkel Südafrikas und Europas.

Die in der Ausstellung gezeigten Arbeiten sind Teil von Uriel Orlows laufendem Rechercheprojekt Theatrum Botanicum. Das Projekt sieht Pflanzen nicht einzig als passive Objekte der Natur, des ästhetischen Genusses, der Klassifizierung, der Bewirtschaftung oder des Naturschutzes; sondern sowohl als Zeugen als auch als Akteure der Geschichte, als dynamische Agenten, die Natur und Menschen, Tradition und Modernität verbinden, und das über unterschiedliche Geographien, Geschichten und Wissenssystemen hinweg, mit heilenden, spirituellen und ökonomischen Kräften.


[Deutsch oben]

In his exhibition at Corner College Uriel Orlow looks to the botanical world as a stage of history and politics at large. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.

***

European colonialism in South Africa – as elsewhere – was both preceded and accompanied by expeditions that aimed at charting the territory and classifying its natural resources, in turn paving the way for occupation and exploitation. 'Newly' discovered plants were often named after the botanist who first described them and eventually classified according to the Linnaean system and its particular European rationality.


What Plants Were Called Before They Had a Name (2016-17) is an audio plant dictionary created from nine indigenous South African languages. Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space.

Geraniums are never Red (2016-17) revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. Botanically speaking they aren’t geraniums at all–nor are they Swiss or Californian. They are in fact pelargoniums. They were first brought to Europe – and misidentified – after 1652, when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens. By the time the confusion between the two species was resolved, ‘African geraniums’ had been around for 150 years and British commercial growers and gardeners were reluctant to give up the familiar name.

In 1963, on the occasion of the 50th anniversary of the founding of Kirstenbosch, the national botanical garden of South Africa in Cape Town a series of films were commissioned to document the jubilee celebrations and their ‘national’ dances, pantomimes revisiting the colonial conquest, the visit of international botanists and the history of the botanical garden itself. The films’ cast of botanists and visitors are mostly white and when we see Africans they are engaged in menial labour.

These films have not been seen since 1963 and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage (2016-7) is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity. A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The management of ‘invasive aliens’ and the language accompanying it produces new forms of botanical nationalism that inadvertently mirror public discourse on human migration. The series of posters Blacklisted (Was wir durch die Blume sagen) re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland.

***

The work in this exhibition is part of Uriel Orlow's ongoing research entitled Theatrum Botanicum. The project considers plants not solely as passive objects of nature, aesthetic pleasure, classification, cultivation or conservation; but as both witnesses and actors in history and as dynamic agents linking nature and humans, tradition and modernity– across different geographies, histories and systems of knowledge, with curative, spiritual and economic powers.


Mit der freundlichen Unterstützung der Stiftung Erna und Curt Burgauer und der Ernst Göhner Stiftung.


Posted by Corner College Collective

2017 / 201703
Zine – to March, Clandestine Life of the BoycottGiiirls! 2017




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

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

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

Herausgegeben von / Published by Corner College Press

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

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

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


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

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

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

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


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


Posted by Corner College Collective

2017 / 201703 / Diskussion / Installation
Temporary video installation The Judgment by Kosta Tonev, presentation and discussion with the artist
Kosta Tonev
 




18:30h: Doors open

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

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





Kosta Tonev

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

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


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

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


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

Posted by Corner College Collective

2017 / 201703 / Buchvernissage / Finissage
High Times with Josefine
Finissage of Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part II: Der Prozess / The Trial
With a reading from the book Josefine, by Saman Anabel Sarabi / high times

Saman Anabel Sarabi
 




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

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

Posted by Corner College Collective

2017 / 201703 / Performance
INTERMEZZO (locus solus)
Second visit

Jso Maeder
 


Video still of Jso Maeder - Der Philosoph, interviewed in his storage space, by Corinne Wiegand (director, editor) and Sarah Zürcher (camera).


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

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

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

Posted by Corner College Collective

2017 / 201703 / Performance
INTERMEZZO (locus solus)
First visit

Jso Maeder
 


Video still of Jso Maeder - Der Philosoph, interviewed in his storage space, by Corinne Wiegand (director, editor) and Sarah Zürcher (camera).


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

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

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

Posted by Corner College Collective

2017 / 201702 / Artist Talk / Performance
Artist presentation and discussion with Maria Pomiansky
and performance Spirits Call by Vadim Levin

Vadim Levin, Maria Pomiansky
 

16:30h doors open

17:00h Artist presentation by Maria Pomiansky, followed by discussion between Maria Pomiansky and curator Dimitrina Sevova.




18:00h Spirits Call, a performance by Vadim Levin. Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later.


Vadim Levin, Spirits Call. Performance, 2017.


This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d'artiste.

Posted by Corner College Collective

2017 / 201702 / Artist Talk / Diskussion
Screening, artist talks, discussion
With Aya Momose, Robert Estermann, Jakob Jakobsen, Jso Maeder, Saman Anabel Sarabi & Josefine Reisch and the curators

Robert Estermann, Jakob Jakobsen, Jso Maeder, Aya Momose, Saman Anabel Sarabi
 


Aya Momose in collaboration with Im Heung-soon, Exchange Diary. 2015-, 48 min.


Doors open 16:30h

17:00h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose, co-curator Miwa Negoro and the audience.
Japanese artist Aya Momose will screen Exchange Diary (2015-; 48 min), made in collaboration with Korean artist Im Heung-soon.

19:00h Discussion between the artists Robert Estermann, Jakob Jakobsen, Jso Maeder, Saman Anabel Sarabi & Josefine Reisch and the curators Dimitrina Sevova and Alan Roth.

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


Aya Momose

Exchange Diary
2015-. Video, HD, 48′09″. In collaboration with Im Heung-soon.

Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images. This work incorporates each artist’s personal interpretation of the images combining the differences and similarities of their cultural, social and political values.

Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator. The other artist then watched the video, and added their own narration based on their impressions of the visual images. This artwork incorporates each artist’s personal interpretation of the images combining the differences and similarities of their cultural, social and political values.

Following the screening, Momose will introduce her artistic practices dealing with the issue related to one’s body and voice, including Lesson (Japanese).

Posted by Corner College Collective

2017 / 201702 / 201703 / Ausstellung
Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part II: Der Prozess / The Trial

Robert Estermann, Jakob Jakobsen, Lara Jaydha, Jso Maeder, Aya Momose, Josefine Reisch, Saman Anabel Sarabi
 


Invitiation card for the exhibition. Still from Orson Welles’ The Trial, 1962. Graphic design: code flow.


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

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


Opening: 24 February 2017, 19:00h

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


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


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


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

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


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


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

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

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

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

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

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

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



Robert Estermann

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




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

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


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






Jakob Jakobsen

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




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

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




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



Lara Jaydha

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




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

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



Jso Maeder

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


B°N-BATTERIE
2017. Video installation.




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

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

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

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

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

Text: Jso Maeder



Aya Momose

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




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


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




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



Saman Anabel Sarabi & Josefine Reisch

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




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


Posted by Corner College Collective

2017 / 201702 / Diskussion
L’économie politique de l’atelier d’artiste
Eine Podiumsdiskussion mit Tonjaschja Adler, Delphine Chapuis Schmitz, Vreni Spieser, und Nina von Meiss und Christina Pfander von Mickry3 im Gespräch mit den Kuratorinnen Nadja Baldini, Dimitrina Sevova und Tanja Trampe.

Tonjaschja Adler, Nadja Baldini, Delphine Chapuis Schmitz, Mickry3, Dimitrina Sevova, Vreni Spieser, Tanja Trampe
 


Images, left: Tonjaschja Adler; right: Delphine Chapuis Schmitz.


18:30h doors open
19:00h panel discussion

Die Podiumsdiskussion findet auf Deutsch und Englisch statt.
The panel discussion will be held in German and in English.


[English below]

Tonjaschja Adler, Delphine Chapuis Schmitz, Vreni Spieser, und Nina von Meiss und Christina Pfander von Mickry3 im Gespräch mit den Kuratorinnen Nadja Baldini, Dimitrina Sevova und Tanja Trampe. Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar.
Die Podiumsdiskussion reflektiert kritisch aus den unterschiedlichen Perspektiven der geladenen Künstlerinnen, wie künstlerische Arbeit heute unter Post-Studio-Bedingungen geleistet wird, inwieweit die Präkarität und Präkarisierung, die den jetzigen wirtschaftlichen Bedingungen und den finanziellen Strukturen innewohnen, die innerhalb der Kultursphäre operieren, die Kunstproduktion, das Arbeitsumfeld der Künstlerin und ihre Lebenssituation prägen.
Das Augenmerk liegt auf der Beziehung zwischen Studio, künstlerischer Arbeit, Herstellung von Kunst, ästhetische Praktiken und deren wirtschaftliche Bedingungen. Das Studio mag ein Raum mit einer gewissen Autonomie sein. Die Podiumsdiskussion stellt die Frage, auf welche Weise die Produktivität in der Kunst heute abhängt von der Beziehung zwischen der Freiheit der Künstlerin und den wirtschaftlichen und sozialen Bedingungen der Kunstproduktion. Das Studio ist Teil des produktiven Flusses von Beziehungen, Orten, Architektur, Materialien, Techniken und Infrastruktur. Gleichzeitig ist es in der Grammatik der Autonomie, der Ästhetik und Politik. Es gibt viele mögliche Orte und Nichtorte des Studios, und doch findet es sich in zwei hauptsächlichen Umlaufbahnen, als unabhängiger Raum der Einsamkeit, in dem das Kunstwerk produziert wird, und als offenere Vorstellung des Studios, wo das Kunstwerk von der Arbeitskraft der Künstlerin geleistet wird.
Welches ist die Rolle des Studios im städtischen Gewebe, und wir wird seine Unterstützung geplant? Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert?
Wie wirkt sich Kulturpolitik und staatliche Finanzhilfe für Studio aus und formt die Kunstproduktion, wie auch das Leben und die Existenz der Künstlerin? Selbst unter Post-Studio-Bedingungen markiert der Arbeitsraum der Künstlerin eine Zone der Autonomie, wo sich ein ‚nicht-sanktionierender‘ Kontext von Kunstpraktiken und ‚ungezähmten‘ Beziehungen abspielen können. Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden? Wie kann das Studio kooperative Formen und selbstorganisierte Strukturen innerhalb des städtischen Gefüges und der Kunstpraktiken, künstlerische Arbeit, Herstellung von Kunst herbeiführen und gleichzeitig pulsierende Formen des Lebens organisieren?
Welchen Pfad der kritischen Befragung und welche Art von Methodologie lässt sich in einer Recherche über die (Post-) Studio-Bedingungen anwenden, um Phänomene der Destabilisierung des Studios, der Mobilität und immateriellen Produktion zu reflektieren? Und doch kennzeichnet und signifiziert das Studio nach wie vor einen Raum, in dem künstlerische Arbeit geleistet wird, und die Formen der Organisierung des Arbeitsprozesses der Kunstproduktion. Es bleibt verhältnismässig im Schatten des Privatraums und der Schattenwirtschaft, im Gegensatz zum Museum, zum Kunstraum und der Kunst, die sich im öffentlichen Umfeld abspielt.
Wie können Künstlerinnen ihr Arbeitsumfeld aufrechterhalten, gestützt auf ein Einkommen aus ihrer künstlerischen Arbeit und der Herstellung von Kunst? Oftmals bewohnen sie das Studio lediglich im Zeitraum zwischen mehreren anderen Jobs, während das Studio transformiert und an die Multitasking-Anforderungen projektorientierter Arbeit, Digitalisierung und Internet angepasst wird. Der produktive Prozess ist zwischen zwei Eingaben für Stipendien automatisiert in einer Vielfalt von Kommandos über E-Mail und weitgehend auf Google-Suche abgestützter Recherchearbeit. Künstlerin zu sein ist ein Alltagsjob professioneller Beschäftigung, und gleichzeitig auch eine Form des Lebens, die in eine neue Gesellschaftlichkeit versprengt werden kann. Hito Steyerl beschreibt die instrumentelle Präkarisierung im dritten Stadium der institutionellen Kritik, die lediglich zur „Integration“ der künstlerischen Arbeit sowie der Arbeits- und Lebensbedingungen „in die Präkarität“ führt.“ „Was darin verborgen bleibt – eine neue ‚verborgne Stätte‘ – die praktizierende Künstlerin bleibt ausserhalb der Anstellung.“ Desgleichen ist die Kunstproduktion heutzutage an digitale Produktionsflüsse angeschlossen, automatisiert und hochgradig professionalisiert durch die beschleunigte Konkurrenz im globalen Massstab, welche die Möglichkeiten für kollektive, gemeinschaftliche Formen der Kunst, der Arbeit und des Lebens.
Künstlerinnen streben oft und offen danach, in der Stadt billige und grosse Orte zum Arbeiten zu erschliessen. Der Kampf um freien Raum und mehr Räume in der Stadt, wie in Zürich und anderen Städten in den 1980ern, bringt das Studio dazu, im Widerstand gegen Gentrifizierungsprozesse nachzuhallen, der bisweilen gar in der Besetzung von Gebäuden endete. Wie kann es neue Formen des Widerstands eröffnen, und inwieweit sind Künstlerinnen und kulturelle Arbeiterinnen heute imstande, eine revolutionäre Kraft und politische Subjektivität zu leisten, während sich die das Wesen der Arbeit verändert? Wie können sie in diesem sozialen Wandel zurückfordern und verhandeln? Lacans Aussage „Ich habe Freuds Energetik durch die politische Ökonomie ersetzt“ geht einen Schritt weiter und konfrontiert die Psychoanalyse offen mit der ‚immanenten‘ Kritik der liberalen kapitalistischen Gesellschaft. Psychoanalytischen Praktiken folgend, schliesst das Projekt Part I: Critique de l’économie politique de l’atelier d’artiste eine ‚immanente‘ Kritik der polit-ökonomischen Beziehungen in der Produktion von Kunst ein, um die jetzigen Verhältnisse der künstlerischen Arbeit und Kunst-Herstellung-Leben sozialen Beziehungen in Bezug auf Bewegungen und Vektoren zu reflektieren und zu analysieren.
Welche Auswirkung hat das offene Studio als Form der Aktivierung und Mobilisierung von Publiken und andere Art, Kunst zu organisieren? Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden? Wie wirkt es sich auf den Produktionsprozess aus (Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen)? Wie stellt das Studio ‚andere‘ experimentelle Formen des Ausstellungsmachen zur Schau, die sich in ihm entfalten können?

Ausgewählte und überarbeitete Auszüge aus dem Text von Dimitrina Sevova für die Ausstellung Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d'artiste, in Zusammenarbeit mit Alan Roth

Druckfähige Fassung (PDF 98KB)

Diese Podiumsdiskussion ist Teil des Ausstellungsprojekts Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d’artiste.



[Deutsch oben]

Tonjaschja Adler, Delphine Chapuis Schmitz, Vreni Spieser, and Nina von Meiss and Christina Pfander of Mickry3 in conversation with the curators Nadja Baldini, Dimitrina Sevova and Tanja Trampe. Followed by a plenary discussion with the audience. And soup and bar.
The panel discussion critically reflects from the various perspectives of the invited artists how the artist’s labor is performed today under post studio conditions, to what extent the precarity and precarization inherent in the current economic conditions and the financial structures that operate within the cultural sphere signify the art production, the artist’s working environment and living situation.
The focal point is on the relation between the studio, artists’ labor, art-work, aesthetic practices and their economic conditions. The studio might be a space with a certain degree of autonomy. The panel discussion asks how productivity in art depends today on the relation between the artist’s liberty and the economic and social conditions of art production. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor.
What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today?
How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? Even under post studio conditions, the artist’s working space marks a zone of autonomy, where a ‘non-sanction’ context of art practices and ‘unruly’ relations can take place. At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life.
What path of critical inquiry and what kind of methodology can be applied in a research about the (post) studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production. It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment.
How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality. Hito Steyerl describes the instrumental precarization in the third stage of institutional critique that leads merely to “integration into precarity” of artist labor and working and living conditions. “What remains hidden in this – a new ‘hidden abode,’ the practicing artist remains outside of the employment.” At the same time, nowadays the art production process has been connected to digital productive flows, automated and highly professionalized by accelerated competition on a global scale that disempowers the possibilities for collective, community forms of art, work and life.
Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the 1980s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings. How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes? Lacan’s statement “I replaced Freud’s energetics with political economy” goes one step further and openly engages psychoanalysis with the ‘immanent’ critique of liberal capitalist society. Following psychoanalytic practices, the project Part I: Critique de l’économie politique de l’atelier d’artiste incorporates an ‘immanent’ critique of the politico-economic relations in the production of art to reflect and analyze the current conditions of artist-labor and art-work-life social relations in terms of movements and vectors.
What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art? How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production (working conditions and labor economic conditions)? How does the studio dis-play ‘other’ experimental forms of exhibition making that can unfold in the studio?

Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part 1: Critique de l’économie politique de l’atelier d'artiste, in collaboration with Alan Roth

Printable version (PDF 94KB)

The panel discussion is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part 1: Critique de l’économie politique de l’atelier d'artiste.



Tonjaschja Adler




These aus „ein Essay über die Abstraktionsebene der Kategorie Arbeit“ 2015, Tonjaschja Adler

ARBEIT=KUNST=ARBEIT

Was kann ich unaufgefordert tun?
Wohin nehme ich mein Atelier mit?

Als Künstlerin befinde ich mich auf der „Abstraktionsebene“ der Kategorie Arbeit. Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert. Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist ? Worin besteht ihr Wert?
Für fast jede Arbeit gibt es ein Taxierungssystem, auf das man sich mal einigen konnte, aber das durchaus immer wieder zur Diskussion steht. Für die Arbeit der Künstlerin, des Künstlers? Auch.



Delphine Chapuis Schmitz




une terrasse de café, a bookstore a library, the street die Welt, a room of one's own, a place where to be and think freely and do nothing - nothing you have to.
a place where to retreat, the possibility of (if only)
atelier: the whole world, a playground


Vreni Spieser

Why should artists, who are in general earning very little money, pay two rents per month?
It’s kind of ridiculous.

I can’t focus and concentrate in a shared studio, I have to be on my own.
But:
Dialogues or having a counterpart is very important in my working process. It’s contradictory.

I don’t like people saying “Oh, it’s so inspiring to visit you in your studio”.

Since I am working at home, I am kind of isolated.

I am thinking about renting a studio again, but I’m afraid it will cut my flexibility and ability to travel.



Nina von Meiss and Christina Pfander / Mickry3

Mickry 3 was founded in 1998 by Christina Pfander, Dominique Vigne and Nina von Meiss in Zurich, right after they finished their studies in fine arts at F+F School for Art and Media Design.
Their collaboration began with “M3 Supermarkt”. Arranged as an installation with over 1’000 self-made unique objects, the palette ranged from happiness pills to human organs to a female orgasm, all wrapped in cellophane and available at bargain prices. The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business. Somehow this subverting procedure became a slogan of the trio.
Their works often relate to art history and copying, interpreting and re-interpretation is an ever-recurring aspect of their work, which has continued to develop strongly over the years. But what runs through the whole body of work created by Mickry 3 is a sense of humour and a critical but never moralistic attitude towards society.
In 2006 the trio – who works exclusively in the collective – joined the Association of Swiss Sculptors AZB and moved to their conglomerate of workshops and exterior working spaces in the peripheral area of former gasworks in Schlieren. The association, founded in 1983 by a group of sculptors, among which artist Heinz Niederer, settled there in 1984. AZB functions as a self-sustaining association, the protected gasworks area, located on a property of the City of Schlieren, is in possession of the City of Zurich. This overall environment has influenced in many ways the artistic practice of Mickry 3. Beside others, questions towards a “Critique de l’économie politique de l’atelier d’artiste” include to what extent such a structure, setting and environment can influence the artistic and political self-conception. Not least because the area seems to be an ideal place not only to work – but to spend time.

Posted by Corner College Collective

2017 / 201701 / Curatorial Reading Group
Curatorial Reading Group
Session 2




The Curatorial Reading Group is a monthly reading session, a platform for contextualizing curatorial approaches and discourse through a continuous series of readings and discussions. Under the theme of ‘Curating, the Curatorial, and the Notion of Time,’ each session of the first season focuses on a selected text from theory to artistic practice.

This upcoming second session we will read the essay Time and Matter by Jean-François Lyotard, which was part of his input into his philosophical seminar following his landmark exhibition at Centre Pompidou in Paris in 1985, Les Immatériaux, and reflects on the philosophical ideas behind that exhibition. The exhibition inspired an entire generation of relational aesthetics, both curators and artists, from Nicolas Bourriaud to Jens Hoffmann, from Philippe Parreno to Pierre Huyghe, as well as the post-digital discourse and new media art context, with theoreticians and curators like Andreas Boeckmann and Yuk Hui.

You can download the text from here. If you are interested in joining our reading session, it is recommended that you to read it before.




As additional reading further contextualizing Lyotard's text, we recommend the short essay by John Rajchman, Les Immatériaux or How to Construct the History of Exhibitions, Tate Papers No.12 (Landmark Exhibitions Issue)
http://www.tate.org.uk/research/publications/tate-papers/12/les-immateriaux-or-how-to-construct-the-history-of-exhibitions

From John Rajchman's text:
Les Immatériaux was a ‘presentation of ideas’ in the specific sense of ‘presentation’ and ‘idea’ which Lyotard was trying to articulate at the time. It thus linked to another striking aspect of Lyotard’s curatorial experiment – the role and nature of accompanying research, or the role of ‘ideas’ and their ‘address’ in the style of philosophical teaching then current in Paris. With Les Immatériaux, the philosophical seminar would enter into the context of museum research, creating new relations which Lyotard would later evoke in his account of the experience. In the ‘open’ seminar, he would present ideas put forward in a suggestive philosophical text called Time and Matter, later published in a collection of essays entitled The Inhuman. The essay makes interesting reading today, in light of the current interest in exhibitions: in it, Lyotard sets out the larger philosophical ‘idea’ he hoped to ‘present’ through Les Immatériaux. What becomes clear is that Lyotard’s title concept of ‘immateriality’ was different from that of the ‘dematerialisation of art’ associated with the presentation of ideas in what came to be called ‘conceptual art’, and, in particular, ‘institutional critique’. The question thus arises of how this idea and this exhibition are related to that earlier ‘conceptual’ moment in the ‘dramatisation of information’, when the whole idea of the exhibition (or ‘presentation’) was rethought in a manner often opposed to a certain kind of Kantian aestheticism.”






An interview with the philosopher by Bernard Blistène published in Flash Art on the occasion of the exhibition in 1985 provides further background to the thinking behind the exhibition.

And Yuk Hui talks about the updated context of Les immatériaux in the post-digital discourse:
https://www.youtube.com/watch?v=13EdYtfmJ0A

For the March session we propose to collectively select a text, possibly from the book 30 years after Les Immatériaux by Yuk Hui and Andreas Broeckmann.




This book features a previously unpublished report by Jean-François Lyotard on the conception of Les Immatériaux and its relation to postmodernity. Reviewing the historical significance of the exhibition, his text is accompanied by twelve contemporary meditations. The philosophers, art historians, and artists analyse this important moment in the history of media and theory, and reflect on the new material conditions brought about by digital technologies in the last 30 years.

Texts by Daniel Birnbaum, Jean-Louis Boissier, Andreas Broeckmann, Thierry Dufrêne, Francesca Gallo, Charlie Gere, Antony Hudek, Yuk Hui, Jean-François Lyotard, Robin Mackay, Anne Elisabeth Sejten, Bernard Stiegler, and Sven-Olov Wallenstein.

Posted by Corner College Collective

2017 / 201702 / Buchvernissage
Book launch: Happy Tropics I
Damian Christinger, Michael Schindhelm
 




Book Launch “Happy Tropics” with Michael Schindhelm (author, culture adviser, theatre and film maker), Damian Christinger (curator, Zurich University of the Arts) and students of Zurich University of the Arts.

This book is an attempt to translate new understandings of transcultural connections into a dialogue. Contributions and insights by important actors in the cultural field such as Eugene Tan, Rem Koolhaas, Benson Puah, June Yap, Gwee Li Sui, and Philip Ursprung, Michael Schindhelm and Damian Christinger frame research by students from the Zurich University of the Arts, and create a multi-voiced and multi-faceted approach to understanding the rapidly-changing cultural topographies of Singapore.

Happy Tropics I consists of two parts that run (literally) parallel throughout the book. The first section, “Why Singapore,” focuses on insights from outside the city state, and consists of a conversation between Rem Koolhaas and Michael Schindhelm, an essay by Philip Ursprung, and an artistic contribution by the U5 art collective, among the contributions by the students of the Zurich University of the arts. The second section, “Learning from Singapore,” gives room to different voices from within, featuring interviews with Glen Goei, Beh Swan Gin, Benson Puah, Eugene Tan, and an essay by Gwee Li Sui.

As Singapore becomes a global leader in both the financial and knowledge-production sectors, increasing emphasis is being put on both the production and dissemination of culture in the island-state. While it was still regarded as an “emerging country” two decades ago, it has become one of the leading nations regarding infrastructure, urbanisation, and service industries. The question as to whether arts and culture will follow suit is being closely followed by other nations worldwide who aspire to similar developmental goals. Singapore can be thought of as a kind of laboratory for the enabling, production, education, and consumption of arts and culture. Understanding culture as a mirror of society, instrument of national identification, and site for dialogue and exchange with other cultures allows us to view it as a litmus test for the resilience of an unprecedented societal concept.

Within this framework, Happy Tropics I can be seen as a case study and a laboratory for different approaches to dealing with the challenges of globalization, as the cultural topographies of Singapore are not only changing, but also constituting themselves in our timeframe. Understanding the city as a responsive network that can be harnessed for research and education projects reflects this reality, and encouraged us to come with our students from the Zurich University of the Arts to Singapore, delving into its mesh and trying to learn that seeing eye to eye is so much more important then perceived hierarchies, a concept that is also reflected in the design and structure of this book.

Happy Tropics I is a publication by Michael Schindhelm and Damian Christinger in collaboration with the Zurich University of the Arts, and is classified as the Connecting Spaces Document # 10.

http://www.connectingspaces.ch/happy-tropics-book-launch-2/

Posted by Corner College Collective

2017 / 201702 / Performance
Blaumachen
San Keller
 




Zum Feierabend ein Freibier für alle die heute nicht blau gemacht haben.

This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d'artiste.

Posted by Corner College Collective

2017 / 201701
Container City und Kunstverein Wagenhalle e.V., Stuttgart
Lisa Biedlingmaier
 




Aaron Schirrmann (Architekt) und Lisa Biedlingmaier (Künstlerin und Kuratorin) berichten über den aktuellen Stand der Container City und die Arbeit des Kunstvereins Wagenhalle in Stuttgart.

Seit einer Woche laufen die Renovierungsarbeiten an der Wagenhalle, die in 2 Jahren wiedereröffnet werden soll.
Ein Ort an dem seit 2004, über 80 verschiedene Ateliers, Werkstätte, Proberäume und der Ausstellungsraum Kunstverein Wagenhalle ihr temporäres Zuhause hatten.

Der Kunstverein hat jetzt ein Interimsquartier auf dem Gelände vor der Halle aufgebaut. Die meisten Künstler und Kulturschaffenden sind vor Ort geblieben und arbeiten weiter in den ca. 140 Containern und einigen Sonderbauten.

images: Aida Nejad
photography: Ferdinando Iannone

This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Part I: Critique de l’économie politique de l’atelier d'artiste.

Posted by Corner College Collective

2017 / 201701 / Curatorial Reading Group
Curatorial Reading Group
Session 1




The Curatorial Reading Group is a monthly reading session, aimed at enhancing our creativities in curatorial approaches through a continuous series of discussions. Under the theme of ‘Art and the Notion of Time,’ each session focuses on a selected text from theory to artistic practice.

For the first session on 30 January 2017, we will read and discuss the inspiring book It Had Something to Do with the Telling of Time. Spaces in fiction – Constructs of Reality by Annee Grøtte Viken.

If you are interested in our reading session please contact us! We will write you back with a copy of the book, and warmly recommend you to read it before the session.

Contact: Miwa Negoro (Corner College), miwa.negoro (at) gmail (dot) com

Posted by Corner College Collective

2017 / 201701 / 201702 / Ausstellung
Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part I: Critique de l’économie politique de l’atelier d'artiste

Lisa Biedlingmaier, San Keller, Vadim Levin, Maria Pomiansky
 




A group exhibition with Lisa Biedlingmaier, San Keller, and Maria Pomiansky in collaboration with Vadim Levin

curated by Dimitrina Sevova and Alan Roth,
curatorial interns Miwa Negoro and Swati Prasad.

Saturday, 21 January – Sunday, 19 February 2017

Opening: Saturday, 21 January at 18:00h
Finissage: Sunday, 19 February at 17:00h

Artist talks and other accompanying events to be announced.

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

The exhibition/project will take place in two parts, of which this is the first:
Part 1: Critique de l’économie politique de l’atelier d'artiste
Part 2: Der Prozess / The Trial



Part 1: Critique de l’économie politique de l’atelier d'artiste

The focal point is on the relation between the studio, artist labor, art-work, aesthetic practices and their economic conditions. The studio might be a space where a certain degree of autonomy can be detected. The exhibition/project expresses how productivity in art depends on the relation between the artist’s liberty and the economic and social conditions of art production. The studio is part of the productive flow of relations, subjectivities, institutions, places, materials, techniques. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be put mainly in two orbits, as an independent space of a solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor. It is often a shared space, a space of collaboration that engages with the performative domain of the aesthetics and politics of art production and its economic and social reality.

Lacan’s statement “I replaced Freud’s energetics with political economy” goes one step further and openly engages psychoanalysis with the ‘immanent’ critique of liberal capitalist society. Following psychoanalytic practices, the project Part I: Critique de l’économie politique de l’atelier d’artiste incorporates ‘immanent’ critique in the politico-economic relations in the production of art to reflect and analyze in terms of movements and vectors the current conditions of artist-labor and art-work-life social relations.

It also adopts the critique of the political economy as a method to look at the studio space and the practices there, its social and political impact on art, on the labor and life of the artist. To what extent can the studio support the autonomy of the artist’s practices, and what is its emancipatory political potential? Giorgio Agamben attributes to the Situationists an “unavowed awareness that the genuinely political element consists precisely in this incommunicable, almost ridiculous clandestinity of private life.” The art labor and art-work are inevitably incorporated in the critique of a broad socio-economic process. At the same time, they will remain ‘ridiculously clandestine’ attitudes of free labor outside of the labor-power. In this way the project looks at how a return to critique and autonomy practices can perpetuate an emancipatory politics in art. They can be used as a model for an exit from the ‘hegemonic’ capitalist discourse and capitalist production of value. Autonomy practices, aesthetic immanent critique and politics invent new living forms and socio-economic relations outside of capital, like generic commons, undercommons, etc.

The project reflects on self-organized and self-managed aspects of the artist studio space, the conditions of the artist’s labor and the productive process of art-work there. Work is here used not necessarily to designate an art object. The working environment of the studio can be seen from many angles. At the same time, it remains a place where (un)productive forces play disalienated forms of labor in the work and life of the artists. The artist remains a free laborer who betrays the labor-power and slows down, or accelerates a virtuoso productivity.

The project inevitably asks, can the artist make a living from their art? How can they sustain their working environment relying on income from their artistic labor and art-work. Often, they inhabit the studio mostly in the time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work mostly based on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality.

At the same time there is indeed a reality gap between the image of the autonomous artist and the actual working conditions of living artists, and how their productivity and the conditions of art production are socially evaluated and valued, between the relative ‘autonomy’ of the studio and today’s institutionally driven art, complemented by the erosion of the autonomy of art by different neoliberal dynamics and the restructuring (financialization, digitalization, gentrification) and the ideology of the free market that inevitably machinically signifies the social production and art, too. Although the artist precariat is potentially revolutionary and resistive, Hito Steyerl describes the instrumental precarization in the third stage of institutional critique that leads merely to “integration into precarity” of artist labor and working and living conditions. “What remains hidden in this – a new ‘hidden abode,’ the practicing artist remains outside of the employment.” At the same time, nowadays the art production process has been connected to digital productive flows, automated and highly professionalized by accelerated competition on a global scale, that disempowers the possibilities for collective, community forms of art, work and life.


Theorem 4. Aesthetic Agency and the Practices of Autonomy

The operations of Moral and Politics, Aesthetics and Immanent Critique, invite a re-thinking in the sense of the moral fight (Nietzsche), as Gilles Deleuze puts it in his essay about Foucault: “A man-form, then, appears only in very special and precarious conditions,” as a dissolved man. All form is a combination of all forces, a mix of human and non-human in the process of individuation. This precarious man-form is the extra-human ethical being of politics. Indeed, in Deleuze and Guattari’s words, “Politics precedes being. Practice does not come after the emplacement of the terms and their relations, but actively participates in the drawing of the lines; it confronts the same dangers and the same variations as the emplacement does.”

The notion of autonomy is investigated and reflected from various perspectives, without a model, as it takes place in the realms of aesthetics and of politics, in the social and the personal, art and practices. Autonomy is distinct from knowledge. As an intensification of power it regroups and redistributes. Despite this, the term of Autonomy has become increasingly derided in art and criticised as egotistical or even attributed to the hegemonic western ideology of the individual, as a result of the connection between the autonomy of art and the autonomy of the artist, and the equalization of both to aesthetic autonomy.

Aesthetic autonomy goes beyond the art context to embrace life as a whole. Aesthetic experience as a practice of philosophy has never been necessarily attached to the field of art and the artwork, and has mutated to the concepts of aesthetics of existence and of life as a work of art (in Foucault’s conceptualization) – “existing not as a subject but as a work of art.” The aesthetics of the ephemeral of the event of political subjectivity and of temporary autonomous zones are dispositions of time or of a brain. They draw “new cerebral pathways, new ways of thinking.” As Deleuze says: “I think subjectification, events, and brains are more or less the same thing.” What can emerge from these practices is the creative struggle that is resistance and invention. Art is resistance, too. These new subjectivities are precarious minor social formations, and to the extent that the artist is part of the precariat in the informal economy, they practice aesthetic autonomy, too. Peter Osborne writes that “aesthetic autonomy is indifferent to the art/non-art distinction,” which is close to Jacques Rancière: “To the extent that the aesthetic formula ties art to non-art from the start, it sets that life up between two vanishing points: art becoming mere life or art becoming mere art.” 


Excerpt from the curatorial text by Dimitrina Sevova in collaboration with Alan Roth (in printable format as PDF, 276KB)



Lisa Biedlingmaier

undefined
2014. HD video.


Lisa Biedlingmaier, undefined. 2014. Video still.


For centuries, the studio has been perceived not only in its pragmatic function as a workshop or thought laboratorium but to a much larger extent as a place in which the premises of individual artistic identity can be fathomed.

The interior, whether a home office or a study room, provides clues to the personality living or working there.


Das Atelier wurde über Jahrhunderte nicht nur in seiner pragmatischen Funktion als Werkstätte oder gedankliches Laboratorium registriert, sondern in viel grösserem Masse als ein Ort empfunden, an dem die Prämissen für die individuelle künstlerische Identität ergründet werden können.

Das Interieur, ob Privatzimmer oder Arbeitszimmer liefere Indizien über die in ihm wohnende bzw. arbeitende Persönlichkeit.



San Keller

At Work (Cuckoo)


San Keller, At Work (Cuckoo). 2008–2011. Series of 36 photographs. Studio of Rosen/Wojnar, Berlin 28.06.2010.


In At Work (Cuckoo) lässt sich San Keller von seinen Künstlerfreunden in deren Ateliers und an deren Arbeit fotografieren.


The L-Word - No mas metales
2015. HD video, 56 min.

Der Schweizer Konzeptkünstler San Keller (1971) reist mit der Absicht nach Los Angeles, auf der Strasse einen Kunstsammler anzutreffen, der ein Werk der amerikanischen Pop-Art-Ikone Andy Warhol (1928-1987) aus seiner Sammlung gegen sämtliche Werke des politischen Zeichners und Karikaturisten Martin Disteli (1802-1844) im Besitz des Kunstmuseum Olten tauschen würde.

Auf seinen Streifzügen rund um Hollywood entfernt sich San Keller immer weiter vom ursprünglichen Ziel, einen Sammler zu finden, der einen Warhol gegen den Oltner Disteli-Nachlass tauschen würde. In den Vordergrund rückt stattdessen die Suche – die Suche an sich, oder aber die Suche nach dem Bild. The L-Word - No mas metales ist jedoch auch eine filmische Reflexion über ein mysteriöses L-Word (Los Angeles, Liebe, Langeweile, Loch oder Liberalismus?), über die Suggestionskraft von Bildern, die Macht des Geldes und vor allem über die Freiheit - die Kernthemen Distelis also.



Maria Pomiansky in collaboration with Vadim Levin

In situ studio


The artist’s studio. Photo: Maria Pomiansky. Courtesy the artist.


What is the role of the painter's atelier in contemporary art practice? The archaic features are mixed with the needs of today's life. A painter 's atelier is one of the last bastions of non-computer activities. It can be interpreted as a manifestation of humanity. And it’s not by chance that technique is put back on stage and reworked through the lenses of conceptual art to produce paintings that elaborate on the reality surrounding us.

I would like to produce a painting which would change during the time of the exhibition and would be an attempt to view the atelier as a sacral symbol, a game where the human brain, the hand and the eyes play the leading roles.

Posted by Corner College Collective

2017 / 201702 / Buchvernissage
Book Launch “Mapping Graphic Design History in Switzerland”
Davide Fornari, Robert Lzicar
 


Cover of Mapping Graphic Design History in Switzerland (Triest 2016).


Mapping Graphic Design History in Switzerland is not just another book that retells the success story of Swiss graphic design. It is a collection of eleven selected essays deriving from academic research that explores historical dimensions of graphic design in Switzerland – from producing it, to archiving and exhibiting it.

The book is also an endeavor to open up a space for graphic design history by providing new perspectives, ideas and tools that enable historical research in such a crucial field for Switzerland as graphic design and typography.

On this occasion, the editors Davide Fornari and Robert Lzicar and publisher Triest invite you to celebrate the launch of the book. A presentation of the book will be followed by a number of talks by contributors and sponsors on why they did support / contribute. The evening will end with a toast on the publication.

Program

19:00–19:10 Greeting: Kerstin Forster (publisher at Triest Verlag)
19:10–19:30 Presentation of the book: Davide Fornari, Robert Lzicar (editors of “Mapping Graphic Design History in Switzerland”)
19:30–19:40 Speaker 1: Sarah Owens (ZHdK and Swiss Design Network SDN)
19:40–19:50 Speaker 2: Marina Oliveira (Designer of Visual Essays, Graphic Designer, Zurich)
19:50–20:00 Speaker 3: Peter Vetter (Coande, ZHdK)
20:00–20:10 Speaker 4: Bettina Richter (Poster Collection, MfG - auf Deutsch/in German)
20:10–20:15 Questions & Statements
20:15–21:00 Apéro

Davide Fornari is associate professor at ECAL University of Art and Design in Lausanne, where he leads the research and development sector. He has previously been teacher and researcher at SUPSI University of Applied Sciences and Arts of Southern Switzerland.

Robert Lzicar is a designer, educator and researcher. At the HKB Bern University of the Arts, he is head of the MA Communication Design, researcher at the Department of R+D Communication Design, and professor of design history.

Posted by Corner College Collective

2016 / 201612 / Buchvernissage
Jennifer Bennett: SAVE
Jennifer Bennett
 




Jennifer Bennett stellt ihr Buch SAVE vor, welches im September im Textem Verlag Hamburg erschienen ist. Dieses enthält wahre Begebenheiten und schildert Begegnungen und Gespräche mit existierenden Personen. Auf einer Reise werden unterschiedliche Protagonistinnen und Protagonisten gesucht und gefunden, um sie zu den Themen Selbstorganisation, Rebellion, Netzwerke, Territorium, Nation, Staatsangehörigkeit und mehr zu befragen. Es wird darin exemplarisch, welche Rolle Einzelne in der Gesellschaft und im eigenen Umfeld annehmen, und ist auch eine ganz persönliche Auseinandersetzung mit dem In-eine-Welt-geworfen-Sein, die von systemischen Aspekten bestimmt wird.

Aufgrund aktueller Ereignisse in den USA um die Dakota Access Pipelines wird die Buchvorstellung mit einigen Videobeispielen und einem gemeinsamen Brainstorming zur Frage der Solidarisierung und Formen von Engagement verbunden. Es zeigt sich, dass bei geplanten Grossprojekten 1000e Stimmen, die sich dagegen auflehnen, nicht berücksichtigt werden und häufig mit massiver Gewaltanwendung von Seiten des Staates zum Schweigen gebracht werden. Kurzfristige Profite stehen über der Erhaltung von Lebensgrundlagen, reichhaltige Umgebungen werden der Aufrechterhaltung des Kapitalismus geopfert. Die Frage, die sich stellt, ist das wirklich in unserem Sinn oder werden uns Bedürfnisse verkauft, welche uns die Opfer die wir bringen, vergessen lassen? Sind wir so resigniert, dass wir den Kopf noch tiefer in den Sand stecken oder möchten wir aktiv und miteinander überlegen, wie eine gangbare Überwindung des Gefühls der Hilflosigkeit aussehen würde? Wie müsste sich das Kräfteverhältnis verändern, damit die Stimme der Menschen genauso relevant wird, wie die Sprache des Geldes? Wie können diese Fragestellungen ins Zentrum der gesellschaftlichen Debatte gebracht werden und macht Kunstproduktion, welche im weitesten Sinn die Gegenwart archiviert Sinn, wenn parallel dazu alles getan wird, um eine mögliche Zukunft für alle zu verunmöglichen?

In diesem Brainstorming kann es nicht darum gehen, uns zu beklagen oder schnelle Lösungen zu finden, aber darum, dass wir uns diesen Fragestellungen mit ganzer Aufmerksamkeit zuwenden.

Weiterführende links zum Entstehungsprozess von SAVE und bisherigen Veranstaltungen:
http://jentleben.jbbooks.net/97-2/
http://www.oslo10.ch/episode5
http://www.2025ev.de/aktion_142.html

Posted by Corner College Collective

2016 / 201611 / Diskussion / Vortrag
Federica Martini: Pérruques, homers and pirate radios
and discussion between Federica Martini, Cora Piantoni and Dimitrina Sevova

Federica Martini, Cora Piantoni, Dimitrina Sevova
 

19:00h Talk by Federica Martini: Pérruques, homers and pirate radios.




The « pérruque » is a tactic for diverting time from the factory work and indulge in creative no-profit labour. Like pirate radios, pérruques infiltrate production narratives with notions of desire and liberated time. Like quilts, the pérruques are a non-hegemonic class practice that is based on appropriation, storytelling and generosity. In resonance with Cora Piantoni's exhibition Buon Lavoro! Prose of The Day – Poetic Resistance at Corner College, in this talk the pérruque will play as a magnifying glass and a metaphor to read collaborations between artists and workers in factories in 1960s-1970s Italy. Focusing on proximities and correspondences between artistic processes, factory culture, and alternative radio strategies, context will be given to Gianfranco Baruchello, Gruppo N, Maria Lai, Olivetti and Italsider.


20:00h Conversation between Federica Martini, the artist Cora Piantoni and the curator Dimitrina Sevova, in the context of Federica Martini's talk and on the occasion of Cora Piantoni's personal exhibition Buon Lavoro! Prose of The Day – Poetic Resistance.

Posted by Corner College Collective

2016 / 201611 / Buchvernissage
Efferveszenz
Im Herzen der Zeitgenössischen Mythologie

Isabelle Capron, Marianne Smolska
 

Efferveszenz
Im Herzen der Zeitgenössischen Mythologie

Text, Installationen und Konzept: Isabelle Capron Illustrationen: Marianne Smolska




Was haben ein Staubsauger, ein Kernreaktor eine Datingplattform, ein Musikvideo von David Bowie, eine Cola-Dose und ein Satellit gemeinsam? Es sind alles Kultobjekte, Symbole unserer indistrualisierten Gesellschaft. Durch sie äussert sich unser Glauben an dem technischen Fortschritt, genauso wie wir früher an Götter geglaubt haben. Aber wie alle mythologische Phantasmen neigen auch diese Dinge dazu sich wieder in Luftblasen aufzulösen und zu verschwinden.

Efferveszenz vereint drei poetische Installationen, die im Rahmen des Openair Literatur Festivals Zürich ausgestellt wurden. Ergänzt werden sie durch Illustrationen von Marianne Smolska. Efferveszenz, schreibt Capron, ist eine Frechheit, sie verkörpert alles Wilde, Flüchtige und vollkommen Freie, alles was lebendig, pulsierend, atmend, widerständig ist. Auf poetisch-satirische Weise untersucht Capron unseren Glauben in den technischen Fortschritt, sie lädt uns ein auf eine Reise ins Reich der zeitgenössischen Mythen.

Die kleine Apotheke der Liebe nähert sich dem neuen Imaginären der Liebe in Form von literarischen Heilmitteln. Das Horoskop der Hypermonster ist eine Galerie von zwölf Ungeheuern, gezeugt durch die Massenkultur der Hyperindustrie. Und die Fragmente der Installation Generation umkreist die Frage, was aus dem Sein im Zeitalter seiner technischen Reproduzierbarkeit wird.

Das Buch ist ein Plädoyer für einen verantwortlichen, pazifistischen Umgang mit den modernen Technologien. Ein Aufruf, sich auf die Menschlichkeit mit all ihren Facetten zu besinnen.

Die Autorin Isabelle Capron kam vor 20 Jahren als Korrespondentin von Paris nach Zürich, wo sie heute noch lebt. Sie studierte Philosophie an der Sorbonne. Heute unterrichtet sie Französisch an der ZHAW an den Studiengängen Kommunikation und Journalismus. Sie arbeitet an Projekten im Bereich plastischer Literatur und ist Mitglied des Autorenkollektivs Index, des AdS und der SSA.

Die Illustratorin Marianne Smolska kommt ursprünglich aus Paris und lebt heute in Hanoi. Sie arbeitet im Bereich der Illustration, Grafik und Gestaltung an verschiedenen Projekten für öffentliche und private Institutionen oder Unternehmen, sowie für internationale NGOs.




Posted by Corner College Collective

2016 / 201611 / Home of the Brave: Archeology of the Moving Image
Lena Maria Thüring at Home of the Brave
Lena Maria Thüring
 


Lena Maria Thüring, Future Me, 2015, HD Video, single channel, 16:9, colour, sound, 11 min 49 sec, German subtitles. Video still.


[English below]

Lena Maria Thüring ist zu Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.

[Deutsch siehe oben]

Lena Maria Thüring is guest at Home of the Brave: Archeology of the Moving Image. A series of events by Corner College.

Lena Maria Thüring’s work explores individual stories in a reflection on social systems and their underlying constructions using various media, such as photography, performance, video or installation.

The interview forms both the starting point and the staging ground for much of Lena Maria Thüring’s recent filmic work. Her films and videos explore how individuals forge their identities and shield their memories in the shadow of larger group dynamics and the socio-political systems in which they are cast, using personal narrative — its gaps and elisions, its specificity and opacity — to reveal how meaning is constructed, projected, protected, and perhaps deconstructed. Detaching the spoken narrative from the subjects’ bodies and even their voices, Thüring creates a fissure between seeing and hearing, identity and biography. Within this space we can consider the nature of memory, the power of words, and the significance of all that remains unsaid.

Born in Basel 1981, lives and works in Zurich.

Thüring’s work had been shown in solo exhibitions at the Kunsthaus Baselland (2012) and the Museum für Gegenwartskunst Basel 2013 and in groupshows and screenings at the Kunstmuseum Bern, Kunsthalle Basel, Haus der Kulturen Berlin, the Reina Sofia National Museum Madrid in Spain and the Palais de Tokyo in Paris. She received several awards including Swiss Art Award (2008), Kiefer Hablitzel Foundation Award (2011), Grant from Zurich City (2012), Manorkunstpreis Basel (2013) and two artist residencies in Paris (2009) and New York (2010).

Thüring is a member of the Fachausschuss Audiovision und Multimedia BS / BL.

http://www.lenamariathuering.ch/



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2016 / 201610 / Artist Talk / Installation
Mohammad Namazi: Entropische Iteration
Mohammad Namazi
 




On Thu / Fri / Sat, 27 / 28 / 29 October
each day from 14:00h to 18:00h
Public talk and discussion on Saturday, 29 October at 19:00h


Mohammad Namazi presents 'Entropische Iteration' (Entropic Iteration) as a reflection on his residency experience as part of the Freiraum-Stipendium – the index collective residency programme. The artist installs a three-days open laboratory at Corner College, which will end in a public talk and discussion. Namazi shows new work made during his residency in Zurich that utilises the Internet, installation and video formats. In his talk he presents his new experiments and talks about his research and practice in general.

Locating the numerous water fountains that are a feature specific to the urban experience of Zurich, Namazi re-imagines these sites as physical manifestos that are actualised as temporary non-hierarchical social platforms. A series of web pages have been created to map out a selection of these encounters. Through these online networks, linkages and locations - sound recordings, image editing and HTML programming are used to spatialize and demonstrate the physical and off-line reality on the virtual and online environment.

Posted by Corner College Collective

2016 / 201611 / Buchvernissage
Matinée:
Book Release mit Filmdokumenten - Ted Serios. Serien
Ästhetik des Virtuellen. Gedankenphotographien des Mediums Ted Serios

Romeo Grünfelder
 


Titelbild © 1967 by Gerald D. Brimacombe, Getty Pictures Archive.


Aus Anlass des 10. Todestages von Ted Serios präsentiert der Hamburger Textem Verlag einen Fotoband mit bislang unveröffentlichten paranormalen Polaroid-Serien aus den 1960er Jahren. Der Bildband widmet sich mit Ted Serios’ übersinnlicher Fotografie “dem vermutlich bestdokumentierten Medium der Parapsychologie” überhaupt. Herausgeber des Bandes ist der Hamburger Filmemacher und Regisseur Romeo Grünfelder. Nach der Auftaktveranstaltung im Metropolis Kino Hamburg wird der Forschungszusammenhang am 20.November zur Matinee um 11:00 Uhr im Corner College in Zürich vorgestellt. Weitere Stationen in Deutschland, der Schweiz und Österreich schließen sich an.

Ted Serios wurde bekannt dafür, Gedanken mittels psychischer Energie auf Sofortbild übertragen zu können, was Wissenschaftler bis heute vor ein ungelöstes Rätsel stellt. In umfangreichen Experimenten entstanden über 400 paranormale Polaroids, die Grundlage der ausgewählten Fotoserien des Fotobandes bilden.


Ted Serios. Serien
Romeo Grünfelder (Hrsg.)
564 Seiten mit 352 Abbildungen
Mit Beiträgen von Philippe Dubois, Prof. Dr. Peter Geimer, Romeo Grünfelder (Hrsg.) und Prof. Dr. Bernd Stiegler Textem Verlag
978-3-941613-46-1
http://www.textem.de/index.php?id=2734


Zu Ted Serios

geb. 27. November 1918, arbeitete als Hotelpage in Chicago, als er für seine Produktion von »Gedankenfotografien« auf Polaroid-Film im Laufe der 1960er Jahre bekannt wurde. Er behauptete, Grundlage seien allein seine psychischen Kräfte, was Fotografen und Skeptiker seither zu widerlegen versuchen. Ted Serios starb am 30. Dezember 2006 in Chicago.


Zum Psychiater und Parapsychologen Jule Eisenbud

geb. 20. November 1908 in New York, USA, arbeitete nach der Erlangung der Doktorwürde an der Columbia University als Psychiater und eröffnete 1938 eine Praxis für Psychiatrie und Psychoanalyse in New York. Im Jahr 1950 wechselte er als außerordentlicher klinischer Professor für Psychiatrie nach Denver. Eisenbud widmete sich den Forschungsgebieten der Psychiatrie, Psychoanalyse, Anthropologie und Hypnose. Er war einer der Ersten, der Gedankenübertragung und andere PSI- Fähigkeiten als Kommunikationsmittel in die Psychoanalyse mit einbezogen hat. Bekannt wurde er vor allem durch sein Buch The World of Ted Serios, New York 1967, in dem er seine Forschungsergebnisse zu Ted Serios zusammenfasste. Jule Eisenbud starb am 10. März 1999 in Denver, Colorado.


Zum Herausgeber Romeo Grünfelder

geb. 1968, ist Autor, Filmemacher und Regisseur, studierte in Hamburg Musik, Medienphilosophie und Kunst. Stipendiat u. a. der Villa Aurora in Pacific Palisades. Von
2008 bis 2010 unterrichtete er Dramaturgie und Philosophie an der Hochschule für Bildende Künste Hamburg. Fokus seiner Arbeit liegt auf paranormalen Themen. Seine ausgezeichneten Filme werden im Kino als auch auf Festivals und in Galerien gezeigt.
Er lebt & arbeitet als Regisseur in Hamburg und Berlin.
http://felderfilm.de


Zum Textem Verlag

Gegründert im Jahr 2004 von Nora Sdun und Gustav Mechlenburg mit Sitz in Hamburg. Der Verlag ist spezialisiert auf Veröffentlichungen von Literatur, Theorie, Künstlerbücher und Ausstellungskataloge. Seit Juli 2006 verlegt der Textem Verlag das Printmagazin Kultur & Gespenster. Bisherige Veröffentlichungen, das Verlagsprogramm und weitere Aktivitäten des Verlags unter
http://www.textem-verlag.de/

Posted by Corner College Collective

2016 / 201611 / 201612
Buon Lavoro!
Prose of The Day – Poetic Resistance

Cora Piantoni
 


Cora Piantoni, Another Information: Terzo Radio GAP, 2016. Video still.


[English see below]

Einzelausstellung von Cora Piantoni
kuratiert von Dimitrina Sevova

Samstag, 19. November - Freitag, 30. Dezember 2016

Eröffnung: Samstag, 19. November 2016, ab 17:00h.

Öffnungszeiten
Mittwoch, 15:00h – 18:00h
Donnerstag, 16:00h – 19:00h
Freitag, 15:00h – 18:00h

Kuratorischer Text

Cora Piantonis Einzelausstellung im Corner College stellt eine Auswahl des Werkes der Künstlerin vor, basierend auf ihrer langjährigen Recherche zu arbeitenden Menschen und ihren Gemeinschaften, sowie zum Wandel der Arbeit in der sozialen Fabrik und zur Geopolitik der Arbeit.

“Langsam arbeiten” ist ein Protestlied und eine eingängige operaistische Hymne der 1970er Jahre in Italien: “Arbeite langsam / Und mühelos / Arbeit kann dich verletzen / Und du kommst ins Spital / Wo kein Bett frei ist / Und du gar sterben kannst. / Arbeite langsam / Und mühelos / Gesundheit ist unschätzbar.” Im Gegensatz zu den Slogans des italienischen operaistischen Widerstands der 1970er wählt Cora Piantoni als Haupttitel der Ausstellung einen affirmativen Ausdruck der Auffassung von Arbeit und greift damit feinsinnig die für die neoliberale Wirtschaft des Spätkapitalismus charakteristische, systematische Präkarisierung auf, das Bedürfnis, dass alle einen Job haben, und eine positive Einstellung zur Arbeit, die den Kämpfen der Arbeitenden für ein besseres Leben Kraft verleihen kann. Der italienische Gruss “buon lavoro” ist positiv besetzt als Wunsch, der die eigene emotionale Anteilnahme an jemand anderer Arbeit ausdrückt. Die deutsche Sprache kennt keine Redewendung, die dem direkt entsprechen würde. Gelegentlich werden Ausdrücke wie diese verwendet: Viel Spass bei der Arbeit! – Ich wünsche dir Erfolg bei deiner Arbeit! – Hals- und Beinbruch!

Als Geschichtenerzählerin folgt die Künstlerin den kleinen Erzählungen und der undokumentierten mündlichen Überlieferung gewöhnlicher Arbeitender, vor dem Hintergrund historischer Ereignisse wie des Falls der Berliner Mauer, der die Breiten- und Längengrade von Ost-West und Nord-Süd in der Dynamik der Wirtschaft, der Arbeitsmärkte und der Neuausrichtung der Produktionsprozesse erschütterte, die sich in Veränderungen in der Auffassung von Arbeit und Alltag niederschlugen, insbesondere jener von Handwerker_innen und eher marginalisierter, verkannter oder aussergewöhnlicher Formen unsichtbarer Arbeit wie Putzdienste, eine Kletterbrigade, Platzanweiser_innen in einem DDR-Kino, Operateure in Studio-Kinos oder, in einer früher Arbeit, Konzept-Künstler_innen, die sich in der Tschechoslowakei dem sozalistisch-realistischen Kanon verweigerten und es vorzogen, ihren Lebensunterhalt als Heizer_innen zu bestreiten. Die Ausstellung baut auf der Konsequenz des Konzepts der Künstlerin einer Archeologie der Arbeit, der Materialität der Begegnung, und der Alltagskämpfe und Poetik des Widerstands von Arbeitenden. Der ausgestellte Werkkomplex beinhaltet anachronistische und rückwirkende Aspekte. Mit der Verwendung von Videobändern anstatt der neuesten HD-Formate geht Piantoni Videotechnologie an sich sowie als Arbeitsmethode an. Die Videoarbeiten bauen auf Interviews auf, realistischen Porträts, die den Arbeitenden Raum lassen, in denen die Künstlerin als Zeugin hinter dem mechanischen Auge erscheint, wobei sie konzeptionell von Spezialeffekten absieht, wie auch davon, bei den Dreharbeiten oder beim Schnitt eine vorgefasste künstlerische Sprache darüber zu legen. Das Bild selbst ist nüchtern, ohne zu formalisieren. Mit dieser Vorgehensweise stellt die Künstlerin eine unerwartete Anwesenheit heraus, und nicht eine Repräsentation der Subjekte – das Leben gewöhnlicher Arbeitenden als Kunstwerk in einer Mischung aus dokumentarischen Fragmenten, Archivmaterial und poetischen Momenten, angetrieben vom Rhythmus der direkten Rede der Subjekte.

In der Geschichte der bewegten Bilder und des Kinos gibt es zwei Hauptströmungen, die eine in Anlehnung an D. W. Griffith and Sergei Eisenstein, die andere die molekulare Revolution des Alltags von Dziga Vertovs Der Mann mit der Kamera, ein Sammler der Nichtlinearität der Anwesenheit. In Cora Piantonis Werk findet sich etwas von Vertovs molekularer Empfindsamkeit. Die Künstlerin fragt unweigerlich nach den Grenzen zwischen Kunst und Alltag, Arbeit und Herstellen. Die Arbeiten sind ästhetisch und politisch engagiert, das Vermögen der Betrachterin zu entwickeln, die Subjekte aus einer Vielzahl von Perspektiven heraus zu sehen. Diese Konsequenz zeigt sich auch in der neuesten Arbeit der Künstlerin, Eine andere Information. Die Interferenzen von Terzo Radio GAP, die als Premiere in dieser Ausstellung zu sehen ist. Diese neueste Arbeit enspringt einer Residenz 2015 in Genua, während der die Künstlerin einer lokalen Geschichte antifaschistischen Widerstands in den frühen 1970er Jahre begegnete, die ihr als Inspiration diente, weiter zu recherchieren und den beteiligten Personen nachzugehen. Sie hat etwas vom ungewöhnlichen Genre der Nebula, verkörpert im neuen italienischen Epos gesichts- und namenloser Kollektive von Aktivist_innen und Schreibenden als kollektive Persönlichkeit, jenem politischer Romane, die sich der Mittel der Kommunikationsguerilla bedienen, und kündigt neue Formen affirmativen Widerstands und direkter Aktion an, die in den Prozess der Kommunikation und der Massenmedien als ideologische und technologische Dispositive der Gesellschaft eingreifen und sich von anderen Mittel politischer Aktion wie auch vom Hacktivismus in Raum des Internets unterscheiden.

Text: Dimitrina Sevova in Zusammenarbeit mit Alan Roth



[Deutsch siehe oben]

A personal exhibition by Cora Piantoni
curated by Dimitrina Sevova

19 November - 31 December 2016

Opening: Saturday, 19 November, 17:00h


Opening Hours
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h


Cora Piantoni’s personal exhibition at Corner College presents a selected body of works based on the artist’s continued research about working people and their communities, and the transformation of labor in the social factory and the geopolitics of work.
“Working slowly” is a protest song and popular workerist anthem in 1970s Italy: “Work slowly / And effortlessly / Work may hurt you / And send you to the hospital / Where there’s no bed left / And you may even die. / Work slowly / And effortlessly / Health is priceless.” In contrast to the slogans of the Italian workerist resistance in the 1970s, Cora Piantoni chooses as the main title of the exhibition an affirmative expression of the notion of work, sensitive to the systematic precarization characteristic of the neoliberal economy of late capitalism, the need for jobs for everyone, and a positive relation to work that can empower the struggles of the workers for a better life. The Italian greeting “buon lavoro” has a positive connotation and is used as a wish expressing one’s own emotional involvement in the work of someone. The English language has no idiom it could directly translate to. Occasionally, one might use phrases such as: I wish you every success in your work! – Have a good day at work! – Good luck with your work!

As a story teller, the artist follows the small narratives and undocumented oral history of ordinary working people, on the background of historical events like the Fall of the Berlin Wall, which shook the latitude and longitude of East-West and North-South in the economic dynamics, labor markets and the reorganization of production processes, reflected in changes in the notion of work and everyday life, with a special focus on manual workers and rather marginalized, unrecognized or unusual forms of invisible labor, like cleaning services, a climbing brigade, or ushers working in a GDR cinema, operators in studio cinemas, or, in an earlier work, conceptual artists who in Czechoslovakia did not follow the socialist-realist normative canon and preferred to make a living as stokers. The exhibition is set up on the consistency of the artist’s concept of an archeology of work, the materiality of the encounter, and the struggles of daily life and poetics of resistance of working people. The exhibited body of work contains anachronistic and retroactive aspects. Through the use of video tape rather than the newest HD formats, Piantoni addresses video technology as such, and as a method of work. The video works are based on interviews, realistic portraits that give space to the workers, in which the artist appears as a witness behind the mechanical eye, conceptually avoiding special effects or superimposing a preconceived artistic language either in the shooting process or in the montage. The image is sober, without formalization. With this approach, the artist foregrounds an unexpected presence rather than a representation of the subjects, the life of the ordinary workers as a work of art, mixing documentary fragments, archive material and poetic moments, driven by the rhythm of the direct speech of the subjects.

In the history of moving images and cinema, there are two main streams, one in the line of D. W. Griffith and Sergei Eisenstein, the other, the molecular revolution of everyday life of Dziga Vertov’s Man With the Movie Camera, who is a collector of the non-linearity of presence. In Cora Piantoni’s works, there is something of Vertov’s molecular sensibility. The artist inevitably asks about the borders between art and daily life, work and labor. The works are aesthetically and politically engaged to develop the ability of the viewer to see the subjects from a multiplicity of perspectives. This consistency manifests itself again in the artist’s newest work, Another Information: The Interferences of Terzo Radio GAP, which premieres in the exhibition. This latest work comes out of a residency in Genoa in 2015, where the artist encountered a local story from the Italian antifascist resistance of the early 1970s that became a motivation to further investigate and follow the characters involved. It has something of the unusual genre of Nebula, embodied in a new Italian epic of revolutionary faceless and anonymous collective of activists and writers, as a collective persona, of political novels as guerilla communication, and prefigures new forms of affirmative resistance and direct action that intervene in the process of communication and mass media as ideological and technological dispositives of the society that are distinct from other means of political action, as well as hacktivism in the space of the Internet.

Text: Dimitrina Sevova in collaboration with Alan Roth



Irene Müller über Cora Piantonis Ausstellung im Corner College, Kunstbulletin 12/2016, p. 77.

Posted by Corner College Collective

2016 / 201611 / Buchvernissage
Taking a Line for a Walk
Conversations #2: The lost assignment

Emilia Bergmark, Corinne Gisel, Nina Paim
 




Design education is primarily learning by doing. And the layer of language that runs alongside this process is often neglected. Words fly out of a teacher’s or student’s mouth and quickly disappear into thin air. Instructions and specifications, corrections and questions, fuse with practical work. And assignments, if written down at all, are rarely considered something worth saving. So how can we access and bring back assignments lost to the past? What are the means of historic reconstruction? And what are the consequences of such methods? How does reconstruction differ from reenactment? How can historical assignments be made relevant for the present time?

Guests:
Sarah Klein, designer and researcher, HGK Basel and Ecal Lausanne, CH
Leslie Kennedy, designer and researcher, Basel School of Design, CH
Michael Renner, director Institute Visual Communication, Basel School of Design, CH

Mediated by:
Nina Paim and Corinne Gisel

This conversation is part of a series of events investigating current issues in design education in relation to giving, writing, and preserving assignments, initiated by the authors of the book Taking a Line for a Walk, published by Spector Books Leipzig in 2016.

Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions.Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.


http://spectorbooks.com/taking-a-line-for-a-walk
Taking a Line for a Walk: Assignments in design education

Conceived by Nina Paim, Corinne Gisel, and Emilia Bergmark
280 pp.
15 black-white images
Wire-o with softcover in reverse binding
Spector Books Leipzig 2016
ISBN: 9783959050814
Edition Number: 1st
Size: 22 cm x 25.5 cm

Posted by Corner College Collective

2016 / 201610
Corner College at Kunst 16 Zürich (Zurich Art Fair)
Nicolasa Navarrete, Cora Piantoni, Saman Anabel Sarabi, Anne Käthi Wehrli
 

On/Off Booth B1, ABB Event Hall, Zürich-Oerlikon | http://www.onoff.today/

With the participation of Nicolasa Navarrete, Cora Piantoni, Saman Anabel Sarabi, Anne Käthi Wehrli

Assistant for the Corner College presentation at On/Off: Alicia Olmos Ochoa
Corner College Intern: Miwa Negoro

Wednesday, 26.10.2016 - Sunday, 30.10.2016

Sunday, 30.10.2016

13:00h-15:00h Anabel Sarabi, zwei Runden Klans und Kompliz_innen, Tischspiel für 2 oder mehr Spieler_innen.

16:00h Gedichte und theoretisches Saxophon Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist! by Anne Käthi Wehrli. Danach Preview ihres neuen Zines In den Lebensmitteln drin geht es zu und her wie in einer Stadt.



Nicolasa Navarrete

Illustrating Das Kapital. Volume one, 1
The end of truth
2014. Graphite on paper. 200cm x 100cm.




The first chief function of money is to supply commodities with the material for the expression of their values, or to represent their values as magnitudes of the same denomination, qualitatively equal and quantitatively comparable. It thus serves as a universal measure of value. And only by virtue of this function does gold. The equivalent commodity par excellence, become money.



Cora Piantoni

Songs of Work
2 channel video installation, sound, 11:25 min, 2014.




Cora Piantoni develops her films on the basis of interviews together with moving images and re-enactments of past events. For an exhibition at the stonemason’s cooperative in Porto, she continued her research about worker‘s communities, focusing on the worker's tradtional songs and the sound of the working process. Do the traditional songs still exist which reflect the monotony of the work, but also help to perform it? In what other way sound / rhythm / music plays a role at work? Besides the masons, Piantoni was interested in the background and culture of the students of the school which is now located in the building of the cooperative. She connected the young generation of the students with the older generation of the masons who are working at the factory and are aware of the history.



Saman Anabel Sarabi

Klans und Kompliz_innen
Tischspiel für 2 oder mehr Spieler_innen
konzipiert von Saman Anabel Sarabi and Josefine


Stefan Wegmüller, 2016.


The card game Klans und Kompliz_innen investigates through joyful and playful conversations the different links and alliances between people within the Zürich art scene and beyond. The table game offers a situation for curious and open people to contact with each other in a playful setting. It allows to inform each other and share and connect information and knowledge.

Curious to play with us? Please register here! And: bring some values with you. We are expecting you with pleasure and curiosity!

We are there on Sunday, 30 October, for two sessions of the game, 14:00h-15:00h, and 17:30h-18:30h.

Corner College in collaboration with Saman Anabel Sarabi and Josefine

http://www.hightimepublishers.com/



Anne Käthi Wehrli

Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!
Gedichte, Theoretisches Saxophon


Anne Käthi Wehrli, performance Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!, am Freitag, 12. August 2016 im Corner College. Photo: code flow.


Mütterlich lachten die Pflanzen.
Es war in Ordnung. Ich durfte über sie reden und mir Sachen über sie vorstellen.
Es störte sich nicht.

Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig!
Weil wir Freunde waren.


In den Lebensmitteln drin geht es zu und her wie in einer Stadt
2016. 96 Seiten. Gedichte, Texte und Zeichnungen.

Zine-Vernissage am Sonntag, 30. Oktober um 16:00h.




In den Lebensmitteln drin geht es zu und her wie in einer Stadt. Der Titel dieser Publikation stammt aus einem Gedicht, entstanden bei der Arbeit an einem Beitrag, der Performance „These we have tried …“, für den Anlass „Alice Toklas reads her famous hashish fudge recipe“, der 2015 in Wien stattfand. In dieser Performance geht es um die Zubereitung von Fudge und um das berühmte Haschisch Fudge Rezept von Alice Toklas, um Hausfrauen, Sprache, Chemie, Zufall und feine Unterschiede. Ein Teil daraus findet sich in dieser Publikation.

Der Text „Die Frau als Einstiegsloch“ ist während der Gruppenausstellung No‑where? No-here! The Molecular Books of Life – Colleges of Unreason 2016 im Corner College entstanden. Mehrmals während der Ausstellungsdauer erschien eine neue Fassung des Texts als Fanzine. Der Text ist noch nicht abgeschlossen.

Auch weitere Beiträge dieses Buchs kamen schon an anderen Orten und in anderen Formaten vor. In Fanzines, Ausstellungen, Radiosendungen. Zeichnungen an Performances, Gedichte als Teil von Texten. Einige waren bisher unveröffentlicht. Die Zeichnungen und Collagen sind aus der Zeit von ca. 1993-2016. Zusammen mit den Texten, die alle neueren Datums sind, sind sie jetzt für dieses Buch neu versammelt worden.


Posted by Corner College Collective

2016 / 201610 / Lecture
Kadiatou Diallo / SPARCK
Kadiatou Diallo
 




SPARCK – Space for Pan-African Research, Creation and Knowledge - operates without a centre, physical or otherwise. It understands itself as a node in a network of likeminded practitioners stemming from diverse disciplines and backgrounds. These relationships are lateral and projects emerge through ongoing conversations. The results are collaborative experiments, rarely shown in white cube settings but rather tested in flexible approaches across multiple sites from street to studio to online. These incarnations are driven by a shared interest in tackling questions about the global urban condition. Re-readings and alternative knowledge is generated through a process of speculation. The politics intrinsic to the work and its creators do not only frame the content but, maybe more importantly, guide a practice of engagement.

Co-organized by Corner College and the Postgraduate Programme in Curating of ZHdK (as part of their series Talks on Curatorial Practice).


Posted by Corner College Collective

2016 / 201610 / Artist Talk
Trying to Figure Out — A Dialogue between a Nonconformist Artist & a Scholar
Nastasia Louveau, Lia Perjovschi
 


Diagram by Lia Perjovschi, portraits by Nastasia Louveau.


Starting from Lia Perjovschi’s early performance work of the 1980’s and scrutinizing how it relates to her current artistic practice of opening new spaces of knowledge and re-organizing those spaces, Louveau & Perjovschi want to propose a conversation about performance art, the connection of art and research, and different approaches to filling gaps with art, thus shortcutting 30 years of artistic practice and its context from communism to capitalism, from the local to the global art scene.

Posted by Corner College Collective

2016 / 201610 / Ausstellung / Performance
begone before somebody drops a house on you too
Gregory Hari
 




An exhibition by Gregory Hari

with the support of Lavdrim Dzemailji

curated by Dimitrina Sevova and Alan Roth.

Opening: Saturday, 08 October 2016, starting at 18:00h
with a performance by Gregory Hari at 19:00h.

Saturday, 08 October 2016 - Friday, 21 October 2016

Further performances by Gregory Hari on Friday, 14 and Friday, 21 October 2016, 20:00h (door opens 19:00h).


Opening hours during this exhibition / Öffnungszeiten während dieser Ausstellung

Wed 15:00h - 18:00h // Mi 15:00h - 18:00h
Thu 16:00h - 19:00h // Do 16:00h - 19:00h
Fri 15:00h - 18:00h // Fr 15:00h - 18:00h


begone before somebody drops a house on you too


“Suddenly, this story came in and took possession. It really seemed to write itself.” L. Frank Baum, the author of The Wonderful Wizard of Oz (1900)


With his exhibition project at Corner College, Gregory Hari undertakes an experiment with the medium of exhibition and performativity, site specificity and the relation between mapping and performance. He further explores issues on belonging and territory, home and journey, inspired by the contexts of the novel The Wonderful Wizard of Oz, written by Lyman Frank Baum and published in 1900, and its most successful and popular movie/musical adaptation starring 13-year-old Judy Garland, which launched in 1939 to six Oscar nominations, and become influential for the new era of Walt Disney and the later Disney Empire, and by their aesthetic, social and political impact in the mainstream and in subculture.

The artist generates a performative map or diagram of movements and fragments that will open up a process, and project power-knowledge relations that reveal the hidden social and political issues and their potential to aesthetically and critically engage the audience. But the production of the event is not an ‘exchange of knowledge for power,’ nor a symbolic force. The performance confronts the audience with its archival moment across various narratives structures, and scatters in an-other geography of a journey as a vehicle for metamorphoses that go through contradictory permutations, as every act activates on this topography the performing strategies of an Odyssey. The topography becomes a “science of the sensible – the science of total joy,” a chaosmos journey of micro-physical mapping and mind-map of micro-desires. They are a journey as a cognitive concept and narrative future of a body, interwoven with Gregory Hari’s research materials, which displays the source of his movements and directions.

The artist situates himself on a yellow strip around one meter wide, where his performance takes place. He improvises ‘across seemingly exhaustive ground.’ It is a process of taking place – a particular place and a particular time. The performance transforms these temporal and spatial categories to a “threshold” that un-rolls an-other flexible and self-multiplying strip of impersonalized and individuated, self-constructed temporal and spatial relativity that constitutes a world yet to be explored. The artist’s performance starts from this particular coordinate of time and space where it takes place and places things in context. With this, the artist emphasizes a dependence of his performance on its specific chronotope (Bakhtin) that animates a process of ‘endlessly’ expanding its performative territory with the time of the body’s movements and the “time space” of the traveler who carries this place with themselves as they travel through it. A journey like a blank page.


“Green clothes the earth in tranquillity, ebbs and flows with the seasons. In it is the hope of Resurrection. We feel green has more shades than any other colour, as the buds break the winter dun in the hedges. Hallucinatory sunny days.” (Derek Jarman)

“Did they secretly drag up in all those emerald dresses that the girls had cast off?” (Derek Jarman)


Hallucinatory sunny days and perception of landscape in a journey, a journey in colors separated in a three-strip process by diffraction and subtraction! Transferences! For this dazzling rainbow palette, “brilliant, gorgeous, painted, gay”:


Red stands for the ruby slippers/red shoes
Yellow stands for the yellow brick road
Green stands for the Emerald City of Oz
(Gregory Hari)

Green: “Green is a colour which exists in narratives … it always returns. The grass is always greener on the other side of the fence.”
Yellow: “The nimbus of the saints, haloes and auras. These are the yellows of hope.
The joy of black and yellow Prospect Cottage. Black as pitch with bright yellow windows, it welcomes you.
Yellow is a combination of red and green light. There are no yellow receptors in the eye.”
Red: “Red protects itself. No colour is as territorial. It stakes a claim, is on the alert against the spectrum.”
“Red explodes and consumes itself.”
“Liverpool. Early 1980s. I join the march. V. (REDgrave) says, ‘Derek, you carry a red flag.’ There are fifty of us. The ghostly galleon of revolution past. We march through the deserted and derelict city with the sound of the wind whipping through the flags, a rosy galleon on the high sea of hope. The sunlight dyeing us red. Shipwrecked on the last coral-reef of optimism. Someone says to me, ‘The red of the square is beautiful. The root of the red is life itself.’”
(Derek Jarman)


Excerpts from the curatorial text by Dimitrina Sevova (PDF, 181KB).


Diese Ausstellung ist Teil der Plattform Transferences: The Function of the Exhibition and Performative Processes in the
Practices of Art – Questions of Participation
von Corner College, konzipiert von Dimitrina Sevova und Alan Roth, und wird unterstützt vom Nachwuchsförderungsprogramm der Pro Helvetia.

Posted by Corner College Collective

2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(public live event)

Alicia Velázquez
 




I regularly lose a lot of hair.

Often, I’d get lost in thoughts while twisting it.

As hairs slide off, small rings form around my finger.




I started collecting the rings.




I decided to take this ritual into a public performance.

Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.



This public event follows three days of a durational performance with streaming.

Posted by Corner College Collective

2016 / 201609 / Performance
ONE HAIR, ONE PURPOSE
A ritual of transformation
(3-day long-durational performance and streaming)

Alicia Velázquez
 





Durational performance on 27 - 28 - 29 September.

Open to the public during the following hours:
Tuesday, 27 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Wednesday, 28 September: 12:00h - 17:00h (streaming 14:00h - 15:00h)
Thursday, 29 September: 16:00h - 21:00h (streaming 20:00h - 21:00h)

Link for the streaming, for those who cannot attend in person:
https://youtu.be/KLJbdMmpzeM (27 Sept)
https://youtu.be/79Gj5rkqPjY (28 Sept)




Followed by a public live event on Thursday, 29 September at 20:00h.

One hair is trash. Million hairs is a woven record of my self.

I regularly lose a lot of hair.

Often, I’d get lost in thoughts while twisting it.

As hairs slide off, small rings form around my finger.

I started collecting the rings.

I decided to take this ritual into a public performance.

One Hair One Purpose is a 3-day long-durational performance taking this daily ritual into a conscious act of transformation.

Losing myself, repurposing myself, I invite the audience to co-experience and participate in the destruction and rebuilding of (my) physical transformation.

One hair, the simple, single element that makes any transformation possible. It always starts with one thought, one action, the celebration of one disposable event.

Posted by Corner College Collective

2016 / 201611 / Lecture
The Sonic Spectrum of Brazil's Tropicália: A Story Through Music
Jeffrey Pijpers
 




Where there are opinions, differences arise. Nonetheless opinions by academics, critics and music lovers generally agree on the fact that Tropicália as a musical movement marked an important change in Brazil's musical history: it clearly marks a before and an after. A lot has been said and written about the movement already, but in spite of all the information that is available, it continues to be difficult to summarize what Tropicália is without running the risk of leaving some key elements out. In my presentation I wish to introduce Tropicália through its own language: music. Different audio and visual fragments will be used to give an idea of the movement’s stylistic diversity, focusing not only on how it differs from other styles and currents in Brazilian music, but also emphasizing some important connections and continuities.

Jeffrey Pijpers

This event is also part of the Workshop Tropical, Tropicalismo, Tropicálias – Cultural (Counter)movements in Brazil at the University of Zurich.

Organized by Pauline Bachmann and André Masseno together with the Luso-Brazilian Studies department of the University of Zurich.

Posted by Corner College Collective

2016 / 201609 / Home of the Brave: Archeology of the Moving Image
Video works by Maria Pomiansky
Maria Pomiansky
 




The main topic of my videos could be defined as immigration, and following transformations of a personality. I think each immigration takes a minimum of 5 years of your life till you start to feel connected to a new place, understand the language, unspoken rules, and so on. So it’s a traumatic process for everyone.

Somehow the fact that the Soviet Union (where I was born) doesn’t exist anymore reduces any possibility of going back, makes me look forward and try to adapt myself to an always new reality and new places. It became an important issue for me to learn a lot about the place where I live (first Tel-Aviv, and now Zurich) and try to build a dialog through my art practices (video and painting). The longer I live in Western Europe, the more interesting it becomes to analyze certain things about Soviet life. Sometimes the Soviet, Eastern European utopia I grew up with becomes thus a distorted reality in the West.

The earlier videos, filmed in Israel, were all based on one principle. I was filming people doing some similar action. That trick is now widely used in cinema, advertisement and music clips. But at the end of the nineties, when I made those films, it looked quite fresh and original. I did quite many short videos with the same people, mostly Russian immigrants in their first years in Israel. It wasn’t a random choice: these people were my friends. They were artists, musicians, actors, fashion designers, etc. That created a special mood and atmosphere.

Filming the raw material for my Trilogy documentary about the perception of beauty, fears and happiness, I had to travel to Tel Aviv and back to Zurich, and Moscow was initially in my mind as well which led me back to my roots. Trying to answer a question, where do I belong, I realized that there is no answer and I just have to let myself flow with stream of life and not be obsessive about the past.

Esther Eppstein über Maria Pomianskys Trilogie

Maria Pomianskys Film «Glück это глюк» (Happiness is a trip) ist der letzter Film aus der Trilogie (Beauty 2006, Fears 2009), einer Langzeitstudie über die Frage menschlicher Zustände, Sehnsüchte und Ängste. Maria Pomiansky ist im sowjetischen Moskau geboren, emigrierte Anfang der neunziger Jahre als Jugendliche nach Israel und lebt heute, seit bald zehn Jahren in Zürich. In diesen drei Städten ihres Lebenslaufs befragte Maria Pomiansky für ihre in 2005 begonnene Trilogie Bekannte, Freundinnen und Freunde über deren Einstellung zum Leben, zur Kunst, zur Liebe, zum Rausch, zur Ewigkeit und zur Vergänglichkeit. Jugend in Moskau, in Tel Aviv, in Zürich ... Die Künstlerin reist zwischen den Städten, findet das Verbindende, das Einzigartige und das gegenseitig Fremde zwischen Nahem Osten, West- und Osteuropa. Es wird Russisch, Hebräisch, Deutsch und Englisch gesprochen. Die Filmemacherin ist die kosmopolitische Weltbürgerin und distanzlose Beobachterin, wobei auch immer wieder unvermittelt ein diffuses Gefühl der Heimatlosigkeit, Verwirrung und Melancholie mitschwingt. Die Künstlerin führt ihre Protagonisten und die Zuschauer von leichten, verspielten Plaudereien zu tief berührenden existenziellen Gesprächen, die Kamera zeigt komponierte Bilder mit Gesichtern und Landschaften. Die Trilogie, während eines Zeitraum von fast zehn Jahren entstanden, zeigt die Veränderung und die Entwicklung der jungen Freunde. Die stark autobiografisch gefärbte Filmsprache bewegt sich zwischen Dokumentar- Reise- Experimental- und inszeniertem Kunstfilm. Maria Pomiansky sucht in ihrer Filmreise Antworten auf ihre ganz persönliche Frage der Zugehörigkeit. Der Film zitiert und mischt in Inhalt und Ästhetik das Kino jüdischer Diaspora, den russischen und sowjetischen Pathos und die Popkultur des Westens. Musik spielt in allen drei Filmen eine wichtige Rolle, ist für Maria Pomiansky ein Verbindungsglied zwischen den Kulturen in denen sie sich bewegt und die sich neben vieler Ähnlichkeiten, Gemeinsamkeiten und der Universalität menschlicher Bedürfnisse und Ängste doch auch sehr unterscheiden.


The text above by Esther Eppstein, along with a text about Maria Pomiansky's work more generally by Vadim Levin, is also available in printable layout as PDF (106KB).




Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2016 / 201608 / 201609 / Ausstellung
#work #dance #labor #movements
Johanna Bruckner, Discoteca Flaming Star
 

An exhibition by Johanna Bruckner and Discoteca Flaming Star

curated by Dimitrina Sevova and Alan Roth.

Opening: Saturday, 20 August 2016, starting at 18:30h

with a performance by Discoteca Flaming Star at 20:00h.

Saturday, 20 August 2016 - Friday, 23 September 2016


Opening Hours / Öffnungszeiten
Wednesday / Mittwoch, 15:00h – 18:00h
Thursday / Donnerstag, 16:00h – 19:00h
Friday / Freitag, 15:00h – 18:00h
Saturday / Samstag, 14:00h – 16:30h
(Closed on Thursday, 15 September 2016)


[English below]

Die Ausstellung #work #dance #labor #movements vereint die Installation und Performance Love Any Out of (90 Seconds) End von Discoteca Flaming Star mit den Research-Prozess-basierten Video Installationen Rebel Bodies (Episodes I & II) und Total Algorithms of Partiality von Johanna Bruckner.

Beim Ausstellungsprojekt geht es um die Freude am Anderen, und darum, aus polyphonischen Melodien und gemeinschaftlichen Rhythmen einen unpersönlichen Refrain zu erzeugen. Die Ausstellung bezieht bewusst die aktuellen post-fordistischen Bedingungen und die prekäre Lage kreativer Arbeiter_innen und immaterielle Aspekte der Produktivität heute ein, um auszumalen, wie wir alle als Agent_innen in einem Netzwerk von Beziehungen dringend unsere materiellen Körper am Limit tanzend erfinden müssen. Das veranlasst jede_n von uns unweigerlich, unsere Beziehungen zum Anderen neu zusammen zu setzen. In dieser Bewegung des Zusammenspiels, in der man sich um den Anderen sorgt, „kann das Limit nicht ausgeschöpft werden.“ Das, was Franco „Bifo“ Berardi als für die Produktion von Affekt und Potentialität notwendiges Limit definiert, für ein positive und aktive Verfremdung, die es erlaubt, der technologischen Entfremdung zu entgehen, die auch eine soziale ist. In der Überschneidung der Praktiken von DFS und Bruckner zeigt die Ausstellung Techniken der Bewegung, die für das tägliche Proben in unserem Alltag verwendet werden können, um ihr Publikum linguistisch, affektiv und politisch einzubeziehen. Dazu sind keine besonderen Tanzfähigkeiten vonnöten. Es kann experimentiert und improvisiert werden, um einen „Mutationspunkt“ der Bewegungen eines Körpers zu finden, der präzis eine Praxis des Tanzes definiert – eines Tanzes, der nichts Exklusives verlangt. Die Arbeiten von DFS und Bruckner gehen alltäglichen Praktiken von Tanz und Bewegung nach, Praktiken, die der Wiederholung und der konsistenten Imperfektion bedürfen. Die Probetechniken der Improvisation sind molekulare Werkzeuge, die dazu dienen, Sand ins Getriebe der Kontrollapparate und der kognitiven Automation, die sie im Sinn einbetten – Werkzeuge zur Herstellung anderer Dynamiken in der Beschleunigung der Alltags im maschinischen Kapitalismus. Die flexiblen tanzenden Körper, die wie ein Fischschwarm Bogen schlagen zwischen persönlicher und sozialer Zeit, entrinnen den üblichen Koordinaten des Bodens.

#work #dance #labor #movements ist ein Ausstellungsprojekt in Bewegung, das Tanzbewegungen als persönlichen/sozialen Prozess betrachtet, der den sozialen Körper neu zusammen setzt, einen Körper als besonderes Ding, als temporär stabile dauerhafte Konstruktion aggregierter Teile, eine Konstruktion, die niemals ausserhalb ihres Wesens als Beziehung erfasst werden kann. Sie ertastet, wie der konkrete Körper kollektiv hergestellt wird in Bezug auf Bewegung und Ruhezustand seiner zusammengefügten Teile und deren affektive Resonanzen. Die Bewegung hat ihre eigene Präsenz, schreibt Simone Forti, eine individuierende Kraft des unpersönlichen, verkörperten sozialen Wissens, das es in biopolitischen Begriffen, also mit dem Körper zu denken gilt. Affekt ist eine andere Art, über Macht und die innerliche Konstruktion des Körpers, die Macht zu affektieren oder affektiert zu werden. Der Affekt ist die Macht des widerständigen Körpers, des tanzenden Körpers, von Körper-Kämpfen. Der Affekt verteilt die Körper über einen grossen Raum, offen gegenüber mannigfaltigen Dauern. Der Affekt ist eine Körperpolitik. Foucault stellt fest, dass in Machtkämpfe immer „Körperaktionen“ wirken, und affektive Macht ist produktiv, da sie „die Wirklichkeit ebenso postuliert und herstellt, als sie ihr Grenzen auferlegt.“ In Deleuzes Worten: “Was ein Körper tun kann, entspricht dem Wesen und den Grenzen seiner Fähigkeit, affektiert zu werden.“ Am Limit zu tanzen, affektiert den Körper mehr, als es die Repräsentation tut. Es gibt uns den Schlüssel zum Verständnis affirmativer Politik. Der tanzende Körper vermag es, Negativität zurück zu drängen, sich von ihr zu entflechten.

Affirmative Praktiken betreffen alles, was zum Sinn gehört, affektive Resonanzen zwischen den Teilen der Körper und ihre Differenz, alle Mannigfaltigkeiten und ihre Variabilität und Intensitäten totaler Freude im körperlosen, immateriellen und unpersönlichen Ereignis. „Die Frage des Sinns wird eins mit der Politik.“ Die Ästhetik und Politik des Sinns, in Bezug auf radikale Metaphysik und Bio-Macht gedacht, erotisiert den Körper sowohl in seiner Alltags-Existenz, als auch in der digitalen Sphäre, unregelmässige Körper miteinander verbindend, um die wettbewerblichen Prinzipien in jedem Fragment des sozialen Lebens zu hintertreiben – sinnliche Körper der Solidarität, der Gerechtigkeit und des Rechts. Die Art und Weise, wie sie in ihren künstlerischen Praktiken die Ästhetik des Sinns und die Biopolitik angehen, überschneidet sich in den Positionen und den Arbeiten für diese Ausstellung der Künstler_innen Discoteca Flaming Star und Johanna Bruckner.

Auszug aus dem kuratorischen Text von Dimitrina Sevova und Alan Roth.


[Deutsch siehe oben]

The exhibition #work #dance #labor #movements brings together the installation and performance Love Any Out of (90 Seconds) End by Discoteca Flaming Star, and the research-process-based video installations Rebel Bodies (Episodes I & II) and Total Algorithms of Partiality by Johanna Bruckner.

The exhibition project is about the pleasure of enjoying the other, and sets out to produce an impersonal refrain made of polyphonic tunes and collaborative rhythms. It consciously considers the current post-Fordist conditions and the precarious situation of creative labor and the immaterial aspects of productivity today, to outline how all of us as agents in a network of relations, urgently need to invent our corporeal bodies dancing at the limit. It inevitably prompts each of us to recompose one’s relation to the other. In this movement of interplay, when one takes care of the other, “the limit cannot be exhausted.” What Franco “Bifo” Berardi defines as the limit necessary to the production of the affect and of potentiality, for positive and active estrangement to overcome technological alienation, which is also social alienation. At the intersection of the practices of DFS and Bruckner, the exhibition dis-plays techniques of movement that can be used for rehearsals every day in our daily life, to linguistically, affectively and politically engage its audience. It does not require particular dance skills. One can experiment and improvise, to find a ‘mutation point’ of a body’s movements that precisely defines a practice of dance – a dance that does not require something exclusive. The works of DFS and Bruckner trace the everydayness of practices of dance and movement, practices that need repetition and a consistency of imperfection. The rehearsal techniques of improvisation are molecular tools for putting a spoke in the wheels of apparatuses of control and the cognitive automation they embed in the sensible, tools for introducing other dynamics in the acceleration of everyday life in machinic capitalism. The flexible dancing bodies that arc as a fish swarm between personal and social time, elude the usual coordinates of the floor.

#work #dance #labor #movements is an exhibition project in motion that considers dance movements as a personal/social process that recomposes the social body, a body as a particular thing, as a temporally stable, durational construction of aggregated parts, a construction that can never be conceived outside its conjunctional nature. It probes how the concrete body is collectively produced with respect to motion and rest of its conjoined parts and their affective resonances. The movement has its own presence, writes Simone Forti, an individuating power of impersonal, embodied social knowledge, to be thought in biopolitical terms, i.e., thought with the body. Affect is another way to talk about power and the body’s internal construction, the power to be affected and to affect. Affect is the power of the resisting body, of body struggles, of the dancing body. Affect distributes bodies across a larger space open to multiple durations. Affect is a body politics. Foucault asserts that power struggles always involve ‘body actions,’ and affective power is productive since it “posits and produces reality as much as it sets limits on it.” As Deleuze put it: “What a body can do corresponds to the nature and limits of its capacity to be affected.” To dance at the limit affects the body more than representation. It gives the key to an understanding of affirmative politics. The dancing body can de-limit negativity, disentangle itself from it.

Affirmative practices concern everything that belongs to the sensible, affective resonances between the bodies’ parts and their differences, all multiplicities and their variabilities or intensities of total joy in the incorporeal, immaterial and impersonal event. “The question of sensibility becomes one with politics.” The aesthetics and politics of the sensible, thought in terms of radical metaphysics and biopower, eroticizes the body both in its everyday existence and in the digital realm, conjoining irregular bodies to undermine competitive principles in every fragment of social life – sensible bodies of solidarity, justice and rights. The way they treat, in their artistic practices, the aesthetics of the sensible and biopolitics, intersects in the positions and the works for this exhibition of the artists Discoteca Flaming Star and Johanna Bruckner.

Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.



Johanna Bruckner

Rebel Bodies
Episodes I & II




The artist Johanna Bruckner continues her research on the organization of collective bodies with “Rebel Bodies”, part II. This large-scale work picks up the Workers Dance League’s inquiry into the possibilities of forming subversive embodied collective subjects. Bruckner’s research based approach sets off from an approximation to marginalized archives of knowledge, and thus creates space for the enunciation of matters which were excluded from hegemonic historiographies. Yet, this process can in no way be reduced to a purely discursive revision or alternative representation (of historiography). “Rebel Bodies” does not only present past (labor) struggles corporeally, but also calls them into the present performatively. Bruckner’s work transposes aspects of subversive choreographic approaches and of worker struggles from the 1930s, the times of industrial capitalism, into the present post-crisis phase of “cognitive” finance capitalism, temporally and spatially; to be more precise, to the Hafencity, which is a prime example of neoliberalism and proceeding gentrification.

(Marius Henderson)


Total Algorithms of Partiality

Hamburg’s Hafencity is currently characterised by continuous transformation. Interest in the most ʻintelligentʼ possible management of the districtʼs infrastructure is being tested by the introduction of new monitoring systems in Hafencity. The concept of logistics is becoming increasingly centralized, to enable optimal co-ordination of commercial, digital and social interactions. In Total Algorithms of Partiality dance scores examining the potential of an altered social logistics in Hamburgʼs Hafencity are developed, during the course of which I look at the current role of contemporary labour organisation and its possible course of action as it is confronted with the controversial developments in Hamburg’s Hafencity. What stance does the trade union take in relation to the complex, unstable situation in the new ʻghost townʼ and what forms of co-operative resistance are set in motion? The artistic work is to be presented in the form of a video installation, a performance, and research material.

This project is concerned with the possibilities of understanding art as an affirmative practice within society and its interwoven infrastructures, deriving from an intensive artistic and scientific examination of the complex logistical developments in Hamburg’s Hafencity and its significant international position.




Discoteca Flaming Star

Love Any Out of (90 Seconds) End




Love Any Out of (90 Seconds) End is a spatial installation and dance performance construction in two different planes. Love Any Out of (90 Seconds) End is a dance piece in which no one ever appears to dance, like in Dance Construction Clothes by Simone Forti. The fabric and its surface are the interiority of the movement itself, which produces an immersive environment not only to look at, but one which the audience walking in the space can feel or inhabit through their moving bodies. Pieces of fabric cut to different sizes, cut across the existing space other temporalities. They are part of the long-term practices of Discoteca Flaming Star with banners, pieces of fabric, glued together and painted or collaged with text which appears irregularly on their surface in poetic lines that make another movement to that of the freely folding, hung fabric. They serve both as backdrop curtains for performances and as an independent, formless architecture within the existing architecture that unframes the space. The movements of the banners shuffle the space; they are a spatial deterritorialization whose disorder forms into words. The interplay between the words makes a sensitive bricolage of Discoteca Flaming Star’s own reflections and the cryptic thoughts that pass through them on everything they are interested in at the moment, which they sometimes carry around with them for months. Sometimes they are concepts, or poems. In the words of DFS, they are think-text-iles.

For their live performance dance construction Love Any Out of (90 Seconds) End, Discoteca Flaming Star take the case of the little girl Esther who trained ambitiously to become a rhythmic gymnast. She wishes to develop to the extreme in her exercises her athletic excellence, to display perfect physical agility, coordination and grace. As it turns out, under the pressure of her parents, Esther eventually left the field of gymnastics to undertake another education that would give her a better future. Now Esther is a woman who graduated from university, which has indeed given her greater opportunities in her life. Her memory has retained, inscribed in her body, the rigorous training of the movements of rhythmic gymnastics. These inscriptions in her body remind her that she did not manage to realize her childhood dream. In the duration of the performance, the dance movements bring her back to the time of her childhood, as they evoke her memory through her body. They follow the dance score of Esther’s 90 seconds of multiple becoming in its imperceptible time, becoming child, becoming animal – A-ESTHER-BECOMING-DIVINE HORSEWOMAN, becoming an imperceptible-impersonal molecule, becoming one and many at the same time in the vanishing time of a 90 seconds duration. A molecular becoming of one/many, to the event of the groundless and infinitely small milieus of a collective action. Esther does not designate a proper name. Esther does not represent a subject, but a desiring assemblage, a collective persona of three and more, as everything written above in capital letters. She is a collective enunciation. The instruction is to love any out of these 90 seconds. To love. A verb in the infinitive! To mark processes like to walk, to love, to dance. The infinitive marks movements of deterritorialization.

Esther dances together with Cristina, and Wolfgang sings. Their dance supposes proximity and distance at the ground level, but in the proximity of their dancing bodies they do not necessarily follow each other’s movements. Their disjointed movements start to intersect more and more often to modulate an invisible diagram of individuation. “I am you” in this passage, with all its intensive components of variability at once. Their movements are at the limit of their bodies and at the limit of their language. Logomotions and body movements interrelate. They double in the becoming of Esther. She is an assemblage – a material production of desires. Esther starts betraying her own memorized techniques of rhythmic gymnastics, displacing them with more improvisational and free movements, eluding the repressive apparatus and disciplining process to lose control, to push her desires to the real life experience, with the sensible quality of emotions and the fabulating movements coming from language. Cristina’s movement techniques are elaborated on the basis of Maya Deren’s and Simone Forti’s systems of movements and techniques, and philosophy.

Love Any Out of (90 Seconds) End opens a new path of imaginary/experience in order to give her a score to become conscious of her difference, embodied in the singularity of the therapeutic process. It is not remodeling Esther’s subjectivity. It is a new production in the dance movements “to recompose her existential corporeality and to get out of her repetitive impasses.” It is both a politics and an aesthetics of irreversible duration.

Love makes the movements a dance of refusal. Love is not work! “dance! no work!” Dance forms life! Dancing molecules, disconnected and at the same time all together. Every movement becomes a joyful autonomous event in a mass tune that gives the courage to Esther to traverse the abyss of the 90 seconds of death, of non-being and crying. “I die. I die.” Which means, paradoxically “I leave. I leave.” And give her the power to fight for the world. “I am you.”

Excerpt from the text on DFS's work in the exhibition, by Dimitrina Sevova and Alan Roth.

Posted by Corner College Collective

2016 / 201609 / The Artist as The Curator as The Artist
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)
peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)
Erica van Loon

peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring), Erica van Loon
 

[English see below]

Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.

In der fünften Veranstaltung lädt Corner College das Künstlerinnen-Kuratorinnen-Duo peekaboo!, bestehend aus Lisa Biedlingmaier und Bernadette Wolbring, sowie die Künstlerin Erica van Loon ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.

Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html


[Deutsch siehe oben]

Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In the fifth event, artists das Künstlerinnen-Kuratorinnen-Duo peekaboo!, consisting of Lisa Biedlingmaier and Bernadette Wolbring, as well as artist Erica van Loon are invited to present their curatorial practices and discuss them between themselves and with the audience.

Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html



peekaboo! (Lisa Biedlingmaier & Bernadette Wolbring)




Welche Stellung nimmt man als KünstlerIn im urbanen Raum, der fortwährend von Gentrifizierung bedroht wird, ein? Dieser Raum, der immer auch ein politischer und sozialer Raum ist? Lässt man sich als KünstlerIn für die Aussenwirkung Anderer instrumentalisieren? Beteiligt man sich durch künstlerisches Handeln aktiv an politischen Prozessen?
Neben diesen Fragestellungen, die die Künstlerinnen Lisa Biedlingmaier und Bernadette Wolbring dazu gebracht haben ihre künstlerische Arbeit mit kuratorischen Formaten zu erweitern, werden Erfahrungen über das Arbeiten in Kollektiven und über Synergien, die sich zwischen künstlerischer und kuratorischer Praxis ergeben, ausgetauscht.

Das Künstler-Kuratorinnen-Team peekaboo!, bestehend aus Lisa Biedlingmaier und Bernadette Wolbring, hat sich zusammengetan um gleich einer Band, die an verschiedenen Orten Konzerte spielt, in verschiedenen (Kunst)räumen aufzutreten – in Form von Publikationen, Screenings und Ausstellungen. Da beide in jeweils zwei Ländern leben (Stuttgart / Zürich und Stuttgart / Stockholm), bieten sich dafür internationale Kooperationen an.
2014 bis 2016 lud das Künstler/Kuratoren-duo zu einer Reihe von drei internationalen Gruppenausstellungen ein, in der Absicht einen am Rande des Städtebauprojekts Stuttgart 21 stattfindenden Gentrifizierungsprozess zu thematisieren. 2016 stellte peekaboo! ihre bisherige Tätigkeit im Künstlerhaus Stuttgart im Rahmen des Post-Graduate Program in Curating der Zürcher Hochschule der Künste vor.



Erica van Loon


Installation view of the Breakfast Show, including one of the video works in the exhibition: It’s possibly the only way that I can walk through myself by Rosie Heinrich.


With her recent work, Erica van Loon reflects on the physical interconnection between the human body and that of the earth, but also searches for ways to relate to their less tangible inner worlds, that we access almost exclusively by the mind; like processes inside our planet or the human (sub)conscious.
She often works with repetitive actions or visual and auditory rhythms, that she sees as an instrument for creating a state of mind that intensifies our sensory perception, and with that, our ability to connect with what is outside and inside of us.

In June 2016 Van Loon took this ambition to sharpen the sensory perception, as a starting point for curating the Breakfast Show at project space PuntWG in Amsterdam.

Breakfast literally means ‘breaking the fast’ of the night. During night-time our attention turns inward and almost all input from the outside is paused. We temporarily shift to another state of mind.
Most of the time, an encounter with an artwork is preceded by a multitude of sensory, emotional and intellectual interactions. What happens if an exhibition is the first thing we are exposed to after waking up, when we have had little sensory activity and almost no interactions with our surroundings.
By moving the usual timeframe in which we look at art, the viewer has a slightly altered state of consciousness. Does this result in a different susceptibility, a different reflection on the works? Does it affect how we perceive the succeeding reality of a day?
The shown video works by Charlotte Dumas, Priscila Fernandes, Rosie Heinrich, Erica van Loon and Timmy van Zoelen each in their own way, could be connected to the above questions. At the same time they allowed for a broader reading, leaving scope for one’s own interpretation and for discussion at the breakfast table.
As the exhibition was only open in the early morning, from sunrise (around 5.20 AM), visitors were invited to see the video works before engaging in other activities. And indeed people took the effort to get up early; some of them even arrived earlier than the curator (or was she a performing artist?) who was racing the sun to get to the exhibition space every morning. Where she served breakfast, which stimulated visitors to reflect in dialogue.

During The Artist as The Curator as The Artist on 4 September, Erica van Loon will reflect on these mornings and how she links them to her artistic practice.

Posted by Corner College Collective

2016 / 201609 / Konzert
Tritonics+
Benjamin Ryser, Manuela Villiger, Vera Wahl, Kay Zhang
 




[English below]

In Tritonics+ erzeugen Akteure einen Performance-Raum aus zeitgenössischer Praxis rund um das Saxophon, wobei das Saxophon der gemeine Gegenstand ist, der Leute vom Hauptbild addiert oder subtrahiert. Dies erlaubt es, unterschiedliche Formen des Repertoires aber auch Improvisationen vorzubringen. Tritonics+ zielt darauf ab, einen Raum zu erzeugen, in dem Leute offen interpretieren können, unterschiedlicher Sound-Formationen und Urbanisierung des Raums ausgesetzt sind.

Corner College stellt einen Raum zur Verfügung, in welchem Tritonics+ einen Bereich für gegenseitige Zusammenarbeit mit den Arbeiten Johanna Bruckners und Discoteca Flaming Star erzeugt.

Beteiligte Akteur_innen sind Kay Zhang, Manuela Villiger, Vera Wahl, und Benjamin Ryser.


[Deutsch siehe oben]

In Tritonics+, actors create a performance space made up of contemporary practice centered around the saxophone, the saxophone being the common object that adds and subtracts people from the main picture. This allows putting forward different forms of repertoire but also sound improvisation.
Tritonics+ aims to create a space for people to openly interpret, be exposed to different sound formation and space urbanisation.

Corner College provides a space in which Tritonics+ creates an area for cross-collaboration with works of Johanna Bruckner and Discoteca Flaming Star.

Actors involved are Kay Zhang, Manuela Villiger, Vera Wahl, and Benjamin Ryser.


Program

Two Pieces (1983) 5’ – Edison Denisov
Rough Winds Do Shake the Darling Buds (1999) 12’ – Eric Moe
Impro 5’
Reed Phase (1992) 6’ – Steve Reich
Next to Beside Besides (2003-2006) 5’ – Simon Steen-Andersen
Megaphone Duo featuring Benjamin Ryser

Posted by Corner College Collective

2016 / 201608 / Konzert / Lesung
Lesung von Anne Käthi Wehrli
und
Konzert von Mosh Mosh

Mosh Mosh, Anne Käthi Wehrli
 

20:00h Lesung von Anne Käthi Wehrli
21:00h Konzert von Mosh Mosh


Anne Käthi Wehrli
Lesung




Wieso merkt niemand dass dieser Stuhl eine Brennnessel ist!
Gedichte, Theoretisches Saxophon

Mütterlich lachten die Pflanzen.
Es war in Ordnung. Ich durfte über sie reden und mir Sachen über sie vorstellen.
Es störte sich nicht.

Sogar die Giftpflanzen sagten jedesmal wenn ich eine essen wollte: Nein! Wir sind giftig!
Weil wir Freunde waren.


Reading
Why doesn't anybody notice that this chair is a nettle!
Poems, Theoretical Saxophone



Mosh Mosh
Konzert




Nicht umsonst bezeichnen sich Lady Mosh und Posh Mosh selbst als divenhaftes Duo. Und tatsächlich könnte man sie zu Beginn ihrer Performances mit zwei feinen Damen verwechseln, die unterwegs zu einem Gala-Dinner sind. Allerdings bleibt am Ende jedes Mosh Mosh-Live-Auftritts von diesem Eindruck nicht mehr viel übrig. Denn im Eifer des Gefechts sind sich die Diven weder zum Stagediven noch für ekstatische „Bühnenakrobatik“ zu schade. Im ramponierten Zustand scheinen sich die beiden Ladies am wohlsten zu fühlen - immer fleissig damit beschäftigt, die Codes der Damenhaftigkeit neu zu definieren.
Let‘s deconstruct and your body will follow!
Mosh Mosh entführen dabei in Paralleluniversen ebenso faszinierender wie unheimlicher Gegendarstellungen zur Absurdität normierter Lebensentwürfe. Immer funky und kinky entfalten sie schwärmerische Ambivalenzen für Agent Cooper aus „Twin Peaks“, preisen als verwuselte Enkel_innen von Divine die Vorteile von „Robotic Love“, zeigen uns erneut die spooky Zwiespältigkeit geisterhaften Mondlichts im
Angesicht essentieller Fragen anti-essentialistischen, beziehungsweise extraterrestrischen Inhalts („The Mooon“) und treiben schlussendlich auch den heteronormierten Schwefelgeruch aus der Einbauküche hinaus („Junkies in Bikinies“), leider jedoch ohne das unbeschreiblich gruselig auf dem Linoleumboden herumkriechende Etwas wirklich ganz loszuwerden. Denn Mosh Mosh sind zwar Querfeldein-Utopist_innen aber eben auch sezierende Realist_innen.


Lady Mosh and Posh Mosh don't describe themselves as a diva-esque duo for nothing. Its true that at the start of their stage show, one could mistake them for two, fine ladies who are about to go to a 'Gala' dinner. The truth of the matter is that there is little left of this impression after every Mosh Mosh live show. The divas become stage divers and are not scared of ecstatic and extravagant 'stage acrobatics'. In brief: Mosh Mosh seem to be most at home when they are in tatters. And it is only thus that the codes of 'ladylike behaviour' can be redefined.
Let's deconstruct and your body will follow!


Vielen Dank an Deborah Keller, die diese Veranstaltung auswählte für ihr Meine Wahl, Züritipp 32, 11 August 2016!


Deborah Keller, Meine Wahl, Züritipp 32, 11 August 2016.

Posted by Corner College Collective

2016 / 201608 / Ausstellung / Finissage
Finissage: Emporium of Benevolent Data with Adrien Guillet and Quentin Lannes
Adrien Guillet, Quentin Lannes
 

Finissage: Friday, 05 August 2016, at 18:00h in the presence of the artists.


Emporium of Benevolent Data. Exhibition views from the opening. Photo: code flow.


An exhibition project by Adrien Guillet and Quentin Lannes

curated by Dimitrina Sevova and Alan Roth.

Sat 09.07.2016 - Wed 04.08.2016


Emporium of Benevolent Data is an exhibition project by Adrien Guillet and Quentin Lannes, in collaboration with Corner College, based on the two artists’ long-term friendship and discussions. It puts on display their recent works Citracit, a site-specific research-based installation by Adrien Guillet, and the two video installations #IamRebekah and The Next Round by Quentin Lannes.


This exhibition was made possible by the kind support of the French Embassy in Switzerland.

Posted by Corner College Collective

2016 / 201607 / Heftvernissage / Präsentation
Karol Radziszewski: Presentation of DIK Fagazine
Karol Radziszewski
 


DIK Fagazine, No 9, Czechoslovakia Issue (2014)


DIK Fagazine is the first and, so far, the only art magazine from Central and Eastern Europe concentrated on homosexuality and masculinity. It combines queer archival research with contemporary art contributions. Founded in 2005 by artist Karol Radziszewski. Currently designed by Martin Falck. The journal is based in Poland, published in English and distributed worldwide.

DIK Fagazine ist die erste und bisher einzige Kunstzeitschrift aus Zentral- und Osteuropa, die Homosexualität und Männlichkeit fokussiert. Sie verbindet Recherchen in Queerarchiven mit Beiträgen zeitgenössischer Kunst. 2005 vom Künstler Karol Radziszewski gegründet. Derzeit Design von Martin Falck. Das Journal ist in Polen angesiedelt und wird auf Englisch herausgegeben und weltweit verteilt.

http://dikfagazine.com/

Posted by Corner College Collective

2016 / 201607 / The Artist as The Curator as The Artist
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)
Livio Baumgartner
Pascal Häusermann
Karol Radziszewski

Livio Baumgartner, Pascal Häusermann, Karol Radziszewski, Robert Steinberger
 

[English see below]

Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.

In der vierten Veranstaltung lädt Corner College die Künstler Livio Baumgartner, Pascal Häusermann und Karol Radziszewski ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren. Die Diskussion wird moderiert von Robert Steinberger.


Left: Livio Baumgartner, All The Things You Are (settled), 2014. Kollaboration mit Peter Baumgartner. Verschiedene Materialien, Grösse variabel. Ausstellungsansicht: Cantonale Bern Jura, Kunstmuseum Thun, 2014. Middle: Trouble Boy. Archives and Collections of Steven Shearer, Martin Stricker, Marky Edelmann, Supernaught. Exhibition at Corner College, 31.1. – 9.2. 2014. Curated by Pascal Häusermann. Right: Karol Radziszewski, Queer Archives Institute, exhibition at Videobrasil, Sao Paulo, Brazil, 2016. Photo: Everton Ballardin.


Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html


[Deutsch siehe oben]

Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In the fourth event, artists Livio Baumgartner, Pascal Häusermann and Karol Radziszewski are invited to present their curatorial practices and discuss them between themselves and with the audience. The discussion will be moderated by Robert Steinberger.

Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html



Livio Baumgartner


Ausstellungsansicht: VITRINE 03, 22.12.2013 – 12.01.2014. Die Diele, Sihlhallenstrasse 4, 8004 Zürich.


Detailliertere Legende zum Bild // Extended caption for the picture:

Die Diele, Vitrine 03 mit «KÜNSTLERKERZEN» VON:
Martin Blum
Rene Fahrni
Franziska Baumgartner
Martin Charmosta
Costa Vece
Vanessa Billy
Nino Baumgartner
huber.huber
Sarina - Sandino Scheidegger
Cyril Plangg
Jan Hostettler
Ariane Koch
Andreas Heusser
Sebastian Mundwiler
Julia Hoentzsch
U.V.M.



All The Things You Are (settled), 2014. Kollaboration mit Peter Baumgartner. Verschiedene Materialien, Grösse variabel. Ausstellungsansicht: Cantonale Bern Jura, Kunstmuseum Thun, 2014.


Livio Baumgartner (1982 Bern) studierte Fotografie und Bildende Kunst in Zürich und Bern. Während in den Fotogramm-Arbeiten die klassischen Bildelemente von Linie und Raum zu einer neuen Interpretation gelangen, wird in den installativen und konzeptuellen Arbeiten der Frage nachgegangen, wann und wie ein Werk zur Kunst wird. Die subtile Ironie hinter diesen Kunstprojekten überführt den scheinbar banalen und alltäglichen Gegenstand in einen ästhetischen Kontext. Neben seiner künstlerischen Tätigkeit kuratiert der gebürtige Berner seit 2009 Ausstellungen verschiedenster Künstler_innen im Zürcher Off-Space «Die Diele». Zudem interessiert ihn immer wieder die kollektive Umsetzung künstlerischer Lösungen in Projektbezogenen Ausstellungen wie «No Territorial Pissing» (2010, Bern), «Shine on You Crazy Diamond» (2012, Zürich, mit Nele Dechmann und Nicola Ruffo) oder «Oh wie schön ist Panama – im Spannungsfeld zwischen Mola und Moral» (2016, Zürich, mit Andreas Heusser).
http://www.liviobaumgartner.ch/
http://www.diediele.ch/


Pascal Häusermann


Trouble Boy. Archives and Collections of Steven Shearer, Martin Stricker, Marky Edelmann, Supernaught. Exhibition at Corner College, 31.1. – 9.2. 2014. Curated by Pascal Häusermann.


"Das Thema der Männlichkeit ist eine Konstante sowohl in meiner künstlerischen Praxis wie auch in den kuratorischen Arbeiten.

"Trouble Boy", 2014 im Corner College gezeigt, untersuchte Aggressivität und Selbstinszenierung im Kult des Heavy Metal und bezeichnete eine Stagnation des Rollenmodells Mann. In Gegenüberstellung dazu steht meine derzeitige Arbeit des Erkundens von urbanem Lebensraum. "Walking in Paris along a Mosaik", "Walking an Oriental Line" und "Ascending and Descending in São Paulo" sind filmische Arbeiten, in welchen Kontrollschemen der Orientierung aufgegeben und neu erfunden werden. Eventuell handelt es sich dabei um ein Gegenmodell zur hegemonialen Männlichkeit oder aber auch um die Neuerfindung des Flaneurs."
http://pascalhaeusermann.ch/


Karol Radziszewski


Queer Archives Institute, exhibition at Videobrasil, Sao Paulo, Brazil, 2016. Photo: Everton Ballardin.


Taking his latest project "Queer Archives Institute" (QAI) as an example, Karol Radziszewski will talk how he is switching between the roles of an artist, an archivist, a collector and a curator. He will present the different forms the QAI takes - from an exhibition to a temporary office, a publication, a performance, a lecture. He will discuss also how he is considering running a para-institution as a political statement.

The "Queer Archives Institute" is a non-profit artist-run organisation dedicated to research, collection, digitalisation, presentation, exhibition, analysis and artistic interpretation of queer archives, with special focus on Central and Eastern Europe. Founded in November 2015 by Karol Radziszewski, the QAI is a long term project open to transnational collaboration with artists, activists and academic researchers.
http://queerarchivesinstitute.org/

Posted by Corner College Collective

2016 / 201607 / Vortrag
Hanaa Safwat: A Monument to Contracting
Hanaa Safwat
 




[Deutsch siehe unten]
The coastal city of Alexandria appears to be frozen in time while simultaneously drowning in sewage, the military is seizing coastal real estate and building shopping malls, the former farmers from the surrounding villages are marching in and dead bodies of African refugees are washing up the shore with missing organs. All these players are operating without remorse. We will take a look at the images and representations of Alexandria in film and popular culture in contrast with what the city now is, following its rapid demographic and cultural change that has been taking place for decades, slowly approaching the true owners of the city.

Layers upon layers of ruins, burned to the ground, catacombs, not so secret gardens, elite cosmopolitans in beach cabins panicking over marching armies. Middle class tastes and values prevail.

In this talk, Hanaa Safwat will introduce the many images and representations of the city of Alexandria, pairing it with her work in progress, “A Monument to Contracting”, a video that tells the story of a fictional resistance group operating in Alexandria.


[English see above]
Die Küstenstadt von Alexandria erscheint in der Zeit gefroren, während sie gleichzeitig in Müll versinkt, das Militär Gebäude entlang der Küste konfiziert und Einkaufszentren baut, ehemalige Bauern aus den umgebenden Dörfern einmarschieren und die Leichen afrikanischer Flüchtlinge mit fehlenden Organen an der Küste angeschwemmt werden. All die Spieler operieren darin ohne Gewissensbisse. Wir schauen uns die Bilder und Darstellungen von Alexandria in Film und Populärkultur in Gegenüberstellung zu dem, was die Stadt heute ist, und verfolgen ihre schnelle demographische und kulturelle Veränderung, die über Jahrzehnte stattgefunden hat und langsam auf die eigentlichen Eigentümer der Stadt zukommt.

Schichten über Schichten von Ruinen, bis auf den Grund abgebrannt, Katakomben, nicht so geheime Gärten, Elite-Kosmopoliten in Strandkabinen, die wegen marschierenden Armeen in Panik geraten. Mittelklasse-Geschmack und Werte herrschen vor.

In dieser Vorlesung wird Hanaa Safwat die vielen Bilder und Darstellungen der Stadt Alexandria einführen, und mit ihrem work in progress “A Monument to Contracting” verbinden, einem Video, das die Geschichte einer fiktionalen Widerstandsgruppe in Alexandria erzählt.

Posted by Corner College Collective

2016 / 201607 / 201608 / Ausstellung
Emporium of Benevolent Data
Adrien Guillet, Quentin Lannes
 

An exhibition project by Adrien Guillet and Quentin Lannes

curated by Dimitrina Sevova and Alan Roth.

Sat 09.07.2016 - Fri 05.08.2016

Opening on Saturday, 9 July 2016 at 18:00h.

Sunday, 10 July 2016 at 16:00h: Artist Talks, presentations and discussion.

Finissage on Friday, 5 August 2016 at 18:00h in the presence of the artists.


Opening Hours / Öffnungszeiten:

Wed 15:00h - 18:00h
Thu 16:00h - 19:00h
Fri 15:00h - 18:00h


Emporium of Benevolent Data is an exhibition project by Adrien Guillet and Quentin Lannes, in collaboration with Corner College, based on the two artists’ long-term friendship and discussions. It puts on display their recent works Citracit, a site-specific research-based installation by Adrien Guillet, and the two video installations #IamRebekah and The Next Round by Quentin Lannes.

The title of the exhibition project is inspired by the story “The Analytical Language of John Wilkins.” The latter is a scientist from 17th century enlightenment whose “ambiguities, redundancies and deficiencies remind us of those which doctor Franz Kuhn attributes to a certain Chinese encyclopaedia entitled ‘Celestial Empire of benevolent Knowledge’” with its taxonomy of animals. The exhibition especially considers the distinctive character, listed in this encyclopaedia under the letter “(f)”, of being “fabulous,” as a method of fabulation on historical materials, modern ruins, commodities, and the recent rapid move of virtual-reality technologies into the medium mainstream, revealing a new geopolitics of the virtual and a crisis of representation of the body that inevitably follows from it. The dialogical format of the exhibition invokes a benevolent methodology that breaks with genealogy and linear narrative, détourning ‘cognitive technologies’ to actively speculate and generate deviated narratives that remain open in their “inherent formlessness,” providing the viewer with a “groundless basis of the aesthetic experience.” This methodology is both anachronistic and futurist, which inevitably come together in a live structure, in what Shklovsky describes as a “ludic ruin/construction site that lays a foundation for the subversive practice of estrangement.” The connecting principle of the works on display is the interplay of de-coding and encoding of the technological dispositifs, colonial history, and material knowledge. As their collective motto, the artists refer to what the Red Queen says to Alice about remembering events before they happen as well as events that have happened: “It’s a poor sort of memory that only works backwards.”

The Celestial Emporium of Benevolent Knowledge, to which Emporium of Benevolent Data refers, was an important inspiration for Michel Foucault when writing The Order of Things: An Archaeology of the Human Sciences, for his fabulation on epistemological models out of “the laughter that shattered” and its echo “continuing long afterwards to disturb and threaten with collapse our age-old distinction between the Same and the Other.” This echo shall be heard from the depth of the exhibition, rather than forms of mediation of the ambivalent.

Excerpt from the curatorial text by Dimitrina Sevova and Alan Roth.


Adrien Guillet

Citracit


Adrien Guillet, Citracit view, modified. 2016.


[English and German below]

Citracit est une uchronie, une fiction dystopique et anachronique qui explore les relations problématiques qu’a noué le constructeur automobile Citroën avec le continent africain. Ce projet prend corps par la création d’un ensemble de produits promotionnels modifiés, de sculptures et d’accessoires de facture artisanale africaine. Ces deux types de productions répondent à l’énoncé suivant : « On a retrouvé des cadeaux souvenirs Citracit qui devaient être vendus dans les boutiques des bordjs-hôtels Citroën. Ils ont échappé à l’ordre de destruction d’André Citroën ! ».


[ French above; German below ]

Citracit is a uchronia, a dystopian and anachronistic fiction that explores the problematic relations weaved by the automobile constructor Citroën with the African continent. The project takes shape through the creation of a number of modified advertising products, sculptures and accessories of African artisanship. These two types of productions respond to the following statement: “Citracit souvenir gifts have been found that were to be sold in the boutiques of the Citroën bordjs hotels. They escaped André Citroën’s order that they be destroyed!”

What does Citracit consist of?

As Alison Murray explains in her essay “Citroën Tourism” (see at the end of this document), the failure of the Trans-African Company was skillfully hushed up, so that Citracit was completely forgotten. The main objective of my project is to dig up the Trans-African Company following a strategy reverse to that of André Citroën. Since the communication material of the Trans-African Company was destroyed, I take care of producing them from scratch.

In my project, Citroën no longer exists, and is replaced by Citracit. In this uchronia, the founding of the Trans-African Company went well, and Citroën has not defaulted. In this parallel reality opened up by the Citracit project, Citroën is no longer a constructor of cars but embodies the very notion of exoticism, adventure and travel in the way of popular travel agencies.

I chose to call my project Citracit in order to bring back to the present the history of the Trans-African Company. This tourism project for a chain of camping sites and hotels in Africa was also called Centracit or CEGETAF. From Citroën to Citracit it is enough to delete a “oën” and replace it by “acit.” Three of the letters to append are already present in Citroën. As for the suffix “a,” it is easily created from the “r” of Citroën. In this play of typographical détournement lies the essence of the Citracit collection. Observing more precisely the Citracit logo that can be found ahead of this article on the first page, one can observe that the “acit” of Citracit is pixelized. What looks accidental is done on purpose and bears witness to the détournement style of the Citroën brand, a raw and DIY kind of détournement. The two chevrons of the logo become sacred clan symbols. We discover them once more on the sculptures, as motifs and texture.

Rather than attempting to find out what might have actually been sold in the souvenir gift boutiques of Citroën’s bordjs hotels in Africa, Citracit is taken as a starting point for a sculptural and conceptual reflection. Far from a historical reconstruction, the elements of the Citracit collection of souvenir gifts are a marriage between the African artisan codes and techniques, and a selection of second-hand promotional Citroën products. Online market places (Le Bon Coin, Ebay, Price Minister and Delcampe) allow me to collect at moderate cost advertising objects and tourist souvenirs from Africa I am interested in. The collection process in itself says something about our times, in the sense that it is mainly about online buying and postal shipping. This dematerialization of the act of buying breaks any possibility of a personal narration, and raises questions about the problem of recycling of symbols. Indeed the value of the souvenir gifts brought back from Africa by travelers is almost nil, since they consist of an ersatz of traditional African art, produced for tourists (airport art). While the great majority of Citroën advertising products are initially free, and intended to be given away (notion of reward and of communication) to clients, future clients, employees and institutions. These are thus indeed symbols, intrinsically poor fetish objects to which a strong history is attached.

The artefacts mixing the visual identity of Citroën and African aesthetics take the form of statuettes, clothes, bags, belts, gadgets, etc., where references cross and symbols enter into confrontation. Each element is the stage of a merciless struggle between the visual identity of Citroën and that of Citracit, between Europe and Africa, between cars and tourism, success and failure, serial production and manually produced work. The status of these creations is ambiguous, both travel memories via a tour operator that has never worked, and counter-advertising products, problematic in that they evoke a chapter of French colonial history that has been completely blanked out.


















[French and English above]

Citracit ist eine Uchronie, eine dystopische und anachronistische Fiktion, welche die problematischen Beziehungen auskundschaftet, die der Autohersteller Citroën mit dem afrikanischen Kontinent gewoben hat. Das Projekt nimmt Gestalt an über die Schaffung einer Anzahl von abgeänderten Werbeprodukten, Skulpturen und Zubehör afrikanischen Handwerks. Die beiden Arten der Produktion entsprechen der folgenden Aussage: „Es wurden Citracit-Souvenirs gefunden, die in den Boutiquen von Citroëns Bordjs-Hotels hätten verkauft werden sollen. Sie entgingen André Citroëns Anweisung, sie sollten alle zerstört werden!“

Worin besteht Citracit?

Wie Alison Murray in ihrem Aufsatz „Citroën-Tourismus“ erklärt (siehe Anhang zu diesem Dokument), wurde das Versagen der Trans-Afrikanischen Gesellschaft so geschickt vertuscht, dass Citracit gänzlich in Vergessenheit geriet. Das Hauptziel meines Projekts liegt darin, die Trans-Afrikanische Gesellschaft auszugraben, einer Strategie folgend, die jener von André Citroën gegenläufig ist. Da das Kommunikationsmaterial der Trans-African Company zerstört wurde, mache ich mich daran, diese von Grund auf herzustellen.

In meinem Projekt existiert Citroën nicht mehr und wurde durch Citracit ersetzt. In dieser Uchronie ist die Einweihung der Trans-Afrikanischen Gesellschaft gut gegangen, und Citroën ist nicht Pleite gegangen. In der Parallelwirklichkeit, die das Citracit-Projekt aufmacht, ist Citroën nicht mehr ein Autohersteller, sondern verkörpert geradezu den Begriff des Exotismus, Abenteuer und Reisen in der Art begehrter Reisebüros.

Ich habe für mein Projekt den Titel Citracit gewählt, um die Geschichte der Trans-Afrikanischen Gesellschaft in die Gegenwart zurückzubringen. Dieses touristische Projekt für eine Reihe von Campingplätzen und Hotels in Afrika lief auch unter dem Namen Centracit oder CEGETAF. Um von Citroën zu Citracit zu gelangen, genügt es, ein „oën“ mit „acit“ zu ersetzen. Drei der Buchstaben, die es zu ersetzen gibt, sind bereits in Citroën zu finden. Das Suffix „a“ hingegen lässt sich einfach aus dem „r“ von Citroën herleiten. In diesem Spiel des typographischen détournement liegt das Wesen der Citracit-Sammlung. Eine genaue Betrachtung des Citracit-Logos, das diesem Artikel auf der ersten Seite voransteht, zeigt, dass das „acit“ von Citracit pixelisiert ist. Was zunächst als Zufall erscheinen mag, ist durchaus Absicht und verweist stilistisch auf das détournement der Marke Citroën, eine rohe und DIY Art des détournement. Die beiden Sparren des Logos werden zu heiligen Clan-Symbolen. Wir entdecken sie erneut in den Skulpturen, als Motiv und Textur.


Quentin Lannes

#IamRebekah

2015. HD video, color, silent, 3’20 looped and sound, 7’40 looped.

Dans l’installation vidéo / son #IamRebekah (2015), l'artiste a développé une fiction d’anticipation à partir de deux véritables personnalités publiques – Zoltan Istvan, candidat transhumaniste à la présidence des États-Unis en 2016 et Rebekah Marine, mannequin en situation de handicap et ambassadrice de la compagnie de prothèse Touch Bionics – dont il a imaginé les trajectoires politiques pour les années à venir sur fond de campagne électorale et de cyber-activisme.


In the video / sound installation #IamRebekah (2015), the artist developed an anticipatory fiction on the basis of two true public characters – Zoltan Istvan, transhumanist candidate to the US presidency in 2016, and Rebekah Marine, differently able fashion model and ambassador to the prosthetics company Touch Bionics – of which he imagined the political trajectories for the years to come, on the backdrop of an electoral campaign and cyber-activism.


The Next Round


Quentin Lannes, The Next Round. Video still, 2016.


2016. HD video.

L'installation vidéo et sonore VR Boxing (The Next Round) que l'artiste a développé pour le Corner College se situe dans le prolongement de l'installation #IamRebekah présentée aux Bourses de la Ville en décembre 2015 - janvier 2016 au Centre d'Art Contemporain, Genève. Il y poursuit ses recherches sur les relations entre corps humain et nouvelles technologies. Ici encore, il propose une fiction d'anticipation ancrée dans un futur proche, proposant
un regard sur l'évolution de nos pratiques actuelles.

Il s'est penché sur le récent développement des dispositifs permettant l'immersion dans une réalité virtuelle : par la vue (casques Oculus Rift et HTC Vive), le déplacement (plate-forme de mouvement Omni) et le
toucher (combinaison vibrante Teslasuit). Étonnamment, la plupart de ces dispositifs dits innovants existent
depuis le début des années 90 mais n'avaient pas trouvé un assez large public à l'époque, pourtant tourné vers
les années 2000. Je m'interroge sur les raisons qui amènent le grand public à enfin s'y intéresser aujourd'hui,
presque 30 ans plus tard.

La fiction VR Boxing questionne donc les pratiques du corps – ici le sport et plus précisément la boxe – à l'ère de ces dispositifs de réalité virtuelle.

Un boxeur, dont les mouvements sont enregistrés par des capteurs n'est pas confronté physiquement à son adversaire sur un ring mais combat une simulation numérique d'un autre boxeur, présent dans un autre espace physique, à des centaines de kilomètres de lui. Lorsqu'un coup atteint sa cible, une décharge électrique est envoyée à l'adversaire via sa combinaison. Une journaliste interroge le boxeur sur l'évolution de son sport, son appréhension de la douleur, son rapport au dispositif numérique remplaçant des interactions physiques, etc.

Le tournage s'effectue en deux temps :
captation vidéo traditionnelle à l'École de Boxe Erdal Kiran 1887, Genève.
captation de mouvement réalisée à Artanim, Meyrin.

















The Next Round

The video and sound installation VR Boxing (The Next Round) that the artist developed for Corner College is situated in the prolongation of the installation #IamRebekah presented at the City Grants in December 2015 to January 2016 at the Contemporary Art Center in Geneva. In it, he continues his research on the relations between human body and new technologies. Once again, he proposes an anticipative fiction anchored in a near future, proposing a view on the evolution of our current practices.

He investigated the recent developments of dispositifs that allow immersion into a virtual reality: through sight (Oculus Rift helmets and HTC Vive), movement (Omni movement platform) and touch (vibrating Teslasuit). Surprisingly, most of these so-called innovative dispositifs have existed since the beginning of the 1990s but had not found a sufficiently large public at the time, which was turned towards the years 2000. He raises questions about the reasons that are finally stoking an interest with a larger public today, almost 30 years later.

The fiction VR Boxing thus raises questions about the practices of the body – here, sports, or more precisely, boxing – in the era of these virtual reality dispositifs.

A boxer whose movements are registered by captors is not physically confronted with his adversary in a ring but fights a numerical simulation of another boxer, present in another physical space hundreds of kilometers away. When a punch hits its target, an electrical discharge is sent to the adversary through his suit. A journalist interviews the boxer on the evolution of his sport, his perception of violence, his relation to the numerical dispositif that replaces physical interaction, etc.

The shooting takes place in two phases:
Capturing of traditional video at the École de Boxe Erdal Kiran 1887, Geneva.
Capturing of movements operated at Artanim, Meyrin.



Two flyers for the exhibition. Design: code flow.



This exhibition was made possible by the kind support of the French Embassy in Switzerland.


Posted by Corner College Collective

2016 / 201606 / Ausstellung / Finissage
Finissage: New Buenos Aires
with Performances, Talks and Discussions

Mariano Gaich, Thomas Haemmerli, Pascal Häusermann, Jso Maeder, Ana Roldán, Roland Wagner
 

A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016


Program of the Finissage


16:00h
Discussion on the exhibition concept of New Buenos Aires between the curators, Damian Christinger and Dimitrina Sevova, and the artists Mariano Gaich, Jso Maeder, Ana Roldán.


17:00h
Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.





17:30h
Presentation (Chr.K.) by Jso Maeder (auf Deutsch).




1. Keine exegese.
Denn mir erschiene es hinsichtlich des NBA-projekts gleich einer versäumten gelegenheit, versetzten wir uns nicht in die lage deines briefautors, und liessen die frage zu: was ist das?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> wie schon erwähnt: analog zu Canguilhems wissenschaftshistorischer/-theoretischer ausgangsfrage: wovon reden wir überhaupt bei der interpretation/kritik/theorie/geschichte von kunst?

2. (Chr.K.) als rauschen. störung, oder information, die nicht entschlüsselt werden kann? - Irritation ist hier immanenz eines konflikts, da sich assoziativ, d.h. im rekurs auf die bekannten instrumente nicht unbedingt eine botschaft bzw. deren deutung ergibt. Darin liegt eine ähnlichkeit mit der albernheit.

3. Hebt ein sinn mit dem/durch das wort ‘kunst’ das rauschen oder die störung auf - ist dies dann gleich einer information?

4. Was aber ist dann mit der wirklichkeit des rauschens? - Löst es sich als solche auch als konflikt auf, wenn es ‘kunst’ ist - oder hat man sich - dissoziativ - in den konflikt zu begeben/auf das fremde einzulassen/einzufinden, um vielleicht ein drittes, eine vorfällige eventualität eines sinns in betracht zu nehmen. Ein übergang in den möglichkeiten der surprise.

JM/06-016


1. No exegesis.
For it would seem to me, with respect to the NBA project, to be an opportunity forgone if we did not put ourselves in the shoes of the author of your letter, and allow the question to arise: what is this?
/> JM. ‘the grey sphere problem/ cologne version:
«you want to see art and find stuff», 2013
//> as mentioned: in analogy to Canguilhem’s initial question of science history/theory: what are we talking about at all in the interpretation/critique/theory/history of art?


2. (Chr.K.) as noise. Disturbance, or information that cannot be deciphered? – Irritation is here the immanence of a conflict, since a message or its interpretation does not necessarily come associatively, i.e., making use of the familiar instruments. There lies a similarity to silliness.

3. Does a meaning with or through the word ‘art’ extinguish the noise or the disturbance – is this then equal to information?

4. But what about the reality of the noise? – Does it, as such, dissolve as a conflict if it is ‘art’ – or does one have to – dissociatively – enter into the conflict/engage with the other in order perhaps to take into account a third, an early eventuality. A transition in the possibilities of surprise.

JM/06-016



18:00h
Performance Banana as Tourist by Ana Roldán, with the voice of Jen Prosperi.


Ana Roldán, Banana as Tourist.


Inspired by “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson

In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.


18:30h
Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.



Dreizehn 'interaktive' Erzählungen.

* Lexikon der Aymara-Sprache:
http://www.perou.org/dico/index.php?lg=es
http://www.ilcanet.org/clasesyservicios/clases.html



We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.




Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.



Posted by Corner College Collective

2016 / 201606 / Konzert
Four Freddies
A Concert With or Without You
(performance, experimental, creative music)

Fabian Gisler, Michael Jaeger, San Keller
 




Mit San Keller (voc), Michael Jaeger (ts, cl) and Fabian Gisler (b)


Wir spielen unsere Instrumente mit vier Fingern so gut wie andere mit fünf. Neben der Bühne arbeiteten wir als Handwerker - dabei hat unser Bassist seinen Mittelfinger verloren. Aus Solidarität spielen wir seither alle nur noch mit vier Fingern. Kürzlich ist unser Flötist tragisch verstorben, doch wir spielen zu dritt so gut wie zu viert als die FOUR FREDDIES. Unsere Konzerte sind Performances mit, vor, im und/oder ohne Publikum. Wer bis zum Ende ausharrt, hat es verdient, nichts dafür zu bezahlen.

Hier noch unser Witz der Woche: "Was sagt der Reggae-Fan zu seinem Kumpel, wenn er nichts mehr zu rauchen hat?

Schalt endlich diese Scheissmusik aus!"

Zwei Minuten FOUR FREDDIES / A CONCERT WITH OR WITHOUT YOU auf Youtube



With San Keller (voc), Michael Jaeger (ts, cl) and Fabian Gisler (b)

We play our instruments with four fingers just as well as others do with five. While we were working as manual labourers alongside our work on stage, our bassist lost his middle finger. Ever since then, we have all played with just four fingers, out of solidarity. Not long ago, our flautist tragically died, but we play in a group of three just as well as in a group of four, as the FOUR FREDDIES. Our concerts are performances with, before, in and/or without an audience. Anyone who perseveres to the end has earned the right to pay nothing for it.

And now our joke of the week: "What does a reggae fan say to his companion when he has nothing left to smoke?

Do switch off that crap music!"

Two minutes FOUR FREDDIES / A CONCERT WITH OR WITHOUT YOU on Youtube





Posted by Corner College Collective

2016 / 201606 / Diskussion / Präsentation
New Buenos Aires:
Screening von Legalillanalyzis von Andrea Éva Győri,
und Gespräch der Künstlerin mit Mateo Chacon-Pino

Mateo Chacon-Pino, Andrea Éva Győri
 

In the context of the group exhibition New Buenos Aires at Corner College.


Screening of Legalillanalyzis by Andrea Éva Győri, video of a performance, 16:9, 2014.
Andrea Éva Győri and Mateo Chacon-Pino discuss with the audience.



Andrea Éva Győri, drawing.


The Art World somehow resembles the infamous Rabbit Hole through which Alice falls into Wonderland. The deeper you get, the more you find yourself in a strangely working world with its own logic and language, in which you have to adapt yourself and learn the proper vocabulary. Contrary to the Wonderland, the Art World is visible to the outside of it and some objects even become general knowledge. The Screening of Andrea Éva Győri's Video “Legalillanalyzis” (2014) shows how a political scientist presents Andrea's drawings without prior knowledge. Following up a group of experts will discuss how their supposedly naïve view on Art is perceived from the Art World and which conflicts arise in the discussion on Art through the fact of not being actively involved in the Art World.

Posted by Corner College Collective

2016 / 201606 / Präsentation
New Buenos Aires:
Tropical Babel: on a ruined mall stranded in Caracas

Celeste Olalquiaga
 

In the context of the group exhibition New Buenos Aires at Corner College.


Lateinamerikazentrum Zürich (Universität Zürich) and Corner College present

Tropical Babel: on a ruined mall stranded in Caracas
Celeste Olalquiaga (Proyecto Helicoide)

at Corner College
on 16 June 2016
at 19:00h, followed by a reception


El Helicoide de la Roca Tarpeya, Caracas, Venezuela.


Built in the 1960s as a futuristic shopping mall, El Helicoide de la Roca Tarpeya, in Caracas, Venezuela, would have been the most state-of-the-art shopping mall of the Americas, with a double helix of vehicular ramps aligned with high-end boutiques, exhibition centers and even a heliport. But El Helicoide was never finished and has been the site of multiple failed projects (including a bus terminal and a cemetery), massive informal occupations and, for the last thirty years, a police headquarters with political prisoners. How the building that was supposed to be the symbol of Venezuela modernity turned instead into one of this country's (and modernity's!) most emblematic failures make of El Helicoide an incredible story of soured ambitions, democratic betrayals, bankruptcy, evil spirits and more...

PROYECTO HELICOIDE is a non-profit organization dedicated to rescuing the architectural, cultural and social value of El Helicoide de la Roca Tarpeya in Caracas, Venezuela. Built as a spiraling drive-in mall between 1958 and 1961, El Helicoide was never finished. Its unique shape and peculiar history of abandonment, failed projects and police occupation make it a global icon of the contradictions of modernity.

Posted by Corner College Collective

2016 / 201606 / Performance
New Buenos Aires: Performance / Screening Éternau Alterstereo by Distruktur
Distruktur (Melissa Dullius and Gustavo Jahn)
 

In the context of the group exhibition New Buenos Aires at Corner College.

Address: Kochstrasse 18, 8004 Zürich (30 m from Corner College).
Meeting point at Corner College at 20:00h. If you come later, come directly to Kochstrasse 18 (entrance from the alleyway between the buildings). If you cannot find it, try calling +41-79-248 43 15.

20:00h Door opens. Meet at Corner College to walk over to Kochstrasse 18
21:00h Performance / screening Éternau Alterstereo by Distruktur (Melissa Dullius & Gustavo Jahn)


Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Projection views (Left: 3 channel; Right: 2 channel).




Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566347266879116

Posted by Corner College Collective

2016 / 201605 / Artist Talk / Performance
New Buenos Aires: Artist Talk, Skype Performance, Screening Program
Marie Carangi, Silvan Kälin, Cristiano Lenhardt
 

In the context of the group exhibition New Buenos Aires at Corner College.


17:00h Door opening
17:30h Artist talk and screening of a selection of his works by Cristiano Lenhardt.
19:00h Skype performance Teta Lírica [Lyric tits] by Marie Carangi.
20:00h Screening program The Uprising of the Body curated by Silvan Kälin.


Marie Carangi, Teta Lírica. Video still.



Cristiano Lenhardt, Polvorosa. Video still.

Posted by Corner College Collective

2016 / 201606 / The Artist as The Curator as The Artist
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)
Saman Anabel Sarabi
Alex Wissel

Saman Anabel Sarabi, Alex Wissel
 

[English see below]

Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.

In der dritten Veranstaltung lädt Corner College die Künstler_innen Saman Anabel Sarabi und Alex Wissel ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.


Left: WORMS Künstler_innengruppe, Worms 3008: timetravel to an un-named park, 2015. Photo: Tim Zulauf. Right: Jan Bonny and Alex Wissel, Rheingold. Filmstill.



Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html




[Deutscher Text siehe oben]

Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In the third event, artists Saman Anabel Sarabi and Alex Wissel are invited to present their curatorial practices and discuss them between themselves and with the audience.



15:00h Picnic and discourse: Saman Anabel Sarabi, in collaboration with Stefan Wegmüller, and Alex Wissel will present their work through presentations, card games and an informal reading of their shared letters
18:00h Discussion between the artist-curators and the audience, moderated by Dimitrina Sevova
20:00h Screening of Alex Wissel's movie Single (Regie: Jan Bonny und Alex Wissel)

Copies of the artist-curators' collected material with and around their 'letters' will be available in the space.



Saman Anabel Sarabi

Mein Name ist Josephine. Ich bin Sängerin und komme aus einer Kurzgeschichte, in der ich mich nicht mehr wohlgefühlt habe und deswegen aus dem Buch heraus in andere Bücher, Situationen, Gespräche, Zustände, Wälder, Städte, Parks und Konstellationen reise. Dort, wo ich jetzt bin ragen hohe lauschige Bäume in die Höhe, zwei grosse Wiesenabschnitte werden abwechselnd durch labyrinthische Pflastersteinwege und dichte Böschungen miteinander verknüpft - hinter den Bäumen eine vierspurige Strasse und eine grosse Kreuzung, auf der gegenüberliegenden Seite riesige Villen.
Ich halte mich seit einiger Zeit hier auf und habe bemerkt, die Menschen hier teilen ihre Zeit extrem akkurat ein und leben darin als wäre es anders nicht möglich: es gibt Sekunden, Minuten, Stunden, Monate, Jahre, Holozäne und Antropozäne. (...) An den Wegrändern und Wiesenabschnitten entlang laufend, habe ich die Douglasie getroffen. Hier treffen wir uns nun regelmässig zum Schreiben, Sprechen und Lesen mit dem Nashorn aus dem Naturhistorischen Museum Bern, einem Fragebogen von Almut Rembges, der verirrten Seele von Vivienne von Wattenwyl, Marthe Gosteli’s Burgermedaille und durchforsten die unzähligen Dokumente des Stadtplanungsamts Berns, ein paar Ausgaben der Lehrerinnenzeitschrift aus der Gostellistiftung sowie das Buch von Katrin Rieder 'Netzwerke des Konservatismus, Berner Burgergemeinde und Patriziat im 19. und 20. Jahrhundert' ... Lucie Kolb schreibt mit...


(aus: Worms 3008: timetravel to an un-named park with Josephine-Joseph the singer-mouse, a carrier bag full of resurrected l's and nd's, powerfull plants, turning subjects, historical papers and future ghosts, individuals and collectives - all needy for connection, they seem to have an urgent feeling for front politics but without the vanguard party and the free market feminists)

Eine Zeitreise am 19. Juni 2016 führt uns in Corner College in Zürich...



Alex Wissel

Kunst ist keine Pfeiffe

Wer bin ich? Wer sind wir? Wer spielt uns und wen spielen wir?

The moment where representation turns into participation is my main interest and I´m trying to reach it by thinking and working about marketing, appropriation and display decisions. My work has a lot to do with theater in everyday life and how architecture, social roles and a specific atmosphere can be used to influence people habits.


Single
Regie: Jan Bonny und Alex Wissel. Mit Alex Wissel, 70 min, D 2015

„Single“ spielt sowohl auf den Beziehungs-Status des jungen Künstlers Alex Wissels, der sich im gleichnamigen Film selbst spielt, als auch auf den von ihm gegründeten Single Club an. Nachdem seine Freundin ihn verlässt, sucht Wissel in der Rolle des Nachtclubbetreibers neue Bestätigung. In den Kellerräumen des albanischen Lokals “Bistro Agi” unweit des Düsseldorfer Hauptbahnhofs findet er den geeigneten Ort. Von Juni 2011 bis Juni 2012 inszenierten Künstlerinnen hier experimentelle Parties und Performances, die sich unter Mitwirkung des Publikums entfalteten. Dank der völligen Verausgabung aller Beteiligten wurde der Raum dafür ein jedes Mal neu gestaltet. Viele nutzten die Veranstaltungen für die Gründung von Kunst- und Musikprojekten. So gesehen war der Club eine einzigartige Bühne für das Erproben unterschiedlicher Formate und Katalysator für neue Bands und Kollektive.

Der Film Single, von Alex Wissel und Jan Bonny, handelt einerseits von der kurzen Ära des Clubs, der als alternatives Modell von öffentlichem Raum und partizipativer „Sozialskulptur” konzipiert war. Andererseits erzählt er die fiktive Geschichte eines jungen Mannes, der die permanente Selbst-Inszenierung irgendwann nicht mehr von der Realität unterscheiden kann. Der Film kann auch als Fortführung des Ortes mit anderen Mitteln gesehen werden.

Mit u.a. Lars Eidinger, Rita McBride, Peter Doig, Agipet Iljazi, Hans-Jürgen Hafner, Magdalena Kita und Sibel Kekilli.


“Single” refers both to the relationship status of the young artist Alex Wissel, who plays himself in the eponymous movie, as well to the “Single Club” founded by him. After his girlfriend left him, Wissel seeks new recognition in the role of a nightlife impresario. In the basement of the Albanian gambling bar “Bistro Agi” near Dusseldorf’s main train station he finds a suitable place. From June 2011 to June 2012, artists, with the participation of the audience, throw experimental parties and performances. Thanks to the commitment of everybody involved, to the point of exhaustion, on every club night the basement had a completely new look. The events were used by many to form new art collaborations and music projects. From this perspective, the club was a unique stage for experiments in new formats and a catalyst for new bands and collectives.

The movie Single by Alex Wissel and Jan Bonny is partly about the short era of the club, which was conceived as an alternative model of public space and a participative social sculpture. Partly it is the fictive story of a young man who loses contact with reality due to permanent self-staging. One could also see the movie as the continuation of the place by other means.

With, among others, Lars Eidinger, Rita McBride, Peter Doig, Agipet Iljazi, Hans-Jürgen Hafner, Magdalena Kita and Sibel Kekilli.




Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html

The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.


We would like to thank the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of Künstler_innengruppe WORMS / Saman Anabel Sarabi and Stefan Wegmüller in this event, and in the ongoing exhibition, New Buenos Aires.


Posted by Corner College Collective

2016 / 201605 / 201606 / Ausstellung
New Buenos Aires
Anne Brand Galvez, Marie Carangi, Damian Christinger, Jonathas de Andrade, Distruktur (Melissa Dullius and Gustavo Jahn), Luciana Freire D'Anunciação, Mariano Gaich, Oscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Dimitrina Sevova, Lena Maria Thüring, WORMS Künstler_innengruppe
 


Flyer for the exhibition. Design: code flow.


A group exhibition project with
Jonathas de Andrade, Anne Brand Galvez & Company, Mariano Gaich, Óscar Gardea Duarte, Pascal Häusermann, Silvan Kälin, Cristiano Lenhardt, Jso Maeder, Ana Roldán, Lena Maria Thüring, WORMS Künstler_innengruppe,

and performances by Anne Brand Galvez & Company, Marie Carangi, Distruktur (Melissa Dullius & Gustavo Jahn), Luciana Freire D'Anunciação, Ana Roldán.

Curated by Damian Christinger and Dimitrina Sevova, co-curated by Silvan Kälin.

Friday, 27 May 2016 - Sunday, 26 June 2016

Öffnungszeiten / Opening Hours

Mi 15:00h - 18:00h / Wed 3 pm - 6 pm
Do 16:00h - 20:00h / Thu 4 pm - 8 pm
Fr 15:00h - 18:00h / Fri 3 pm - 6 pm
Sa 14:00h - 17:00h / Sat 2 pm - 6 pm
(Am Samstag, 28. Mai, am Tag nach der Ausstellungseröffnung, bleibt Corner College zu. / On Saturday, 28 May, on the day after the opening, Corner College will remain closed.)


Vernissage: Friday, 27 May 2016 at 18:00h
Skype performance at the opening, Porosidades do espaço temporalizado [Porosities of a temporalized space] by Luciana Freire D'Anunciação;
20:00h Performance Cerati a la Cumbia by Anne Brand Galvez & Company, with Philip Frowein (DE), Fernando Noriega (MX), Alex Martinez (MX), Pablo Miguez (ARG), Moritz Mayer (CH).

Sunday, 29 May 2016:
17:00h Door opening
17:30h Artist talk and screening of a selection of his works by Cristiano Lenhardt.
19:00h Skype performance Teta Lírica [Lyric tits] by Marie Carangi.
20:00h Screening program The Uprising of the Body curated by Silvan Kälin.

Sunday, 5 June 2016: Performance / screening Éternau Alterstereo by Distruktur (Melissa Dullius & Gustavo Jahn).

Sunday, 26 June:
16:00h Discussion on the curatorial concept between the curators, Damian Christinger and Dimitrina Sevova, and the artists present, Mariano Gaich, Pascal Häusermann, Jso Maeder, Ana Roldán.
17:00h Talk 7 Reasons for the Re-Colonization of Latin America by Thomas Haemmerli.
17:30h Presentation (Chr.K.) by Jso Maeder (auf Deutsch).
18:00h Performance Banana as Tourist by Ana Roldán.
18:30h Performance Misti haca masuru* = (Hombre vida ayer) by Roland Wagner.


New Buenos Aires NoW and Therefore!

New Buenos Aires has a peculiar mobile and turbulent geography that designates neither a particular place nor a particular time. It is an event, i.e., an atmospheric function of the exhibition. It can exhibit itself. Events are exhibitions, wrote the old philosophers Gilles Deleuze and Félix Guattari in their late work What Is Philosophy? They see the potentiality of the event becoming an exhibition, making the concept visible, setting up various displays and the “exchange of ideas,” a zone de voisinage that can be offered to the viewer.

New Buenos Aires is not a thematic exhibition. It embodies an extra-subjective assemblage by the participating artists with their heterogeneous practices in the drift of a new conceptual wind that blows with necessary slowness and immediate urgency to express the practical dimensions of de-colonizing thought at a time of environmentalist discontent, of changes in the intellectual climate of global transformation in a new, ecologically oriented history of capitalism in the ‘age of capital’ – with the dilemma of global art, or the art of the Capitalocene, as the work of art is a work of opinion. The exhibition display confronts the epistemic violence of ‘big history’ to create a counter-space of ecological justice, in a labyrinth of ‘wonderful and messy tales’ and other, equally enigmatic multiplicities – a labyrinth alive with the movements of crowded people, and other creatures.

Excerpt from the curatorial text by Dimitrina Sevova.



New Buenos Aires, 20th of September 2048

Dear Osmond

This letter reaches you three days ahead of the official investigation as a personal favour, a gesture of treachery (you so much admire in the classics), and as proof of a friendship that has connected us for more than thirty years.

The official document will state, as always, nothing, and I thought that you might be interested in my personal thoughts and insights, as this case contains everything that you and I find interesting.

When a cult of this extreme persuasions scrambles to protect a ship at all costs, that is for all purposes of the sane mind completely useless (it is not fit to be put on water for example) then the authorities will want answers, as you know, and when the case is as it is, they will even call upon an arcane archaeologist as myself.

Excerpt from the curatorial text by Damian Christinger.


Jonathas de Andrade

Pacifico [Pacific]
2010
Super8 transferred to DVD, 12 minutes


Jonathas de Andrade, Pacifico, 2016. Video still.



Jonathas de Andrade, Pacifico, 2016. Video still.


A massive earthquake erupts over the Andes, detaching Chile from the South American continent. As a consequence, the sea returns to Bolivia restoring its lost coastline, Argentina gains coasts with both the Pacific and the Atlantic oceans, and Chile becomes a floating island adrift in the seas.



Anne Brand Galvez & Company

Cerati a la Cumbia
Performance











Mariano Gaich

Prosthesis & Fetish – The Journey of Exoticized Reason


Mariano Gaich, Prosthesis & Fetish – The Journey of Exotized Reason.


During centuries of hegemonic reason and global trade’s domain, a utopian world shaped by travelling in the quest for unknown paradises – the “exotic,” “alien” or “outlandish” – depicts a transparent, crystalline display through which (un)material human production can be watched and therefore classified.

These “exotic” objects of adoration get appropriated by an entire fetishistic web that – after creating divisions in nationalities – reproduces cultural and national identities as merchandises, from raw material to goods such as art. Exoticism becomes marketing and promotion.

These same objects, wherever you might find them, in a ship, a storage, in a museum or even a library with travel novels in a XIX century fashion or contemporary science fiction ones, are placed in a way that a whole juxtaposition of different times and spaces suggests a heterotopic entity with its dystopic side of uses and abuses by a large (post)colonial history.

The installation inverts the logic of capitalistic reason, understood as a vessel of accumulation: crystalline displays become un- and over-exoticized at the same time, showing a narrative of decolonization, rests and remains, traces of past, present and future ongoing greediness.


Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto)


Mariano Gaich, Flaming Prostheses for Autonomy and Mutation (Ritual Manifesto).


Action, ritual of manifestation, an installative Manifesto, incorporating prostheses with body, escaping from genderification, categorization and slavery, racism, (post)colonial abuses.
Breaking chains and mutating DNA chains, to a diversity of “in-betweens” becoming fluidity, autonomy.



Óscar Gardea Duarte

La Fosa [The Pit]
Video documentary, installation, 2016


Óscar Gardea Duarte, Fosa, 2016.


A white building stands in the middle of the desert, it is run by a former so called gang member turned Christian, his acolytes serve as translators of both realms which collide at this precinct. “You will learn darkness”. A sinister pit that holds a deep entrenched problem of: What veils them unknown and unwanted, and where is their place? Slums of the future, residents that are classified by the leader or his subordinates as aggressive, non-amicable or a threat to the veil of reason will be then confined to a one meter by one eighty cell that remains locked until the keepers think it is plausible to end seclusion. There is no official census to the facilities population and non-provided for, to the pertinent institutions that have solicited it. It is an asepsis solution for social cleansing of both border cities by method of segregating from practical functional society, abused, policed and no knowledge based exclusion of diverse individuals whom are intentionally shunned and forsaken to a discourse that supposes greater than their existence, one of so called altruism, political correctness and modernity´s progress rhetoric. Concentration camp for rational diversity where the master is veiled as a beloved figure of masculine yet benevolent mythological stature who claims “Nobody wants them, except for myself”. The edifices´ boundaries are reduced to the sensibility for the interpretation of the real, limits defined by the smell of blood and urine.

Ciudad Juarez, Chihuahua, Mexico, May 2016

The work consists of the documentation of a 5 × 5 × 5 meter pit which comes covered by a cement surface with an aperture of 20 cm × 2.5 meters, in situ at the facility at Kilometer 35 of Ciudad Juarez, Chihuahua, Mexico. It includes documentation of the seclusion wing called “ocho” and its inmates.



Pascal Häusermann

Sketches of a Gringo
24 papers, watercolour on Xerox, A3, 2015


Pascal Häusermann, Sketches of a Gringo, 2015.


In 1831 the German engraver and drawer Moritz Rugendas travelled to Brazil in the frame of the expedition of Freiherr von Langsdorff, where he documented landscape, culture and habits of the people in hundreds of drawings. Back in Europe, he could publish the work, which became very famous under the name “Voyage pittoresque dans le Brésil”, with the help of Alexander von Humboldt. The photocopies of a copy of a original print of that book from the public library Zentralbibliothek Zurich became a sort of a diary during my residency in São Paulo in spring 2015.

It is a documentation about the daily confrontation and identification with Brazilian culture, the ambivalence between the European heritage coming from the colonial past, and the strangeness of this “new” culture, a mix with indigenous and African roots.

The gesture to overdraw the erstwhile documentation contains an assumption that the guilt coming out of the colonial conquest can be assimilated by superimposing one's experiences on the historical events. Meanwhile, history keeps on being present. It has been put on the backburner through a new personal perception.

(Pascal Häusermann)


The drawings by Pascal Häusermann are on loan from Kantonale Kunstsammlung Appenzell Ausserrhoden. // Die Zeichnungen von Pascal Häusermann sind eine Leihgabe der Kantonalen Kunstsammlung Appenzell Ausserrhoden.



Silvan Kälin

Mormaço
2016
Animated video


Silvan Kälin, Mormaço. Video still.



Silvan Kälin, Mormaço. Video still.


A climatic situation of heat and humidity, the everyday life of a tropical city in which the machines and the sweat of its inhabitants mingle, forming unexpected gardens.


The Uprising of the Body

Screening program curated by Silvan Kälin, 29 May 2016

Performance expresses itself as a need of bodily manifestation against an inescapable, given reality.



Cristiano Lenhardt

Polvorosa
Video.


Cristiano Lenhardt, Polvorosa. Video still.


Electronic supernatural phenomenon magnetizes two bodies and brings them close.



Jso Maeder

Werkgruppe Fig. - Speicher
seit 2012 - in progress


Jso Mäder, Werkgruppe Fig. - Speicher, work in progress since 2012.


Das modell der „zivilgesellschaft“ erscheint im zeichen der heutigen kapitalistischen plankultur in hinblick auf eine gedankliche oder künstlerische autonomie in konfigurationen institutionaler leitsysteme blockiert; *) das moderne programm, im grunde die gesellschaftliche eigenprojektion als ein kanonischer bezugs- bzw. bewusstseinshorizont, im leerlauf in systemischer einrichtung. – Zyklomoderne (Demuth), bestenfalls noch ideologische reproduktion als soziales monument und als moment abstrakter dominanz.

Die letzte historische möglichkeit der moderne entspräche daher der art nach einer matrix abstrakter dominanz, 'modern' rein noch aufgrund der in ihrer sprache sowie deren textuellen zirkularen mittelbaren progammatik, - selbstverständigung, interpretament in der konstanten umwälzung und modifikation eines zwanghaften korrelats der chiffren und zeichen.

• Daher frage nach dem capital fixe, einem 'wissen' im motiv des auf|bewahrens/be-haltens: archiv/speicher unter den voraussetzungen abstrakter dominanz.
Wenn die moderne sich ideologisch eine kontinuität in der kanonischen setzung eines gesellschaftlichen erwartungshorizonts gibt, während die 'gesellschaftlichen lebens-prozesse' und praxen sich hingegen provisorisch, unter produzierten bedingungen als jeweilige modalitäten der produktion realisieren - wie, anhand welcher kriterien und welcher 'formen', lokalisiert, reflektiert 'gesellschaft' sich dann im verhältnis zu ihrem historischen entwurf? - Und insbesondere: wie bezeugt, quasi belegt oder dokumentiert sie sich hinsichtlich des ihrer eigenbehauptung immanenten kulturellen leistungsan-spruchs, wenn der prozess unablässiger verfremdung (titel 'wachstum/fortschritt') eines
je gültigen oder bestehenden die 'lebenswelt' kennzeichnet?
Und noch konkreter: Wie funktioniert (sofern überhaupt) hierbei kunst im rahmen der abstrakten programmatik einer vergesellschaftung, gerade unter gesichtspunkten ihrer impliziten logik des (sozialen aus-)tauschs?


*)>>> Indem 'produktion' nicht allein eine erzeugung von waren meint, sondern sie durch ihre bedingungen zugleich muster und mittel eines herrschenden wissens ('general intellect') fabriziert, festschreibt, ist sie strukturelle kraft in gesellschaftlicher formation. Auch i.s. der legitimation deren herrschaftlicher dispositve oder der politischen massgabe, da im rahmen systematischen wissens ('knowledge'), d.h. mitunter, einer universitär-disziplinären, institutionellen wissenschaft, die 'produzierte Produktivkraft eines wissens in gesellschaftlicher funktion' abstrakt, als formular einer sprachlich-textuellen oder zeichenhaften ebene reproduziert ist. I.s. eines hintergründigen reglements des 'capital fixe', als momentum abstrakter dominanz, fungiert die produktion im beziehungsraster (cf. (aus-)tauschabstraktion) des vergesellschafteten lebens gleich einer äusserlichen, objektiven gegebenheit.
cf. hierzu, im rekurs auf Marx' 'Grundrisse' (wie hier zitiert, insbesondere das Maschinenfragment (MEW, Bd. 42)), nebst dem späteren werk Althussers:
– die analysen Antonio Negris und Maurizio Lazzaratos, sowie weitere schriften zur theorie des postoperaismus.
– ausserdem konzept der 'wissensgesellschaft' (Lane, Bell), als ablösung industrieller waren- durch spezifische wissensproduktion i.s. einer ressource der wertschöpfung.


Under the sign of today’s capitalist plan culture in view of an intellectual and artistic autonomy the model of “civil society” appears blocked in configurations of institutional control systems; *) the modern program, which consists at bottom of the social self-projection as a canonic horizon of reference and consciousness, running idle in a systemic facility. Cyclomodernity (Demuth), at best ideological reproduction as a social monument and a moment of abstract domination.

The last historical opportunity of modernity would thus correspond in kind to a matrix of abstract domination, remaining modern only on the basis of the program mediated by its language and its textual circulars – self-understanding, a key to interpretation in the constant upheaval and modification in the forced correlation of codes and signs.

• Hence the question of fixed capital, a knowledge in the motif of retaining/holding on to: archive/store under the conditions of abstract domination.
If modernity claims for itself a continuity in making canonical a social horizon of expectations while the social life processes and practices on the other hand are realized provisionally, under produced conditions, as the respective modalities of production – how, according to what criteria and what forms, localized, is society reflected in relation to its historical blueprint? – And, especially: how is it testified, quasi proven or documented in view of the cultural claim to performance inherent to its self-affirmation, when the process of unrelenting alienation (title growth/progress) of the respectively valid or established, characterizes the living environment?
Even more concretely: How does art function (if at all) in the framework of the abstract program of a socialization, especially from the point of view of its implied logic of (social ex-) change?

Translated from German by Alan Roth

*)>>> As ‘production’ intends not only the production of goods but through its conditions at the same time the fabrication and perpetuation of the patterns and the means of predominant knowledge (‘general intellect’), it is the structural force of societal formation. Also in the sense of legitimizing its social dispositifs or political conditions, since in the framework of systematic knowledge, i.e., a sometimes universitarian-disciplinary, institutional science, “the powers of social production [that] have been produced, not only in the form of knowledge, but also as immediate organs of social practice, of the real life process” are reproduced abstractly, in the formula of a linguistic-textual or semiotic plane. In the sense of the hidden rule of fixed capital, as a moment of abstract domination, production acts as a quasi-external, objective factor in the pattern of relations (cf. abstraction of exchange) of socialized life.
cf. with reference to Marx’s Grundrisse (as quoted here, especially the Fragement on the Machines, as well as the later work of Althusser:
– the analyses by Antonio Negris und Maurizio Lazzarato, as well as other writing on the theory of post-operaism.
– also the concept of society of knowledge (Lane, Bell), as the displacement of industrial production of goods by specific knowledge production in the sense of a resource adding value.



Ana Roldán

Negative Bodies (The Utopic Body)
2016
Neon
30 x 32 cm


Withering Paradisiaca
2014
Table, glass table top, banana flower
65 x 70 x 100 cm (table), flower size variable


Ana Roldán, Withering Paradisiaca, 2014.



This is boring. No, it's not.
2016, 25 x 15 x 5 cm


Ana Roldán, This is boring. No, it's not. 2016, 25 x 15 x 5 cm



Vanilla Overseas
2016
Installation
Variable


Banana as Tourists
2016
Performance Sunday, 26 June 2016, 18:00h
Inspired on “Nature” by Ralph Waldo Emerson

“Nature is not fixed but fluid; to a pure spirit, nature is everything”
Ralph Waldo Emerson


In the tropics reigns perpetual youth. Within the domesticated plantations of goods, the work and value empires, a perennial festival is dressed, and the guest can not imagine how he or she should get tired of it in a thousand years. In the tropics we return to reason and faith. There I feel that nothing can befall me in life, which nature cannot repair. Standing on the bare ground, all mean egotism vanishes. I become a transparent eye-ball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part, I am a particle of Nature. I am the lover of uncontained and immortal beauty.

In the boiling wilderness and especially in the curved lines of odours bananas, one beholds somewhat as beautiful as one’s own nature. As bones, as bananas. The greatest delight which the tropics minister is the suggestion of an occult relation between people and the vegetable. Yet it is certain that the power to produce this delight, does not reside in nature, but in human, or in a harmony of both. The heat of man or woman labouring under calamity, illuminate the Nature wearing all the colours.



Lena Maria Thüring

Future Me

HD Video, single channel, 16:9, colour, sound, 11 min 45 sec, German subtitles


Lena Maria Thüring, Future Me. Video still.



Lena Maria Thüring, Future Me. Video still.


Die künstlerische Arbeit Lena Maria Thürings beginnt häufig mit Gesprächen, die sie mit anderen führt und zu Texten und Videofilmen weiterverarbeitet. Dabei interessiert Thüring die Frage, wie man anhand individueller Geschichten über gesellschaftliche Systeme und die ihnen zugrunde liegenden Konstruktionen nachdenken kann. Im Rahmen der Education Projekte lud das Museum für Gegenwartskunst die Künstlerin ein, um gemeinsam mit Schülerinnen und Schülern ein neues Werk zu produzieren. In Zusammenarbeit mit der Künstlerin verfassten die Schülerinnen und Schüler ihre Memoiren - von der Geburt bis zum Tod. So entstand eine Reihe semi-fiktiver, teils erfundener, teils autobiografischer Texte, in denen die Grenze zwischen Dokumentation und Fiktion berührt wird – zwischen Erinnerung und Inszenierung. Die Texte wurden anschliessend bearbeitet, verdichtet und verfremdet. Das Resultat dieses Prozesses ist ein Skript, das den Ausgangspunkt für einen Videodreh bildet. So entsteht ein Film, der Züge eines Musikvideoclips hat. Die teils tänzerischen, teils kämpferischen Choreografien und Inszenierungen vor der Kamera füllen die Bildebene. Die von den Schülerinnen und Schülern gesprochenen Memoiren erscheinen als Offstimmen auf der Tonebene – ein polyphoner Sprachteppich im Rhythmus der Bilder.

Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland


Lena Maria Thüring’s art often grows out of conversations with others she translates into texts and videos. Thüring’s guiding question is how individual stories can help us think about social systems and the constructions that underlie them. As part of its Education Projects series, the Museum für Gegenwartskunst invited the artist to collaborate with high school students on a new work. She led the students in a workshop in which they wrote their memoirs, from birth to death, producing a series of semi-fictions: partly invented and partly autobiographical texts probing the boundary between the documentary and fictional registers—between recollection and dramatic imagination. Edited for greater density and added effect, the texts served as the basis for a script used in a subsequent video shoot. The result is a film that bears the hallmarks of a music video. The choreographies and dramatic scenes staged for the camera burst onto the screen with a mix of dancelike grace and combativeness, while the soundtrack features the students’ own offscreen voices reading their memoirs—a polyphonic verbal fabric in the rhythm of the images.

Søren Grammel, Museum für Gegenwartskunst Basel, Switzerland



WORMS Künstler_innengruppe

timewheel-oracle for feminist politics of complexity

on selected dates a one-minute oracle will be transmitted to corner college on midday and midnight. concrete dates will be announced soon.





The one-minute-oracles act as a call to feminist politics of complexity, in search for a joint memory - binding and linking the past, present and future. The oracles have been a fluid practice within Worms since summer 2013 in the context of an intense exchange with the artist duo coexistent. They will be expanded and exchanged throughout the exhibition at Corner College between different artists/groups and collectives.

The rotating future­past­present-wheel will help to bring memories, dreams and predictions together, conjuring a transtemporal place towards a collective déja vu.

The recorded one-minute oracles will be available as documentation in the exhibition, as materials on the Corner College website and on vimeo.

Transmission dates:

26 May midnight https://vimeo.com/168362750
27 May ­midnight https://vimeo.com/168407213
8 June midnight https://vimeo.com/169940078
11 June ­midday https://vimeo.com/170333472
14 June ­midnight https://vimeo.com/170683628
25 June midday https://vimeo.com/172203856



Luciana Freire D'Anunciação

Porosidades do espaço temporalizado [Porosities of a temporalized space]

Skype performance at the opening


Carolina Bergonzoni and Luciana Freire D'Anunciação, An empty house (full of air), Vancouver Fringe Festival, September 2015. Photo: Ash Tanasiychuk.


The project Porosities of a Temporalized Space is a durational performance that plays with time-space possibilities in order to question the way we perceive the chronological time. How can one use the body to temporalize the space or spacialize the time? Possible answers will come with my proposed action: the repetition of gestures. In a defiant way towards the success of such failure driven action, I will subject my body into the gesture repetition exhaustion, and with it I will be open to accidents and its continuous potencial to change the gesture. I will consider everything around me as stimuli, be it the the city sounds, the architecture and objects within the space. Hence I will consider my body a porous entity, which both accumulates and let go experiences and time-space stimuli. In a subtle way the perfomance will go through changes that will be perceived accordingly to the relation which audience member will create within the time spent with the performance.



Distruktur (Melissa Dullius & Gustavo Jahn)

Éternau Alterstereo

Performance / screening on Sunday, 5 June 2016
2 X 16mm, digital sound | Brazil, Germany | 25min | 2011


Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Poster.



Distruktur (Melissa Dullius & Gustavo Jahn), Éternau Alterstereo. Video still.


Éternau Alterstereo is a performance by Distruktur in the finest tradition of expanded cinema: a dual 16-mm projection accompanied by a collage soundtrack.

The juxtaposition of the 2 screens affects the viewer experience and the images in different ways such as echoing, mirroring, or complementing. Visual stereo hi-fi. The use of distortion lenses during the projection can be applied to invade the projection space beyond the screen's surface.

The soundtrack comments and adds new layers to the images involving the audience in a warm tempest of sound.

The "filmperformance" revisits and multiplies the short film Éternau, a colorful tropical fantasy that pays tribute -not without irony- to genres and clichés of the XX century cinema, eccentric film stars, exoticism and orientalism, by reproducing and reinventing this imagery from a timely and spatial distance.

All the 16mm footage used in the performance was shot in studio and locations in south Brazil between 2004 and 2006. Éternau screens regularly all over the world in film festivals, museums, art spaces and cine-clubs since 2006.

Exhibitions

2015
(S8) MOSTRA DE CINEMA PERIFÉRICO | A CORUÑA
FILMESPERFORMANCE | Academie Minerva Beeldende Kunst & Vormgeving| GRONINGEN

2014
WE ARE ANIMALS | Austellungsraum, Bilingua e.V. | BERLIN

2012
LEERSTAND . 012 / 13 | Kitev | OBERHAUSEN
TRUE TRUE NAME - MAD KATE'S PERFORMANCE SALON | Exit | BERLIN
FILMESPERFORMANCE | PERFORMA PAÇO, Paço das Artes | SÃO PAULO

2011
INTRICATE MACHINES | Mica Moca Project Space | BERLIN
TUDO È Guest Nation Brazil | Ex-Esattoria | FLORENCE




Marie Carangi

Teta Lírica [Lyric tits]

Skype performance on Sunday, 29 May 2016


Marie Carangi, Teta Lírica. Video still.



Marie Carangi, Teta Lírica.


Teta Lírica é uma performance que envolve a relação de atrito entre o movimento do corpo e o instrumento musical theremin. Esse instrumento possui uma antena que emite um campo vibracional no ar, onde as notas musicais se distribuem reagindo à proximidade do corpo. Enquanto o corpo se sacode, as tetas balançam tocando aleatoriamente as notas nesse campo gerando sons. O grau de aproximação entre tetas e antena, associado à velocidade de movimento, gera picos de agudo variáveis, resultando num canto lírico estridente.


Lyric Tits is a performance that involves the frictional relationship between the movement of the body and the musical instrument theremin. This instrument has an antenna that emits a vibrational field in the air, where the notes are distributed reacting to the proximity of the body. As the body is shaking, the tits swing randomly, playing the notes in this sound-generating field. The degree of proximity between tits and antenna, combined with the velocity of the movement, generates peaks of variable pitch which result in a strident lyrical song.


We would like to thank Hauser & Wirth for their support in loaning Corner College the art transport crates used in building the architecture of the exhibition.




Many thanks also to the Präsidialdepartement Basel-Stadt, Kulturabteilung for their supporting the participation of WORMS / Saman Anabel Sarabi / Stefan Wegmüller in this exhibition.






A kind of palimpsest
by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin
consisting of two flags on display on the façade of Corner College, makes a passage from Chapter I to Chapter II of the exhibition/publishing project No-where? Now-here! The Molecular Books of Life – Colleges of Unreason. It will remain on display throughout the time between the two chapters.


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, A kind of palimpsest.


Chapter I took place from 17.03.2016 to 17.04.2016.
Chapter II is due to take place in November/December 2016.
A text about the work is available in the space, as well as on the website of Corner College.

Posted by Corner College Collective

2016 / 201605 / Präsentation
Public presentation of the outcome of the project
Occasionally Human
A Curatorial Research on Sociality

Francesca Brusa
 


Detail from the flyer for the exhibition. Graphic by Tim O. Haesler.


Public presentation of the outcome of the project Occasionally Human by the researcher and the participating artists and curators. With apéro.


A project by Francesca Brusa


Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann

Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz


Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa


The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org


Deborah Keller, Meine Wahl, Züritipp 19, 20 May 2016.



Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439

Posted by Corner College Collective

2016 / 201605 / Ausstellung
Occasionally Human
A Curatorial Research on Sociality

Francesca Brusa
 


Flyer for the exhibition. Graphic by Tim O. Haesler.


“Relationships to the other does not proceed through identification with a preexisting icon, inherent to each individual. The image is carried by a becoming other, ramified in becoming animal, becoming plant, becoming machine and, on occasion, becoming human.” Felix Guattari


How is contemporary aesthetic production affected by interactions and relations among its productive agencies?
In post-Fordist and post-human conditions of creative and artistic labour, what is the impact of collaborative realms on the production of aesthetic and cultural discourses?
To what extent can we link the value of cultural and artistic production to the specificities of the relations underneath it? To which field of relations (collaborators, friends, akin humans?) can we ascribe the specific relation between artists and curators?

The project seeks to write a chapter in the definition of the ontological nature of the relation between two specific productive agencies, curator and artist, and the impact of this relation on aesthetic production.
The conditions underneath creative production will be examined by the analysis of the relations among its productive bodies, considering the consequences of the contemporary modes of production of subjectivity.
The research aims to explore the extent of a relational and collaborative method to be embedded in the processes of definition of new cultural, aesthetic, affective and existential territories.

The research investigates different artistic and curatorial approaches to sociality as a productive skill, and it will be conducted through a series of conversations where communication, based on language and affinities, will be recorded and analysed in a television-like set.


A project by Francesca Brusa


Curators:
Nadja Baldini, Mateo Chacon-Pino, Daniel Morgenthaler, Julia Moritz, Dimitrina Sevova, Agustina Strüngmann

Artists:
Johanna Bruckner, Luc Mattenberger, Mediengruppe Bitnik!, Philemon Otth, Martin Schick, Paulo Wirz

Saturday, 14 May at 18:00h: Public presentation of the outcome of the project “Occasionally Human” by the researcher and the participating artists and curators. With apéro.

Program on Saturday, 14 May 2016
18:00h public interview with Julia Mortiz
18:30h public interview with Paulo Wirz
19:00h public presentation of the research by Francesca Brusa


The project is realized in collaboration with the post-graduate program in Curating at ZHdK. http://oncurating.org



Photo documentation of the event on Facebook: https://www.facebook.com/cornercollege/photos/?tab=album&album_id=566327370214439

Posted by Corner College Collective

2016 / 201603 / Performance
Performance {reclaim the twelfth camel} < code of practice
by Alexander Tuchaček

Alexander Tuchaček
 




Performance {reclaim the twelfth camel} < code of practice by Alexander Tuchaček at the opening of the exhibition "No-where? Now-here! The Molecular Books of Life – Colleges of Unreason" on 17 March at 21:00h.

The work {reclaim the twelfth camel} < code of practice is about an attempt to generate language to reappropriate algorithmic space, a space that has gone amiss, got lost or was just plain stolen from us.

To this end, a special animal is led into the room, a camel that is simultaneously text, image, program, narrative and enactment. The work is about a conflict over distribution that ostensibly is resolved well, balancing everything out again. This apparently good solution however throws the relation between text and enactment out of joint. A third figure, the self-executing shell program that decodes itself from the image of the camel, demands to have its say, all the while writing, or prescribing, the story of the twelfth camel. But who is it that speaks the text of the story, and from what position? Might it not be about an utterly different conflict over distribution, about time and space of the narrative, and about the question of who and how can reclaim the redistribution of this space?

A multiplicity of performers in the form of bots, scripts and figures make their appearance. The project starts out on the opening date on 17 March at 21:00h and will be followed during the exhibition by further protagonists and enactments.

Posted by Corner College Collective

2016 / 201604 / Artist Talk
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
Performances, Artist Talks Session 3, and Finissage

San Keller, Petra Elena Köhle, Riikka Tauriainen, Alexander Tuchaček, Nicolas Vermot Petit-Outhenin, Martina-Sofie Wildberger, Sophie Yerly
 


Left: Flyer for the exhibition. Design: code flow. Right: Top row: Petra Elena Köhle & Nicolas Vermot Petit-Outhenin; Julie Sas; Alexander Tuchaček; Triin Tamm. Center row: Delphine Chapuis Schmitz, Martina-Sofie Wildberger; Alexander Tuchaček, Denise Bertschi; Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli; Martina-Sofie Wildberger, San Keller. Bottom row: Jonas Etter; Anne Käthi Wehrli; Martina-Sofie Wildberger, Triin Tamm; San Keller, Sophie Yerly, Jonas Etter, Hendrik Hentschel. Photos: code flow.


Throughout the event, performance Too expensive and not enough to eat by Sophie Yerly.

Modern science makes us understand the true character of the machine, of rationalization and of standardisation. All of that leads to one thing only: the economy. Economy attempts (is) the symmetricalisation of forces.
Art is to create inequalities.
from Yiannis Isidorou: What Asger Jorn (un)/taught me - a text of 11 positions regarding the movements and tropes of the artist in the symmetrical(ized) world of economy


17:00h Performance The Real On Kawara by San Keller in conversation with his father about his 43 years at the Cantonal Office of Personnel Bern.

San Keller schenkte seinem Vater zur Pensionierung in Anlehnung an On Kawaras «Today Series» den gemalten Bindestrich zwischen seinem ersten (20. April 1965) und letzten (31. Oktober 2008) Arbeitstag beim Kantonalen Personalamt Bern.

San Keller gave as a gift to his father the painted hyphen between his first (20 April 1965) and last (31 October 2008) working day at the Cantonal Office of Personnel Bern, in reference to On Kawara’s “Today Series.”


18:00h Performance A kind of palimpsest by Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, „Pierre Ménard – Autor des Don Quixote“ by Jorge Luis Borges, read by Andreas Storm.


18:45h Performance Dreams come true by Martina-Sofia Wildberger.


19:15h Artist talks by Riikka Tauriainen, Alexander Tuchaček.


Discussion with the artists and the curators. Bar, party.

Posted by Corner College Collective

2016 / 201603 / Artist Talk
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
Artist Talks Session 2
Anne Käthi Wehrli and Jonas Etter

Jonas Etter, Anne Käthi Wehrli
 




Anne Käthi Wehrli

Lesung aus Die Frau als Einstiegsloch

Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.

Sie ist am ermitteln. Zurzeit beschäftigt sie sich mit dem Raum der Vagina und der Gebärmutter, diesem Leerraum den Frauen hätten.
Phantasien sind hier das Thema. Ich habe bemerkt dass mich insbesondere auch Phantasien und Konzepte über Weiblichkeit von Männern interessieren.
Ich rede hier natürlich vom Penisneid.
Nun will sie das einmal unter die Lupe nehmen.
Was dabei herauskommt ist noch unbekannt.

Die neusten Fassungen des Texts Die Frau als Einstiegsloch, der während der Dauer der Ausstellung geschrieben wird, liegen jeweils zum mitnehmen und lesen auf.
An der Lesung werden zudem weitere Materialien verwendet, und ich stehe natürlich auch für Fragen zur Verfügung.

Jonas Etter

Untitled (Fountain II)

Artist talk. Discussion.

Posted by Corner College Collective

2016 / 201603 / Artist Talk
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
Artist Talks Session 1

Henrik Hentschel, Julie Sas
 


Left: Andy Warhol appropriated by Julie Sas. Right: Henrik Hentschel, Untitled, 2016.


With a performance-artist-talk by Julie Sas and an artist talk by Henrik Hentschel.

Posted by Corner College Collective

2016 / 201604 / 201605 / Ausstellung
Just Add Water
Carla Doorn, Brandon Farnsworth, Benjamin Ryser, Eva Lin Yingchi
 


Flyer for the exhibition. Design: code flow.


Just Add Water: A score, a set of instructions. Do this and you'll get that, guaranteed. Fill in the blank and it's done, easy! It's already been prethought for you, precomposed, predetermined. There's a cost of course; it's straightforward, but always the same. Reliable yet totally uninteresting. We need to experiment, see how we can shake things up. Maybe: It's never the same water that gets added in, always slightly different. Alpine water, or imported from China, we've already found some wiggle room. We wiggle some more, stay within our structure, our enabling constraints, but never seem to stop discovering. We begin to tell stories, abstract ones, using our tactics to fashion props, switching between Alpine and Chinese, creating a rhythm, building and breaking expectation. A makeshift stage. Then the illusion collapses; what are we talking about anyway? Who knows, but we felt something, that's the most important. We begin again…
Text: Brandon Farnsworth

A composer, choreographer, dancer, and singer in a performance exhibition at Corner College. Over a two-week period, this interdisciplinary ensemble will perform and experiment, developing an immaterial milieu of feeling and potentiality that will fill the space with its traces.

Curated by Brandon Farnsworth.

Benjamin Ryser, Composer
Brandon Farnsworth, Music Curator
Carla Doorn, Dancer
Eva Lin Yingchi, Choreographer

Vernissage: Sunday, 24 April 2016, starting at 18:00h


Opening Hours
Wednesday, 27 April – Friday, 29 April, 15:00h – 18:00h
Saturday, 30 April + Sunday, 1 May, 17:00h - 20:00h
Wednesday, 4 May – Friday, 6 May, 15:00h – 18:00h
Further performances during opening hours TBA.


Finissage: Saturday, 7 May. Doors open at 17:00h, performance begins at 18:00h.


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.

Posted by Corner College Collective

2016 / 201604 / The Artist as The Curator as The Artist
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)
Margit Säde
Denise Bertschi

Denise Bertschi, Margit Säde, Stefan Wagner
 

[English see below]

Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.

In der zweiten Veranstaltung lädt Corner College die Künstlerinnen Margit Säde und Denise Bertschi ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren. Stefan Wagner ist von Corner College eingeladen, die Diskussion zu moderieren.


Left: Steve.skp by Margit Säde, DOings & kNOTs, 2015. Photo: Margit Säde. Center: exhibition view, PROTECTION ROOM; Denise Bertschi & Gitte Hendrikxs, Rosa Brux, Brussels, November 2014. Right: STREET view, #brusselslockdown, Denise Bertschi, Brussels, November 2014. Both photos: Denise Bertschi.



Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html




[Deutscher Text siehe oben]

Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In the second event, artists Margit Säde and Denise Bertschi are invited to present their curatorial practices and discuss them between themselves and with the audience. Stefan Wagner is invited by Corner College to moderate the discussion.



Margit Säde

… Steve’s appearance didn’t give away any hints of his rebellious nature, which existed alongside his feelings of ambivalence and loss. This project had indeed challenged the way he looked at things and the part that he played in them. The process of this project had taught Steve that it’s impossible to follow somebody else’s instructions – it was simply impossible for him to follow a given formula. He was fed up, for real this time, he was fed up of doing things in the way that they were expected to be done and most of all he was fed up with taking himself so seriously. “How is it,” Steve wondered, that there’s hardly anything that can make us feel better about the way we do things?” One does what one is; one becomes what one does...

Excerpt from short story Steve.skp by Margit Säde, 2015

Taking her last exhibition project DOings & kNOTs as an example, Margit Säde will talk how she is performing and switching between the roles of a curator, a narrator, a DJ, an artist or an assistant/intern.
DOings & kNOTs ( I didn’t fail the test, I just found 100 ways to do it wrong) taking place in Tallinn Art Hall, was an exhibition about the impossibility of following instructions, rules or given formula. The exhibition tried to look into what lies between a refusal and doing, a script and a live moment, a self-organisation and an institution — imagined ideas and actual situations.

Margit Säde is an independent curator and an artist based in Tallinn and Zurich. Her practice emphasises the self-initiated, collaborative and ongoing nature of art practice. Her curated projects include group DOings & kNOTs at Tallinn Art Hall, SOURCE AMNESIA at Oslo10, While Walking on the Secret Paths but also While Walking on Salads, And So On & So Forth (at CAME in Tallinn and kim? in Riga), If It’s Half Broke, Part Fix It (CAC, Vilnius) and listening sessions A Selfless Self in the Nightless Night; Disembodied Voices & Imaginary Friends (BAR, Barcelona and Corner College in Zurich) and Hear Me With Your Eyes (Castrum Peregrini, Amsterdam).



Denise Bertschi

PROTECTION ROOM – an exhibition project unexpectedly happening during the Brussels lockdown

PROTECTION ROOM is an exhibition wherein five artists inhabit « ROSA BRUX », an independent art space in Brussels, which originally functioned as a flat. By chance this week fell together with the #brusselslockdown beginning on the 21 November 2015 due to information about possible terrorist attacks in the wake of the series of terrorist attacks in Paris just two weeks before.

PROTECTION ROOM explores nuances of transparency and opacity and the thin line between the private and the public – question if this line still exists. During a week, five artists respond to different aspects and tactics of ‚hiding‘ and ‚covering over‘ („Protection“) – making reference to hyper-visible control of public spaces and the relationship between the body and architecture. PROTECTION ROOM asks how to claim our „right to opacity“ (Edouard Glissant) and in what way opacity can function as protection in a world of super-exposure. It detects the obscure and confinement of transparency and will function as a opaque view on the subject matter that can be linked to the public-space, private-self and over-exposed world.
Today, ‚public space‘ is democratized, we accept and submit permission for use of our private-selves without a second thought. One can question of movement between a ‚public‘ and a ‚public‘ is all that is left and how the feeling of security can be guarded, without giving in to systems of hyper-control.

Under the circumstances of the #brusselslockdown the exhibition project’s title PROTECTION ROOM got into new spheres of relevance and the question around the ‚public‘ and the ‚private‘ carried a new heaviness, also questioning the role of a ‚flat‘ as a safe place? The gallery space, which was our private living space for a week allowed subtle touching points between the working process of the artists – intertwining proximity and distance and eventually ending in a public moment, the opening which also stood under the shadow of this special political moment in time.

The project is initiated by artist Denise Bertschi. It wanted to test the slippery state between curatorial practice, artistic collaborative production and the role of friendship.

Participating artists:
Denise Bertschi
Doris Boerman
Gitte Hendrikxs
Sophie Reble &
Martina-Sofie Wildberger

http://www.rosabrux.org



Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html

The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.

Posted by Corner College Collective

2016 / 201605 / Buchvernissage
Félix Guattari / Antonio Negri: Neue Räume der Freiheit
Buchpräsentation und Diskussion mit Toni Negri, der anwesend sein wird

Antonio Negri, Gerald Raunig, Alan Roth
 

Buchpräsentation und Diskussion mit Toni Negri, der anwesend sein wird.


Félix Guattari / Antonio Negri, Neue Räume der Freiheit. Buchumschlag.


Neue Räume der Freiheit
Félix Guattari / Antonio Negri
Herausgegeben von Isabell Lorey, Gerald Raunig und Alan Roth
transversal texts, Juni 2015
ISBN: 978-3-9501762-9-2
150 Seiten, broschiert.

Aus dem Französischen und Italienischen von Alan Roth
in Zusammenarbeit mit Delphine Bronner, Max Heinrich, Leopold Helbich, Stefan Huber, Adrian Hummel, Robert Kirov, Sarah Lauener, Sophie Michel, Severin Miszkiewicz, Stéphane Nidecker, Roberto Nigro, Gerald Raunig, Noemi Schmid, Linda Semadeni, Juliana Smith, Timothy Standring, Jana Vanecek und Aline Weber.

Im Jahr 1983 flieht Antonio Negri nach Aufhebung seiner parlamentarischen Immunität vor der Verfolgung durch den italienischen Staat nach Paris. Es beginnt damit ein 14-jähriges Exil, in dem der marxistische Philosoph sich stärker als zuvor mit der poststrukturalen französischen Theorie von Deleuze, Foucault und anderen auseinandersetzt. Mit Félix Guattari beginnt er ein Experiment des gemeinsamen Schreibens, das Buch Les nouveaux espaces de liberté.

Neue Räume der Freiheit ist nicht nur ein Zeitdokument aus den „Winterjahren“, den bleiernen Jahren nach der staatlichen Repression gegen die italienische Autonomia und vor dem Zusammenbruch der Sowjetunion, sondern zugleich auch ein vielfaches konzeptuelles Versprechen für eine Zukunft, die heute unsere ausgedehnte Gegenwart ist. Die begrifflichen Erfindungen des späten Guattari zeichnen sich hier ebenso ab wie die späteren Arbeiten von Toni Negri mit Michael Hardt. Es bricht an die Zeit der Vielheiten, des Commonismus, der molekularen Revolutionen.



Photo documentation of the event on Facebook: https://www.facebook.com/361449520702226/photos/?tab=album&album_id=566254250221751

Posted by Corner College Collective

2016 / 201603 / 201604 / Ausstellung
No-where? Now-here!
The Molecular Books of Life – Colleges of Unreason
An idea-driven group exhibition about the practices of writing and the book on one page.

Denise Bertschi, Delphine Chapuis Schmitz, Jonas Etter, Henrik Hentschel, San Keller, Petra Elena Köhle, Julie Sas, Triin Tamm, Riikka Tauriainen, Alexander Tuchaček, Nicolas Vermot Petit-Outhenin, Anne Käthi Wehrli, Martina-Sofie Wildberger, Sophie Yerly
 

With Denise Bertschi, Delphine Chapuis Schmitz, Jonas Etter, Henrik Hentschel, San Keller, Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Julie Sas, Triin Tamm, Riikka Tauriainen, Alexander Tuchaček, Anne Käthi Wehrli, Martina-Sofie Wildberger, Sophie Yerly

Curated by Dimitrina Sevova in collaboration with Alan Roth

From 17.03.2016 to 17.04.2016.
Opening on 17 March 2016, 19:00h.
Performance {reclaim the twelfth camel} < code of practice at the opening, 21:00h, by Alexander Tuchaček.

Artist talks in three sessions on Sundays, 20 March, 3 April, and 17 April at 17:00h (for details follow the links).


Opening Hours during the exhibition / Öffnungszeiten während der Ausstellung

Wed 3pm - 6pm / Mi 15:00h - 18:00h
Thu 3pm - 7pm / Do 15:00h - 19:00h
Fri 3pm - 6pm / Fr 15:00h - 18:00h
Sat 2pm - 5pm / Sa 14:00h - 17:00h



Flyer for the exhibition. Design: code flow.



Piero Gilardi, Richard Serra, Hans Haacke, in: Dokumente zur aktuellen Kunst 1967-1970. Material aus dem Archiv Szeemann. Texte von Georg Jappe, Aurel Schmidt und Harald Szeemann (Luzern: Kunstkreis AG Luzern, 1972).


An idea-driven group exhibition project about how and why an idea(l) book can be only a single page, which explores the strange connection between writing and biopower. Unfolding in two chapters (or two episodes) it searches for micro approaches to the paradox of practices that emerge as Art Writing and Anagrammatic Writing, between writing and life and between published/exhibition – both being forms of display (movable vs. durational). The exhibition/publishing project brings together artists who actively experiment with writing and text, whose practices are at the fringe of the visual and narrative or in-between, neither visual nor narrative, always constructed by collectively exhaustive events.

No-where? Now-here! The Molecular Books of Life – Colleges of Unreason displays art practices that rupture with representative and institutionalized forms of writing and open up to the heterogeneity of productive forces, diagrammatic dynamism and the virtual potentiality of the network of text-image-work-in-progress, to the performative relations producing this process. In a Deleuzian sense, “it is a process, that is, a passage of Life that traverses both the livable and the lived.”


Read here the expanded curatorial text and research by Dimitrina Sevova in collaboration with Alan Roth.


Der Empirismus ist der Mystizismus des Begriffs, sein Mathematismus. Aber er behandelt den Begriff eben als Gegenstand einer Begegnung, als ein Hier-und-Jetzt, oder eher noch als ein Erewhon, aus dem in unerschöpflicher Folge die immer neuen und anders verteilten „Hier und Jetzt“ ausfließen. Nur der Empirist kann sagen: Die Begriffe sind die Dinge selbst, aber in einem freien und wilden Zustand, jenseits der „anthropologischen Prädikate“. (Deleuze)

Dieses Projekt zeichnet einige Verbindungslinien, die, so scheint es, nicht oft gezogen werden, zwischen der Philosophie von Gilles Deleuze und Félix Guattari, und Deleuzes geliebtem Science-Fiction-Roman Erewhon von Samuel Butler, die wenig erforscht sind, sei es im akademischen Bereich oder in Feld der Kunst. Sowie die selten untersuchten Verbindungen zwischen Deleuze und Guattari und einem der häretischen Studenten Freuds, Otto Rank, der den sexuellen Trieb seines Meisters mit der unpersönlichen Individuation analytischer Praxen auf der Basis von Objektrelationen ersetzte, der über die Überwindung der Todesfurcht schrieb. Dies steht der Art und Weise nahe, wie Deleuze in seinem Aufsatz Immanenz: Ein Leben die vitalen Kräfte konzeptualisiert. Weiter folgt es der Verbindung zwischen Deleuze und Guattaris maschinischer Theorie und Samuel Butlers molekularem Gedanken in der Evolution des maschinischen Universums. Die Praxen des Schreibens setzen einen wilden Empirismus voraus, der von der „einstimmigen Ontologie“ herrührt, und dessen Raum ist „der Mystizismus des Begriffs, sein Mathematismus“. Sol LeWitt operiert ähnlich wie Deleuzes Programmierung, wenn er sagt: „Konzeptkünstler sind viel eher Mystiker als Rationalisten. Sie eilen zu Schlussfolgerungen, die der Logik nicht erschlossen sind.“



Denise Bertschi


Denise Bertschi, T.R.U.S.T.


“TRUST. Five extremely demanding letters.” I believe every word you say! Words construct ‘trust’ as well as disbelief. Denise Bertschi continuously engages with language, the social and political fabric of language and manipulation of information. For the work T.R.U.S.T. Denise Bertschi collects slogans from marketing representation of the biggest Swiss private bank Pictet based in Geneva – “collecting as forms of writing”. Selling words, language of radicality turned into a marketing spoof, pseudo-poetry and corporate rethorics. Contemporary advertising slang, calculated usage, market research, finding selling words – Rhetoric matters! But how are these words surrounding us just leave us empty? “Can I trust these words?”



Delphine Chapuis Schmitz




Die Zumutung [L'affront]
Video, Projection, Loop. 2016.

Il s’agit d’écrire un texte qui ressemble à une page, c’est-à-dire qui ait autant de réalité qu’une page. Mais dans son genre.

Le genre de page sur lequel on écrit de nos jours, ni blanche, ni une, ni bi-, ni même tri-dimensionnelle. Une page à multiples layers, des possibles (fast) END-LOS.

Les textes de la vidéo / projection ici présentées sont issus de l’ensemble de textes généré lors de l’exposition www.corner-college.com, réalisée en 2014 sur le site internet de Corner College.


Die Zumutung
Video, Projektion, Loop. 2016.

Es geht darum, einen Text zu schreiben, der einer Seite ähnlich sieht, was bedeutet, dass er so wirklich sein soll wie eine Seite. Aber in seiner Art.

Die Art von Seite, auf der heutzutage geschrieben wird, weder weiss noch ein-, zwei- oder dreidimensional. Eine Seite mit vielfältigen Schichtungen, (fast) END-LOSE Mögliche.

Die Texte der Video / Projektion, die hier vorgestellt werden, entstammen der Menge von Texten, die während der Ausstellung www.corner-college.com generiert wurden, die 2014 auf der Webseite des Corner College realisiert wurde.



Jonas Etter

Untitled (Fountain II)
3D printer reduced to 1D, 2016




“You cannot define electricity. The same can be said of art. It is a kind of inner current in a human being, or something which needs no definition.” (Marcel Duchamp)

A 3D printer, an industrial object, is elevated to the dignity of art, not only because literally, Jonas Etter makes this claim by fixing the machine to one of the white walls of Corner College like An Oak Tree (one can refer here to Michael Craig-Martin’s eponymous conceptual work from 1973). On every working day of the exhibition, the 3D printer moves repetitively back and forth and prints material according to a predesigned code installed by the artist, as it melts a synthetic wire to a fine thread which after escaping from the nozzle cools down to room temperature and solidifies. The artist’s preoccupation is with how he can retranslate three-dimensional reality into a one-dimensional or multi-layer topographic landscape, or how the pixelated image can be written in vectorized line segments. He scanned a handwritten to-do-list. The image of this sheet, vectorized and encoded, after being printed out turns into both the paper and the imprinted writing, into lines of unconscious machinic scribbles which are a tabula rasa in which no text will ever be imprinted, but one can say that it becomes a growing text, or texture, by itself. Two of the three dimensions were taken away by the artist from a the 3D printer, assembled from commercially available components piece by piece by the artist as a Do-It-Yourself engineered small machine. The printing machine constructs a mere projection of an object onto a line, which again unfolds in the space, the uncanny and non-sense, or simply junk, of the growing waste of synthetic constructivism. Since the foundation or floor of the 3D printer was left out in the assemblage, the threads fall on the floor, constructing a drawing across the space or rather growing an n-dimensional object of multi-layered, tiny one-dimensional lines.

Text: Dimitrina Sevova




Henrik Hentschel


Henrik Hentschel, Untitled, 2016.


Untitled
2016

German Chancellor Angela Merkel stated “We will cope!” at the beginning of the refugee crisis. Since then, this sentence has been connected to her political position and future.

The work transforms this sentence into a picture and rephrases it to a singular person. Each letter is light-written into the air, graffiti-like, onto a single negative.

The second part of the work consists of three texts written by members of the literature association „Literatur für das was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) The association sets up events, where different writers compose texts by request. The collected money goes to help people on the move.


Ohne Titel
2016

Die deutsche Kanzlerin Angela Merkel sagte zu Beginn der Flüchtlingskrise, „Wir schaffen das!“ Seither bleibt diese Aussage mit ihrer politischen Stellung und Zukunft verbunden.

Die Arbeit verwandelt diesen Satz in ein Bild und formuliert es in die erste Person Einzahl. Jeder Buchstabe ist, ähnlich einem Graffito, auf ein einziges Negativ in der Luft lichtgemalt.

Der zweite Teil der Arbeit besteht in drei Texten, verfasst von Mitgliedern des Literaturvereins „Literatur für das, was passiert“. (https://www.facebook.com/Literatur-f%C3%BCr-das-was-passiert-1698443547055500/timeline) Der Verein veranstaltet Anlässe, bei denen Schriftsteller_innen an Schreibmaschinen Texte auf Wunsch verfassen. Das gesammelte Geld kommt Menschen auf der Flucht zugute.



San Keller


San Keller, The Real On Kawara, 2008.


The Real On Kawara
2008
Liquitex auf Leinwand (ausgeführt von Manuel Krebs), 25.5 × 33 × 4 cm.

San Keller schenkte seinem Vater zur Pensionierung in Anlehnung an On Kawaras Today Series den gemalten Bindestrich zwischen seinem ersten (20. April 1965) und letzten (31. Oktober 2008) Arbeitstag beim Kantonalen Personalamt Bern.

Der Bindestrich ist weiss. Der Hintergrund ist die Mischfarbe aus sämtlichen Farben, welche On Kawara bisher in der Today Series verwendete. Ausstellungen: Weihnachtsausstellung 2008 / 2009, Kunsthalle Bern.
Besitzer: Museum San Keller, Sammlung Marianne u. Fritz Keller.


The Real On Kawara
2008
Liquitex on canvas (executed by Manuel Krebs), 25.5 × 33 × 4 cm.

San Keller gave as a gift to his father the painted hyphen between his first (20 April 1965) and last (31 October 2008) working day at the Cantonal Office of Personnel Bern, in reference to On Kawara’s Today Series.

The hyphen is white. The background is the mixed color from all colors used to date by On Kawara in the Today Series. Exhibitions: Christmas Exhibition 2008 / 2009, Kunsthalle Bern.
Owner: Museum San Keller, collection of Marianne and Fritz Keller.



Petra Elena Köhle & Nicolas Vermot Petit-Outhenin


Petra Koehle + Nicolas Vermot Petit-Outhenin, A kind of palimpsest, 2016.


A kind of palimpsest
Print on flag

The artists produced two flags with to the same imprinted text fragment or traces of what remains of the two novels Don Quixote under the ultimate decay of time, those by Miguel de Cervantes and by Pierre Ménard. The two short phrases of text apparently coincide, yet we would be mistaken to assume that they are copies of each other. As the flags unfold they reveal what was hidden inside the space, a hand written phrase by a friend – the ideal book. The artist’s mysterious duty towards that friend manifests itself in a statement by the artists Petra Elena Köhle + Nicolas Vermot Petit-Outhenin, who throughout their recent work have experimented intensively with the notion of repetition, to re-play and force the act of repetitiveness to its limit, to try over and over again, in order to displace the object, where an errant and random difference in itself can appear as a sign of immanent change, demonstrating how the meaning is performed by the specificity of the context.

Later, the two flags will be installed on the façade of Corner College to the accidental gaze of the pedestrians passing by. They confront the viewer with the impossibility to distinguish them, to remain indifferent to their sameness and ambiguous meaninglessness. And then suddenly it seems almost true that the printed text on one of the flags is a bit diminished. Or it is just an optical illusion? There might be some obstacle to really distinguish the two texts, which are indeed identical excerpts imprinted on the two flags as a matter of appropriation by the artists. One of them is from the “original” version of Don Quixote written by Miguel de Cervantes in 1703, while the other is from the more fragmentary Don Quixote written by Pierre Ménard, according to the short story by Jorge Luis Borges, 200 years later. Pierre Ménard wrote it at the beginning of the 20th century, confronting the impossibility of any reasonable argument why Don Quixote might be relevant today.

Ménard has the divine modesty of pursuing his peculiar idea to repeat “a pre-existing book in a foreign tongue.” The process implies an idiotic methodology of repeating the writing process of Cervantes by his own experience. “He did not want to compose another Don Quixote – which would be easy – but the Don Quixote.” He puts himself in the place of Don Quixote in so radical a manner that he rewrites the novel word for word and line for line. Ménard does not write about Don Quixote. He embodies and becomes himself Don Quixote through his rigorous writing. That makes the difference in the repetition. It is a micro composition of a molecular book, written in a foreign language. Ménard’s writing is no doubt metabolistic, a bodily function from which a contemporary Don Quixote appears in the play of the two flags, too – a “solitary game” in-between two poles of perpetual displacement or de-familiarization between I-Don Quixote and me-Don Quixote. Don Quixote remains the same Don Quixote. Only I is another in the interiority of an unwritten novel, through the infinity of combinations of the eternal return of the fiction, inorganic and extra-human, a “vast ocean of indifference.” It is an expression of life itself, whose value lies outside the closed system of the text.

The actor employed by the artists for their performance at the finissage of the exhibition will read the Borges short story in the passage between the flags outside the exhibition space, his essential voice with his own specific accent carrying a “mournful” and “humid Echo.” He will deny to embody the autobiographical lines in the short story of Borges about Pierre Ménard, just as Pierre Ménard as Don Quixote refuses to re-write, and even forces himself to exclude the autobiographical prologue of Cervantes in the second part of the novel in order to arrive at the fictional personage of Don Quixote as Pierre Ménard and nobody else. If anything, it is the interjection of Edgar Allan Poe that intervenes in this process, not Cervantes’. Ménard’s Don Quixote is not however a copy but a work in its own right. Analyzing the two texts, Borges ascribes to Ménard’s version a greater subtlety and fragmentarity than to its predecessor. It is an open work that remains forever unfinished.

Through their work, Koehle + Vermot question the role of the author and the relation of the text/art work to the context, by means of repetition and the aesthetics of appropriation as an affirmative politics, and the meaninglessness of art as a gesture of perpetual justification of “absurdity” and inconclusiveness, where ambiguity is a richness, an ultimately useless intellectual exercise. It is a metaphysical demonstration, as the artists’ “ultimate goal” seems to be only chance and nothing else. They do not operate a mechanical transcription of the text to display it on the flags, but replay it over and over again and open it up to non-human forces to deploy or unfold the statement of a concept, which not only does not exclude, but actually carries within itself the action, i.e., the manifestation, like the performative unfolding of a private statement in a public space, as in the unfolding of a flag, which combines within itself as a performative opening both the action and the display of I-other.

Text: Dimitrina Sevova


The complete short story “Pierre Ménard – Author of Don Quixote” by Jorge Luis Borges is available next to the flags.


Die Kurzgeschichte „Pierre Ménard – Autor des Don Quixote“ von Jorge Luis Borges liegt in voller Länge bei den Fahnen auf.


… la verdad, cuya madre es la historia, émula del tiempo, depósito de las acciones, testigo de lo pasado, ejemplo y aviso de lo presente, advertencia de lo por venir …

… truth, whose mother is history, who is the rival of time, depository of deeds, witness of the past, example and lesson to the present, and warning to the future …

… Wahrheit […], deren Mutter die Geschichte ist, die Nebenbuhlerin der Zeit, Aufbewahrerin der Taten, Zeugin der Vergangenheit, Vorbild und Belehrung der Gegenwart, Warnung der Zukunft …



Julie Sas


Julie Sas, La vérité dans le texte (Je cherche un homme), 2015. Video still.


La vérité dans le texte (Je cherche un homme)
2015
video couleur, son, 3:36, en boucle

À l’image, un personnage hybride (composé des figures antagonistes de Diogène - philosophe antique - et Des Esseintes - esthète et dandy, personnage principal du roman A rebours de Joris-Karl Huysmans) tape en boucle, sur une machine à écrire, la phrase «Je cherche un homme». Cette phrase, directement empruntée au philosophe cynique Diogène, est une proposition ironique visant à réfuter la théorie platonicienne selon laquelle il existerait un «homme véritable», un «idéal humain». Trois plans se succèdent, rejouant le mouvement mécanique de la machine à écrire (frappe des barres à caractère), tandis qu’un décalage entre le son et l’image intervient dans le plan principal de la vidéo.


La vérité dans le texte (Je cherche un homme) [Die Wahrheit im Text (Ich suche einen Menschen)]
2015
Video, Farbe, Ton, 3:36, in Schleife

Auf dem Bild tippt eine hybride Person (zusammengesetzt aus den antagonistischen Figuren des Diogenes – des Philosophen der Antike – und Des Esseintes – dem Ästheten und Dandy, Hauptfigur von Joris-Karl Huysmans’ Roman Gegen den Strich) in Schleife auf einer Schreibmaschine den Satz „Ich suche einen Menschen“. Dieser Satz, unmittelbar dem zynischen Philosophen Diogenes entliehen, ist eine ironische Aussage, die darauf abzielt, die platonische Theorie zu widerlegen, laut der ein „wahrer Mensch“, ein „menschliches Ideal“ existieren soll. Drei Einstellungen folgen aufeinander und spielen immer aufs Neue die mechanische Bewegung der Schreibmaschine durch (den Anschlag der Typenhebel), während eine Phasenverschiebung zwischen dem Ton und dem Bild in die Haupteinstellung des Videos eingreift.


La vérité dans le texte (Je cherche un homme) [Truth in the Text (I am looking for a man)]
2015
Video, color, sound, 3:36, looped

On the picture a hybrid character (composed of the antagonistic figures of Diogenes – Ancient philosopher – and Des Esseintes – the aesthete and dandy, main character in Joris-Karl Huysmans’ novel Against Nature) types in a loop on a typewriter the sentence “I am looking for a man.” This sentence, borrowed directly from the cynic philosopher Diogenes, aims to refute the platonic theory claiming the existence of a “true human,” a “human ideal.” Three shots in sequence replay the mechanical movement of the typewriter (the keystrokes of the type bars), while a time lag between sound and image intervenes in the main shot of the video.



Triin Tamm




i'm late…

Text on doormat, 2016.



Riikka Tauriainen

Ignore All Signs


Zeno's Paradox


Consider a system in a state A, which is the quantum state of some measurement operator. Say the system under free time evolution will decay with a certain probability into state B. If measurements are made periodically, with some finite interval between each one, at each measurement, the wave function collapses to an eigenstate of the measurement operator. Between the measurements, the system evolves away from this eigenstate into a superposition state of the states A and B. When the superposition state is measured, it will again collapse, either back into state A as in the first measurement, or away into state B. However, its probability of collapsing into state B, after a very short amount of time t, is proportional to t², since probabilities are proportional to squared amplitudes, and amplitudes behave linearly. Thus, in the limit of a large number of short intervals, with a measurement at the end of every interval, the probability of making the transition to B goes to zero.



Alexander Tuchaček


Alexander Tuchaček, {reclaim the twelfth camel} < code of practice, 2016.


{reclaim the twelfth camel} < code of practice

In der Arbeit {reclaim the twelfth camel} < code of practice geht es um den Versuch einer Sprachgenerierung für eine Wiederaneignung des algorithmischen Raums, eines Raums, der uns abhanden gekommen ist, verlorengegangen oder schlichtweg geraubt wurde.

Dafür wird ein spezielles Tier in den Raum geführt, ein Kamel, das zugleich Text, Bild, Programm, Erzählung und Aufführung ist. In der Arbeit geht es um einen Verteilungskonflikt, der scheinbar gut gelöst wird und alles wieder ins Lot bringt. Bei dieser scheinbar guten Lösung gerät aber das Verhältnis von Text und Aufführung aus den Fugen. Eine dritte Figur, das sich selbst aufführende Shell-Programm, das sich aus dem Kamelbild entschlüsselt, fordert seine Mitsprache ein. Dabei schreibt es die Geschichte vom zwölften Kamel (vor). Aber wer spricht hier den Text der Geschichte und aus welcher Position? Vielleicht geht es um einen ganz anderen Verteilungskonflikt, um die Zeit und den Raum der Erzählung, und um die Frage, wer und wie die Neuverteilung dieses Raums zurückfordern kann?

Eine Mehrzahl von Performer_innen in Form von bots, scripts und Figuren treten in Erscheinung. Das Projekt startet zur Eröffnung am 17. März mit einer Performance um 21 Uhr und wird im Laufe der Ausstellung weitere Protagonist_innen und Aufführungen folgen lassen.


{reclaim the twelfth camel} < code of practice

The work {reclaim the twelfth camel} < code of practice is about an attempt to generate language to reappropriate algorithmic space, a space that has gone amiss, got lost or was just plain stolen from us.

To this end, a special animal is led into the room, a camel that is simultaneously text, image, program, narrative and enactment. The work is about a conflict over distribution that ostensibly is resolved well, balancing everything out again. This apparently good solution however throws the relation between text and enactment out of joint. A third figure, the self-executing shell program that decodes itself from the image of the camel, demands to have its say, all the while writing, or prescribing, the story of the twelfth camel. But who is it that speaks the text of the story, and from what position? Might it not be about an utterly different conflict over distribution, about time and space of the narrative, and about the question of who and how can reclaim the redistribution of this space?

A multiplicity of performers in the form of bots, scripts and figures make their appearance. The project starts out on the opening date on 17 March at 21:00h and will be followed during the exhibition by further protagonists and enactments.



Anne Käthi Wehrli




Die Frau als Einstiegsloch
Ist es ein Krimi? Forschung? Expedition?
Ein Abenteuer mit Fragen.

Die Frau, das Einstiegsloch für die Infra-Quark Entität im Film In Search of UIQ* ist tot, das merkte ich sofort. Wieso und warum? Stimmt es wirklich oder ist es nur meine Einbildung, mein Gefühl, ausgelöst durch die Art und Weise, wie diese Videoaufzeichnungen, die im Film vorkommen, von dieser Frau, die man da noch sprechen sieht, und später nicht mehr vorkommt, gemacht wurden?

Sie muss nun ermitteln. Sich auch mit der Frage befassen: Was ist eigentlich der Unterschied zwischen Trieb und Todestrieb? Nachforschungen anstellen über die Schwangerschaft, diese spezielle Art des Zusammenlebens, und ältestes Grundthema von Science Fiction Romanen. Und vieles noch ungewisses mehr.

Ich werde mich diesem Text zuhause aber auch vor Ort in der Ausstellung widmen, die aktuellen Fassungen werden als Fanzine jeweils ausgedruckt und aufgelegt.

Es lohnt sich also vorbeizuschauen, um die neuen Entwicklungen zu erfahren, aber auch, um das, was später rausfliegen wird, vorher noch zu lesen.

*Im Film In Search of UIQ von Graeme Thomson und Silvia Maglioni aus dem Jahr 2013 geht es um das damals unveröffentlichte Science-Fiction Drehbuch Un amour d'UIQ von Félix Guattari.


Die Frau als Einstiegsloch [The Woman as Entry Hole]
Is it a detective story? Research? An expedition?
An Adventure with Questions.

The woman, the entry hole fort he infra-quark entity in the film In Search of UIQ,* is dead, I realized that at once. Why? What for? Is it actually true, or is it just my imagination, my feeling triggered by the way these video recordings that occur in the film, of this woman whom one can still hear speaking then, and who later is no longer there, were made?

Now she has to investigate. She will also be faced with the question: What is in fact the difference between life drive and death drive? Inquire about pregnancy, that special kind of co-existence, one of the oldest topics of science fiction novels. And other things uncertain.

I shall dedicate myself to this text at home, but also on the spot in the exhibition. The respective current version will be available printed out as a fanzine.

It is worth dropping by to find out about the latest developments, but also to read, before it is no longer there, what will later be ditched.

*The film In Search of UIQ by Graeme Thomson and Silvia Maglioni, from 2013, is about the then still unpublished science fiction movie script Un amour d'UIQ by Félix Guattari.



Martina-Sofie Wildberger




Dream comes true #1
I want to stand up, in a city that never leaps.

Performative installation, slideshow, video projection, duration 20s – 10min40s, 2016.

This work is an excerpt of the ongoing learning process of the artist. Having recently moved to New York for an artist residency, she is writing a poem every day in order to find out how the city influences language – her language. Arriving with fairly limited knowledge of English, it expands over time and becomes vital through the duration leaving its imprints. New influences, ways of thinking and very common encounters mark her architectural writing. The unknown is appropriated and becomes known in language and the city. The artist wants to know how and when this transformation happens.

Every day the poem she writes is added simultaneously to this slideshow starting with the first day. Her piece is installed in the space in Zurich. The slideshow gets longer and longer as the exhibition goes on. Through this cumulative writing we follow her in an abstract and distant yet personal way through the city, her life and the appropriation of a language.


Dream comes true #2
I want to wake up, in a city that never sleeps.




Text animation, iPad, 2016.

In this work, possibilities of translation are explored through the medieval form of labyrinth poems. How can one thing be two things at the same time? Where and when does one become another, how is transformation and transposition embodied.

In Baroque cubes, a specific form of Carmen Figuratum, a small text substrate offers many different ways of reading. This maze reflects also the artist's experience arriving in unknown New York for a residency, through which she has to find her way. As in the poems, there is no right or wrong way, but it is the didactic experience that counts. The artist changes slightly the structure of these poems. She extends the small text substrate by its translation in German or English. Starting from the same point, one translation runs horizontally and one appears vertically through the shift of one letter at a time. Throughout the exhibition more and more animated poems are added.



Sophie Yerly




Too expensive and not enough to eat
2016
http://www.eineseite.ch

Attention artists! Perhaps you employ language in your work. You may be highly literate. But you don’t have to say what your art means or even is about. Furthermore, don’t do that. It’s my job. You make the stuff. Let critics talk about it. Making is superior to talking, so you have the better end of the deal. I try to be big about that. For your part, keep your eye on the ball, which is not a ball of talk.

I’m thinking of those of you who are on the young side. The future is yours. I’m on the old side and running out of future. This slackens my interest in what’s new. When I go to look at art for pleasure now, it’s to the Metropolitan Museum of Art or the Frick Collection. My ‘we’ is yellowing around the edges. Any ‘we’ that has nearterm potential must be one that tastes right in your mouths, when you say the word.
Peter Schjeldahl, Frieze magazine Issue 137, March 2011
http://frieze.com/article/ourselvesandouroriginssubjectsart

Posted by Corner College Collective

2016 / 201603 / Performative Reading
the dinner party

join us for the dinner party on 8 march at 20:00 at corner college for a polyphonic performative reading and table talk!

with sofia bempeza, johanna bruckner, mo diener, anne-laure franchette, anne francke, anke hoffmann, stefanie knobel, nicolasa navarrete, rayelle niemann, caroline palla, jenny rova, anabel sarabi, bernadett settele, dimitrina sevova, riikka tauriainen, anne käthi wehrli, sophie yerly, sarah zürcher

taking inspiration from four women, luce irigaray who wrote this sex which is not one, a letter from nancy spero to lucy lippard (1971) and the dinner party by judy chicago, each of us will bring along with us a short text or passages from a woman poet, artist, writer or theoretician that we like best or find very important for ourselves and women's history of struggles, resistance or aesthetic practices, and we'll read together.


From 1971, a letter from Nancy Spero to Lucy Lippard.



Potluck in The Dinner Party studio. Photo courtesy of Through the Flower Archives.


the dinner party is open for anybody who wants to come over and listen to our small performative reading and take part in the discussions.

let's come together on this evening!

sofia bempeza, johanna bruckner, mo diener, anne-laure franchette, anne francke, anke hoffmann, stefanie knobel, nicolasa navarrete, rayelle niemann, caroline palla, jenny rova, anabel sarabi, bernadett settele, dimitrina sevova, riikka tauriainen, anne käthi wehrli, sophie yerly, sarah zürcher

Posted by Corner College Collective

2016 / 201603 / Each One, Teach One
Guest event: Practical Fridays
“How To Cut Hair”

Philip Matesic
 




During this Practical Fridays session, Linda Pfenninger and Mirjam Bayerdörfer will workshop how to cut hair in different ways, on both long and short haircuts as well as straight and curly. Please come prepared to have your hair cut and cut someone else’s hair.

!!!Please bring a pair of scissors, sharp enough to cut hair!!!

The workshop will take place at Corner College (Kochstrasse 1, 8004 Zürich).

http://practicalfridays.com/

Posted by Corner College Collective

2016 / 201602 / The Artist as The Curator as The Artist
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)
Bettina Carl
Clare Goodwin

Bettina Carl, Clare Goodwin
 

[English see below]

Corner College startet seine neue Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In der ersten Veranstaltung lädt Corner College die Künstlerinnen Bettina Carl und Clare Goodwin ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren.


Left: Streuflüsse / Magnetic Leakage Fluxes / Disparatni Proudy, curated by CAPRI Berlin (Bettina Carl and Ina Bierstedt), June - August 2015, at The Brno House of Arts. Photo: Michaela Dvorakova. Right: The Museum of the Unwanted, an artist curated project by Clare Goodwin KunstMuseum Olten, 2015. Installation view. Photo courtesy of the artist.


Bettina Carl

"Ein paar Fragen sind für meine Arbeit immer entscheidend gewesen: der Akt des Werdens, der Versuch, möglichst präzise zu sein, und die Möglichkeit des Scheiterns. Ich mag Komplikationen. Wenn du dich mit vielem Verschiedenen beschäftigst, darunter Politik, Geschichte, Philosophie und auch Kunst, wirst du nicht gerade zur Vorzeige-Expertin werden (und wir alle müssen hin und wieder die Stromrechnung zahlen). Aber womöglich bist du am Ende dann Künstlerin geworden."

Der Schwerpunkt von Bettina Carls künstlerischer Praxis liegt auf Zeichnungen, Malerei und ortsbezogenen Installationen, in denen oft Text und dreidimensionale Objekte vorkommen. Unter ihren jüngsten Ausstellungen sind jene im Brno House of Art (CZ), Lucie Fontaine Milano (IT), und Helmhaus Zurich. Sie hat mehrere Stipendien und Residenzen gewonnen, und ihre Arbeiten wurden in diversen europäischen Kunsträumen ausgestellt. Seit über 15 Jahren ist Bettina Carl auch als Kuratorin und Autorin im Bereich der Kunst tätig. 2001 gründete sie die Künstlerinneninitiative CAPRI in Berlin mit, sie war Kuratorin am White Space in Zürich und hat als Gastkuratorin in internationalen Räumen und Institutionen Ausstellungen realisiert.


Clare Goodwin

Clare Goodwin ist Künstlerin und Kuratorin, geboren in Grossbritannien, lebt in Zürich. Nebst ihrer Studio-/Malerei-Praxis interessiert sich Goodwin für die Rolle der Künstler_in als Kurator_in - 'Kuratieren rund um die Praxis'. Als Mitbegründerin (mit Sandi Paucic) des K3 Project Space Zürich hat Goodwin auch viele Ausstellungen in der Schweiz und im Ausland initiiert. Ihr jüngstes als Künstlerin kuratiertes Projekt ist The Museum of the Unwanted im KunstMuseum Olten.



[Deutscher Text siehe oben]

Corner College is launching its new series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).

In the first event, artists Bettina Carl and Clare Goodwin are invited to present their curatorial practices and discuss them between themselves and with the audience.

Bettina Carl

"A few issues have always been crucial to my work: the act of becoming, the quest for precision and the chance to fail. I like complications. Immersed in politics, history, philosophy, literature, and yes, art, too, you won't become the very model of an expert. (And we all have to pay the electricity bill now and again.) But eventually, you may become an artist."

Bettina Carl's artistic practice focuses on drawing, painting and site-specific installations, often incorporating texts and three-dimensional objects. Among her recent shows are exhibitions at the Brno House of Art (CZ), Lucie Fontaine Milano (IT), and Helmhaus Zurich. She won several grants and residencies and has exhibited widely across Europe. For more than 15 years now, Bettina Carl has also been active as a curator and writer in the art field. In 2001, she co-founded the artists' initiative CAPRI Berlin, she worked as a curator at White Space Zurich, and as a guest curator, she realised exhibition projects at international art spaces and institutions.


Clare Goodwin

Clare Goodwin is a British born Artist/Curator living in Zurich. Along with her studio/painting practice, Goodwin is interested in the role of the artist as curator - 'curating around practice'. As co-founder of K3 Project Space Zürich (with Sandi Paucic), Goodwin has initiated many exhibitions in Switzerland and abroad. Her most recent artist curated project - The Museum of the Unwanted at KunstMuseum Olten.

Posted by Corner College Collective

2016 / 201602 / The Artist as The Curator as The Artist
New Series:
The Artist as The Curator as The Artist
(The Art of Curating or How about a Paracuratorial Turn?)

Alan Roth, Dimitrina Sevova
 

[English below]

Eine unregelmässige Veranstaltungsreihe mit Vorträgen und Gesprächen im Corner College 2016.

Kuratiert von Dimitrina Sevova in Zusammenarbeit mit Alan Roth

Organisiert von Corner College


The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) ist eine neue, unregelmässige Veranstaltungsreihe mit Vorträgen und Gesprächen, die die kuratorische Wende, Ausstellungspraktiken, die bisweilen die Vorstellung einer Ausstellung sprengen, von Künstler_innen performierte kuratorische Praktiken, sowie die performativen Möglichkeiten des Kuratorischen jenseits einer klarer Programmierung und eines museologischen Rahmens, kritisch hinterfragen. Sie fragt danach, wie die politischen und ästhetischen Möglichkeiten des Diskurses praktisch gemacht werden können, und sucht nach einem neuen Wortschatz, um darüber nachzusinnen, was aus der Sichtweise von Künstler_innen und deren Ausstellungspraktiken und kuratorischen Unterfangen eine Ausstellung sein könnte.

Im Zusammenspiel zwischen dem Wissen über eine Ausstellung und dem Wissen, das dieser Ausstellung entspringt mit ihrer Vielheit an "ontologisch vieldeutigen Dingen" (Elena Filipovic) und dem aktuellen Kontext, den diese hervorbringen, untersucht die Reihe vermittels wessen „die Ausstellung ein Medium ist“ (dies der Anspruch der Documenta 12), die kritische Praxis wie auch die materielle Ästhetik der Dauer. Damit gedenken wir das System konventioneller Annahmen darüber zu untergraben, was als Ausstellung gelten kann, und andere Möglichkeiten des Ausstellungsmachens als Medium und kuratorischer Methodologien zu finden. In der Reihe geht es ums Teilen von Formen des Wissens und der Erfahrung, die hochgradig subjektiv sind, und in dieser Hinsicht lässt sie sich auch als selbstgesteuerten Lernprozess auffassen.

Zwischen kritischer Analyse und der Auffassung kuratorischer Ontologien als erfinderisches Potenzial bringt die Reihe einen produktiven Raum für physische Begegnungen hervor, und richtet dabei ihr Augenmerk auf die Arbeitsbedingungen und den soziokulturellen und wirtschaftlichen Konnex der Ausstellungsproduktion und deren Räume, zwischen Künstler_in, Besucher_in, Kurator_in, Institution, Display, und dem Ausserhalb der Kunst als Institution – Beziehungen, die von Ästhetik und Politik, vom Unpersönlichen wie vom Individuellen motiviert sind. Wer ist heute Ausstellungsmacher_in? Wie hat die Künstler_in als Kurator_in die Display-Politik, das Ausstellungsmachen, Kunstpraktiken, und allgemeiner die Wahrnehmung von Kunst beeinflusst und verändert?


Das kuratorische Konzept in voller Länge (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html



[Deutscher Text siehe oben]

A series of irregular events with presentations and conversations at Corner College 2016.

Curated by Dimitrina Sevova in collaboration with Alan Roth

Organized by Corner College


The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a new series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.

Through the interplay between the knowledge about an exhibition and the knowledge emanating from that exhibition with its multitude of "ontologically ambiguous things" (Elena Filipovic) and the actual context they create, the series studies by what means "the exhibition is a medium" (thus the claim of Documenta 12), both the critical practice and material aesthetics of duration. With this we would like to undermine the system of conventional assumptions of what can still be called an exhibition, and find other potentialities of exhibition making as a medium and curatorial methodologies. The series is about sharing forms of knowledge and experience which are highly subjective, and with this argument the series can be understood as a self-directed learning process.

In-between critical analysis and the consideration of curatorial ontologies as inventive potentiality, the series makes a productive space of physical encounters, focusing on the working conditions and socio-cultural and economic nexus of exhibition production and its spaces between artist, audience, curator, institution, display, and the outside of the art institution – relations simultaneously motivated by aesthetics and politics, by the impersonal and individual. Who is the exhibition maker today? How has the artist as the curator influenced and changed the politics of display, exhibition making, artist practices, and the perception of art at large?


Full text of the curatorial concept (in English): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html

Posted by Corner College Collective

2016 / 201601 / Artist Talk
Künstler_innengespräche // Artist Talks // Curatorial Introduction
Cold. War. Hot. Stars.
The Iron(y) Helmet of the Intellect

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle
 




Künstler_innengespräche und kuratorische Einführung mit

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle im Gespräch mit der Kuratorin des Projekts Dimitrina Sevova

im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.

Artist talks and curatorial introduction with

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle in discussion with the curator of the project Dimitrina Sevova

in the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.

Posted by Corner College Collective

2016 / 201602 / Performance
LEGS Zürich 2016
Dorothea Rust
 


Christian Bujold. LEGS. Montréal, 7 February 2015. Photo: Laurence Poirier.


LEGS Zürich 2016
Samstag/Saturday 27 Feb
im//at Corner College Zürich
von//from 11h ununterbrochen//ongoing
während//during 7 – 9 Stunden//hours
mit vielen eingeladenen Künstler_innen/Performer_innen aus Zürich und Umgebung//performed by a lot of invited artists_performers from and around Zurich
Zuschauer_innen können kommen und gehen//audience is invited to come and go throughout the day


LEGS Zürich LIVE STREAMING
http://ustre.am/1swpx

Photo documentation (work in progress)
http://materials.corner-college.com/2016/201602/20160227-LEGS/index.html

Teilnehmer_innen und Zeitplan // Participants and timetable

1 | 11:00 - 11:09 | Nadine Schwarz
2 | 11:09 - 11:18 | Mirzlekid Hansjörg Köfler
3 | 11:18 - 11:27 | Susanne Keller
4 | 11:27 - 11:36 | Peter Emch + Tobias Oehmichen
5 | 11:36 - 11:45 | sprüngli & ratluk / Lara Stanic und Andreas Pfister
6 | 11:45 - 11:54 | Christine Bänninger + Peti Wiskemann
7 | 11:54 - 12:03 | Martin G. Schmid
8 | 12:03 - 12:12 | Milenko Lazic + Maya Minder
9 | 12:12 - 12:21 | Leo Bachmann + Angela Hausheer
10 | 12:21 - 12:30 | ALMA
11 | 12:30 - 12:39 | Gregory Hari
12 | 12:39 - 12:48 | Silvana Iannetta
13 | 12:48 - 12:57 | Sebastian Hofmann
14 | 12:57 - 13:06 | Abbott Chrisman
15 | 13:06 - 13:15 | Clarissa Hurst
16 | 13:15 - 13:24 | Gabi Glinz
17 | 13:24 - 13:33 | Leu Maricruz Penaloza
18 | 13:33 - 13:42 | Anne Käthi Wehrli
19 | 13:42 - 13:51 | Angela Stöcklin
20 | 13:51 - 14:00 | Melchior Rohrer
21 | 14:00 - 14:09 | Marie-Claude Gendron
22 | 14:09 - 14:18 | Lilian Frei und Ensemble
23 | 14:18 - 14:27 | Porte Rouge, Christoph Ranzenhofer + Joa Iselin
24 | 14:27 - 14:36 | Ali Al-Fatlawi + Watiq Al-Ameri
25 | 14:36 - 14:45 | St. Pauli, Dadamt Zörich
26 | 14:45 - 14:54 | Mo Diener
27 | 14:54 - 15:03 | Nathalie Stirnimann + Stefan Stojanovic
28 | 15:03 - 15:12 | Verica Kovacevska
29 | 15:12 - 15:21 | Lara Russi
30 | 15:21 - 15:30 | Anna Francke + Petra Köhle + Riikka Tauriainen + Nicolas Vermot Petit-Outhenin
31 | 15:30 - 15:39 | Tiziana Rosa
32 | 15:39 - 15:48 | Kata
33 | 15:48 - 15:57 | Yvonne Good
34 | 15:57 - 16:06 | Stefanie Knobel
35 | 16:06 - 16:15 | Ariane Tanner
36 | 16:15 - 16:24 | Julie Bärz
37 | 16:24 - 16:33 | Daniel Mezger + Latefa Wiersch
38 | 16:33 - 16:42 | Christoph Studer-Harper
39 | 16:42 - 16:51 | Salome Schneebeli
40 | 16:51 - 17:00 | Grauton
41 | 17:00 - 17:09 | Dimitrina Sevova
42 | 17:09 - 17:18 | Natalie Madani
43 | 17:18 - 17:27 | Jeanette Engler
44 | 17:27 - 17:36 | Ipek Füsun
45 | 17:36 - 17:45 | Monica Germann
46 | 17:45 - 17:54 | San Keller
47 | 17:54 - 18:03 | Marc Mouci
48 | 18:03 - 18:12 | Anne Rosset
49 | 18:12 - 18:21 | Luca Caluori
50 | 18:21 - 18:30 | Did Schaffer
51 | 18:30 - 18:39 | Michael Blättler
52 | 18:39 - 18:48 | James Stephen Wright
53 | 18:48 - 18:57 | Dorothea Rust (Überbringerin/transmitter)
54 | 18:57 - 19:06 | Omri Ziegele
55 | 19:06 - 19:15 | Doro Schürch
56 | 19:15 - 19:24 | Judith Huber
57 | 19:24 - 19:33 | Andrea Saemann



LEGS ist ein Format ohne Budget und Kuratierung, eine lange kontinuierliche Performance, die kurze Beiträge von vielen Künstler_innen unterschiedlicher künstlerischer Ansätze, nacheinander (mit Zeitplan in einer Art Stafette) ohne Brimborium, sehr direkt und effektiv zusammenbringt. Zuschauer_innen/Anwesende können kommen und gehen und bleiben so lange sie wollen. Das ursprüngliche LEGS fand im Februar 2015 in Montreal statt von Künstler_innen initiiert und organisiert, mit der Idee dieses Format an andere Netzwerke in ähnlicher Stafetten-Manier weiterzureichen. Die zweite Ausgabe von LEGS (bezeichnet als LEGS, TOO) fand im Oktober 2015 in Toronto statt. Das Format kann an ein neues Netzwerk weitergereicht werden durch die Teilnahme von einer oder mehreren Künstler_innen, die an einem vorhergehenden LEGS teilgenommen haben.
Kontakt: Dorothea Rust ‹rust.doro@bluewin.ch› (hat im Oktober 2015 an LEGS, TOO in Toronto teilgenommen)

LEGS is a format with no budget and no curating, a long, continuous performance which brings together the consecutive short contributions of many artists with different artistic approaches (on a schedule in the manner of a relay), with no fuss, very directly and effectively. The viewers/public can come and go as they wish. The originating edition of LEGS took place in Montreal in February 2015, invented and organized by artists with the idea of LEGS being transferred to other networks in a similar relay fashion. The second iteration of LEGS (entitled LEGS, TOO) took place in Toronto in October 2015. The LEGS event is transmitted to a new network through the participation of one or more artists who have taken part in one LEGS before.
Contact: Dorothea Rust ‹rust.doro@bluewin.ch› (participated in LEGS, TOO in Toronto in October 2015)


Shannon Cochrane, LEGS, TOO, Toronto, 3 October 2015. Photo: Henry Chan.

Posted by Corner College Collective

2016 / 201602 / website launch
Lancierung der Onlineplattform www.panch.li
und LUPE Zürich

Dorothea Rust
 




PANCH* Performance Art Netzwerk CH
und//and Corner College
präsentieren//present
Freitag//Friday 26 Feb, 18h30
im//at Corner College Zürich
die Lancierung der Onlineplattform www.panch.li // the launch of Internet platform www.panch.li
und//and LUPE Zürich**

*PANCH vernetzt//links, initiiert//initiates, stärkt//encourages, bietet//offers, vertritt//represents, informiert//informs
Performancekünstler_innen//Performance Artists, Theoretiker_innen//theoreticians, Archivar_innen//Archivists, Veranstalter_innen//Curators, Institutionen//Institutions, Performance-Kunst Schweiz//Performance Art Switzerland, Diskussionsplattform//platform for discussion, Kultur-Politik//cultural policy, Onlineplattform//Internet platform
PANCH ist ein Verein und freut sich über Mitglieder // PANCH is an association and welcomes (new) members

** Die LUPE ist ein zentrales Instrument der Onlineplattform von PANCH. Sie will die Performanceszene der Schweiz bündeln, sichtbar machen und international ausstrahlen. Sie wird zweimal im Jahr während je einem halben Jahr ein (geografisches) Gebiet nach Performance Kunst Anlässen und performativen Praktiken durchscannen/durchforsten und Kommentare, Hinweise, Tips, Reportagen und mehr sammeln. Stadt und Umgebung ZÜRICH werden die erste Region sein und von einem Team von Spezialisten_innen und Akteur_innen aus Zürich und Umgebung unter die Lupe genommen.

** LUPE is an essential tool of the internet platform. Twice a year it will scan and enlarge the situation for performance of a specific region. Different authors will collect reports, tips, informations, comments and more about Performance Art events and performative practices. The city of Zurich and its surroundings will be the first region to be examined by a team of specialists and artists.

Posted by Corner College Collective

2016 / 201601 / Lecture / Performative Reading
Nowhere Men – Illegal Migrants in the Stream of Globalization
A performative reading by Christoph Miler with the participation of Fredrik Wendschlag
Monumental Misconceptions
Lecture by Liane Lang

Liane Lang, Christoph Miler
 

[English below]

Eine Veranstaltung im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.


Christoph Miler, Nowhere Men, 2015. Book cover.


17:00h

Nowhere Men – Illegale Migranten im Strom der Globalisierung

Eine performative Lesung von Christoph Miler unter Mitwirkung von Fredrik Wendschlag

In Europa leben heute mehr als vier Millionen illegale Einwanderer. Unzählige weitere kommen tagtäglich hinzu. Auf der Suche nach einem besseren Leben durchfahren sie Wüsten in rostigen LKWs, überqueren Meere auf morschen Holzkähnen und passieren Grenzen unter glühenden Motorhauben. Unser Wissen über sie beschränkt sich dabei allerdings meist auf tragische Nachrichtenmeldungen und simple politische Botschaften. Das Buchprojekt Nowhere Men will dazu einen Gegenentwurf liefern und die komplexe Wirklichkeit dieser Menschen begreifbarer machen – indem es ihre Geschichten erzählt und in einen größeren Zusammenhang stellt.

Nun wird Nowhere Men erstmals im Rahmen einer performativen Lesung vorgestellt. Dabei wird die Lebensgeschichte eines illegalen Migranten in ein Netz globaler Beziehungen und Machtstrukturen eingebettet: Von den Slums in Mali und den Schmuggelrouten in Nordafrika, über die Büros transnationaler Unternehmen und mächtiger Politiker, bis hin zur Computerproduktion und dem Internet, Flughafenstreiks und Supermärkten, Lampedusas Küstenwache und dem Schweizer Wahlkampf. Ein komplexes Geflecht aus Zusammenhängen und Abhängigkeiten entsteht, der Anbruch eines neuen, wahrhaft globalen Zeitalters wird skizziert: Die unscheinbarsten Ereignisse, egal wo, egal was, können von nun an auch die Leben all jener unbekannten Gesichter am anderen Ende der Welt beeinflussen, die einst noch so unerreichbar weit weg schienen.



Liane Lang, Cold Comfort. Photograph from the series Monumental Misconceptions, 2015.


18:00h

Monumental Misconceptions

Vorlesung von Liane Lang

Liane Lang spricht über ihr Projekt Monumental Misconceptions. 2009 im Memento Sculpture Park in Budapest begonnen, erkundet das Projekt Bildhauerkunst, die durch politische und historische Begebenheiten ihren ursprünglichen Status als Kunst verloren hat. Das Projekt umfasst Statuen aus der sozialistischen und der Reichszeit aus Ungarn, Deutschland und Grossbritannien und untersucht den Symbolismus der Figur der Skulptur durch unterschiedliche Medien. Langs photographische Arbeiten zeigen Interventionen in Monumente, die rein skulpturaler Art sind, aber als Akte der Performance daherkommen und dadurch das Objekt neu fast und dem Publikum eine neue Perspektive auf oder Interaktion mit Statuen mit zwiespältigen und komplexen ästhetischen, sozialen und ökologischen Eigenschaften eröffnen. Langs Vorgehensweise der Bildhauerkunst gegenüber ist unehrerbietig, zuweilen makaber. Ihr Projekt ist jedoch nicht eine Kritik der monumentalen oder repräsentativen autoritären Ästhetik an sich, sondern stellt vielmehr die Frage nach der sich ändernden Bedeutung des Objekts und der dürftigen Stellung der Künstler_in, die in einem Raum kontinuierlicher sozialen und politischen Veränderung arbeitet.


[Deutsch siehe oben]

An evening in the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.

17:00h

Nowhere Men – Illegal Migrants in the Stream of Globalization

A performative reading by Christoph Miler with the participation of Fredrik Wendschlag

More than four million illegal immigrants live in Europe today. Countless are the ones that add to this number every day. In search of a better life they drive through deserts in rusty trucks, set across seas on rotten wooden barges and pass borders hidden under smoldering engine hoods. Our knowledge of their lives however is mostly limited to tragic news reports or simple political messages. The book project Nowhere Men aims to provide an alternative perception and make the complex reality of these people more tangible – by telling their story and putting it in a broader context.

Now, Nowhere Men will be presented for the first time in a performative reading. The story of the life of an illegal migrant is thus woven into a network of global relations and power structures: From the slums of Mali and the trafficking routes in North Africa, to the bureaus of transnational corporations and powerful politicians as well as computer production and the Internet, airport strikes and supermarkets, the coast guards of Lampedusa and the Swiss electoral campaign. A complex mesh of connections and interdependencies emerges, the dawn of a new, truly global era is outlined: The most unspectacular events, wherever and whatever they may be, can from now on influence the lives of all those unknown faces on the other end of the world that once seemed so unreachably far away.


18:00h

Monumental Misconceptions

Lecture by Liane Lang

Liane Lang will be talking about her project Monumental Misconceptions. Begun in 2009 at Memento Sculpture Park in Budapest, the project investigates statuary that has lost its original status as art through political and historical events. The project includes Socialist and Empire era statues from Hungary, Germany and Britain and investigates the symbolism of the figure in sculpture through multiple media. Her photographic works show interventions with monuments that are purely sculptural but pose as acts of performance, reframing the object and offering the audience a different perspective or interaction with statues that have ambiguous and complex aesthetic, social and environmental characteristics. Lang’s approach to statuary is irreverent, at times macabre, but her project is not a critique of the monumental or representational authoritarian aesthetic per se. It is rather posing a question as to the changing meaning of the object and the tenuous position of the artist working in a space of constant social and political change.

Posted by Corner College Collective

2016 / 201601 / Home of the Brave: Archeology of the Moving Image
Thomas Galler at Home of the Brave
Thomas Galler
 


Thomas Galler, Invader, 2009. Footage recorded in Night Shot mode at the collection of Aargauer Kunsthaus. Video stills, color, silent, 01:10:49.


[English below]

Im Rahmen der Corner College Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect ist Thomas Galler zu Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.

Screening einer Auswahl von Filmen Thomas Gallers aus dem letzten Jahrzehnt, und Präsentation des Künstlers mit anschliessender Diskussion.

[Deutsch siehe oben]

In the context of the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect, Thomas Galler is guest at Home of the Brave: Archeology of the Moving Image. A series of events by Corner College.

Screening of a selection of films from the past decade by Thomas Galler, and a presentation by the artist followed by a discussion.




Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201512 / Symposium
Fiction As Method – A Guerilla Symposium




4/5 December 2015

The second day of the symposium, on Saturday, 5 December, is taking place at Corner College.

On the occasion of Monica Ursina Jaeger’s solo show Future Archaeologies – Your Assumptions are my Memories at Christinger De Mayo, Zurich, we organise a guerrilla symposium to discuss the possibilities and problems of the “fiction as method – complex”.

Of course, writing novels about the future doesn’t give me any special ability to foretell the future. But it does encourage me to use our past and present behaviors as guides to the kind of world we seem to be creating. The past, for example, is filled with repeating cycles of strength and weakness, wisdom and stupidity, empire and ashes. To study history is to study humanity. And to try to foretell the future without studying history is like trying to learn to read without bothering to learn the alphabet.
From: Octavia E Butler: „A Few Rules for Predicting the Future“

When the Venice Biennale claims to discuss “All the Worlds Futures”, it becomes clear that the methodologies of fiction are no longer just part of the artistic practice, but also of curating, social science and global media.


http://www.muj.ch/Symposium


When the Venice Biennale claims to discuss “All the Worlds Futures”, it becomes clear that the methodologies of fiction are no longer just part of the artistic practice, but also of curating, social science and global media.

With accelerated globalization, the concomitant influence of digital culture and its accessible worlds of knowledge, within the last 25 years, disparate cultures, knowledge and art worlds have become interconnected and contemporaneous with each other. There are many co-existing ways of being in time and belonging to it. Thus, while being increasingly aware of being in the present, we are becoming attentive to other kinds of time. As a consequence, we seem to be living in an expanded present. But how far back – and forth – in time does the durational extension of our present reach?

The symposium brings together artists, curators, writers, critics and other voices to explore how fiction could be defined in regard to their practices, whether through the creation of fictional narratives, concepts fabricated around temporalities or the actual challenging of space-time relations.

Organized by artist Monica Ursina Jäger and curator/writer Damian Christinger.

Free entry, no booking required



Programme:

Friday 4 December

Venue: Christinger De Mayo, Ankerstrasse 24, 8004 Zurich

11.00-12.00 Session 1 Artist Talk and discussion: Monica Ursina Jäger in conversation with Kathleen Bühler (curator Kunstmuseum Bern)


Individual lunch



Venue: FRICTION, Nordflügel Gessnerallee, Gessnerallee 8, 8001 Zürich

13.00-13.30 Session 2 and discussion: Heiko Schmid, art historian / curator
13.45-14.15 Session 3 and discussion: Alexandra Navratil, artist
14.30-15.00 Session 4 and discussion: Sarah Zürcher, art historian/curator/critic
15.15-15.45 Session 5 and discussion: Emily Rosamond, artist

Break and informal discussion

19.45-20.45 Session 6 Art and Argument organised / chaired by Aoife Rosenmeyer
with: Daniel Blochwitz, Damian Christinger, Emily Rosamond, Eduardo Simantob


Break and informal discussion



Saturday 5 December

Venue: Corner College, Kochstrasse 1, 8004 Zurich

14.00-14.30 Session 7 and discussion: Eduardo Simantob, author and scenario writer
14.45-15.15 Session 8 and discussion: Stefan Zweifel, critic and curator
15.30-16.00 Session 9 and discussion: Dimitrina Sevova, curator / writer
16.15-16.45 Session 10 and discussion: Roger Buergel, Johann Jacobs Museum and Damian Christinger, curator/writer
17.00-17.30 Roundtable and Conclusions

Locations
Galerie Christinger De Mayo, Ankerstrasse 24, 8004 Zurich
FRICTION, Nordflügel, Gessnerallee 8, 8001 Zürich
Corner College, Kochstrasse 1, 8004 Zurich

Information and Contact
Fiction As Method Symposium Website
Damian Christinger, damian@christingerdemayo.com 079 253 45 28
Monica Ursina Jäger, monica@muj.ch 078 723 83 32

Posted by Corner College Collective

2015 / 201512 / 2016 / 201601 / Ausstellung / Performance / Sound Performance
Cold. War. Hot. Stars.
The Iron(y) Helmet of the Intellect

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle
 


Denise Bertschi, SECOND TO NONE FIRST, 2014.


A group exhibition with

Denise Bertschi, Jackie Brutsche, Thomas Galler, Andreas Glauser, Andreas Marti, Nicolasa Navarrete, Sandra Sterle

From 09.12.2015 to 29.01.2016.
Opening on 9 December 2015, 19:00h.

At the opening
reading performance peace pills by Jackie Brutsche
and sound performance signal by BUG (Andreas Glauser and Christian Bucher).

With artist talks and parallel events (to be announced).

Curated by Dimitrina Sevova
Organized by Corner College

Opening hours:
Thu: 15:00h - 19:00h
Fri: 15:00h - 18:30h
Sat: 14:00h - 17:00h


[Deutscher Text unten]

The exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect displays a dystopian landscape produced by asymmetric relation of delirious realism and rigorous fiction in the time of global capital, with a certain sense of alienation, coldness and distance. It intensifies these affects and creates a space of reflection and a heterogeneous perceptual field that is simultaneously a close-range haptic space of proximity, on the backdrop of the recent mass media rhetoric announcing a new global crisis in which the world has never been closer to a New Cold War, a security crisis that escalates the fears of a future nuclear “option.” The exhibition inquires into some of these scenarios for the future from the past, and traces various historiographic lines or directions through the artistic practices and art works as seismographs of global social change. They sense the current symptoms “where everything is played in uncertain games, ‘front to front, back to back, front to back …,’ ”  as consequences of the politico-social and economic developments after WW II, and the so-called Cold War, a period of propaganda, technologization and militarization of civil life in the competition between Western and Eastern blocs. The segmentary forms of the fight for control and domination altered the North and South lines of longitude and deepened the gap between the so-called Third World and the Western or advanced technological-industrial societies with their current development of a knowledge and service based economy. The exhibition undermines the stereotypes produced by binary abstract machines that overcode the divisions into a homogeneous West and a homogeneous East, into the “rich” North and the “poor” South. It proposes rather other focal points as thresholds to the outside, through which the South can be thought as a new trajectory of knowledge, aesthetics and practices of critique of cultural, ideological and technological hegemony, from which can emerge new lines of resistance and the potentiality of new cooperations, as everybody has their own South with electric palm trees, not only geographic and economic but personal and political, too.

The participating artists, through their practices based on research, appropriation, poetic displacements and personal aesthetic reflections on memory, cognition, attention, mass media, territory and technologies critically interrogate the past/future tensions and give a passage to the present impossibility of isolation through securitization, militarization and ideological separations in order to increase the modes of connection. With the irony of the intellect, which is a qualitative duration of consciousness, the exhibition aims to intensify and empower movements of deterritorialization that fabulate and produce desires to repeat over and over again the melody of The Plastic Ono Band’s Give Peace a Chance, grasped as a cosmopolitical proposal for the upcoming winter – not a military machine, but a mutating living machine on which one can take a flight or just stay in bed.

Text: Dimitrina Sevova

You can find a longer curatorial text in full length as a PDF on our materials website.


[Englisch text above]

Die Ausstellung Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect (deutsch etwa: Kalter. Krieg. Heisse. Sterne/Stars. Der eherne/ironische Helm des Intellekts) zeigt eine dystopische Landschaft, produziert aus der asymmetrischen Beziehung eines berauschten Realismus mit einer rigorosen Fiktion in Zeiten des globalen Kapitals, mit einem gewissen Gefühl der Entfremdung, der Kälte und der Distanz. Sie intensiviert diese Affekte und begründet einen Reflektionsraum und ein heterogenes Wahrnehmungsfeld, das gleichzeitig auch ein haptischer Raum im Nahfeld ist, vor dem Hintergrund neuerer Medienrhetorik, die eine neue globale Krise ankündigt, in der die Welt noch nie so nah an einem Neuen Kalten Krieg sein soll, eine Sicherheitskrise, die die Ängste vor einer zukünftigen nuklearen “Option” anheizt. Die Ausstellung erkundet einige dieser Szenarien für die Zukunft aus der Vergangenheit und zeichnet durch die künstlerischen Praktiken und Kunstwerke als Seismographen globaler sozialer Veränderungen unterschiedliche historiographische Linien nach. Sie spüren die aktuellen Symptome, “wo sich alles in ungewissen Spielen abspielt, ‘von vorn nach vorn, von hinten nach hinten, von vorn nach hinten …,’ ”  aufgrund der politisch-sozialen und ökonomischen Entwicklung nach dem zweiten Weltkrieg und des so genannten Kalten Krieges, einer Periode der Propaganda, der Technologisierung und Militarisierung des zivilen Lebens im Wettlauf zwischen dem West- und dem Ostblock. Die segmentären Formen des Kampfes um Kontrolle und Vorherrschaft veränderten die nördliche und südliche Line der Längengrade und vertiefte den Graben zwischen der so genannten Dritten Welt und dem Westen bzw. den fortgeschrittenen technologisch-industriellen Gesellschaften mit ihrer derzeitigen Entwicklung einer wissens- und dienstleistungsbasierten Wirtschaftsform. Die Ausstellung untegräbt die Stereotypen, die von binären abstrakten Maschinen herrühren, die die Einteilung in einen homogenen Westen und einen ebenso homogenen Osten, in einen “reichen” Norden und einen “armen” Süden übercodieren. Sie schlägt vielmehr, als Schwelle zum Aussen, andere Schwerpunkte vor, durch die der Süden als neue Trajektorie des Wissens, der Ästhetik sowie der Praktiken der Kritik kultureller, ideologischer und technologischer Hegemonie, aus der neue Linien, aus welchen heraus neue Widerstandslinien und das Potential neuer Kooperationen auftauchen können, da jede_r ihren eigenen Süden hat mit elektrischen Palmen, nicht nur geographisch und wirtschaftlich sondern auch persönlich und politisch.

Durch ihre auf Forschung, Aneignung, poetischer Verschiebung und persönlicher ästhetischer Reflektionen über Erinnerung, Erkenntnis, Aufmerksamkeit, Massenmedien, Territorium und Technologien basierten Kunstpraktiken hinterfragen die teilnehmenden Künstler_innen kritisch die vergangenen/zukünftigen Spannungen und machen den Weg frei auf die gegenwärtige Unmöglichkeit der Isolation durch Sicherheitsmassnahmen, Militarisierung und ideologischer Auftrennung, um die Verbindungsmodi zu vermehren. Mit der Ironie des Intellekts, die einer qualitativen Dauer des Bewusstseins entspricht, macht sich die Ausstellung daran, Deterritorialisierungsbewegungen zu intensivieren und ermächtigen, die fabulieren und Begehren herstellen, immer von Neuem die Melodie von Give Peace a Chance von The Plastic Ono Band zu wiederholen, verstanden als kosmopolitischen Vorschlag für den kommenden Winter – nicht eine Militärmaschine, sondern eine mutierende lebendige Maschine, auf der man fliegen kann oder auch einfach im Bett bleiben.



Denise Bertschi

State Fiction


Denise Bertschi, State Fiction, book cover, 2014.


The project State Fiction is an exploration of the notion of Swiss neutrality, which utilizes the example of the Swiss ‹neutral› command in the Korean DMZ, which has been in operation since 1954 until the present. Bertschi has worked with material which has emerged from an investigation into a Swiss military archive of mostly self-representing documents about the life of Swiss soldiers during their mission in the DMZ. Her work interweaves found images and text-slogans into objects, which behold a sense of contradiction: they present both the feeling of the domestic and at the same time grotesque violence regarding the very geopolitical situation that these materials stem from.

Within the visual language used by the armed forces, Bertschi found a striking number of flower photographs, shot in a meticulously precise manner. Mobilizing a quiet and subtle tone, she questions the status of these images and what they tell us about the people who originally produced them.
The artist book STATE FICTION focuses on self-represented leisure activities of the DMZ command, photographed by Swiss personnel in the military camp located in the DMZ. The artist’s collection of these images questions the bizarre construction of ‹Little Switzerland› set within the militarized frontiers between North and South Korea.

Bertschi interprets neutrality as a sort of fiction, which forms the very identity of Swiss nationality and nationalism; meanwhile, being neutral is an extremely fragile state of being. ‹Helvetia Mediatrix› can be understood as a cover under which it leaves an open space for realities both unseen and unknown.

This project by Denise Bertschi is discussed by Nico Ruffo in the following article: http://www.srf.ch/kultur/kunst/schnappschuesse-aus-dem-koreanischen-sperrgebiet



Jackie Brutsche

UTOPEACE


Jackie Brutsche, Peacekeeper I, 2015.


In her latest work, UTOPEACE, developed in 2015 during a 3-week residency in Amsterdam, among other things the peace symbol of the "white dove" is staged variously as a heroin and as a quasi tragic figure.



Thomas Galler

American Soldiers


Thomas Galler, American Soldiers, video still, 2012.


2012
Single channel video, color, stereo sound, 5:22

American Soldiers features a collection of cover versions of Toby Keith's American Soldier (USA/2003) based on appropriated footage, originally published on YouTube by Jeffery, Joe, Zack, Debbie, The Scillan Family, Colin, Patrizio, Tasia, Shanda, Stephany, Kathy and some unknown.


Untitled (Rihanna)


Thomas Galler, Untitled (Rihanna), 2010. Blow-up of an appropriated magazine image. Inkjet print, 136 x 107 cm.




Andreas Glauser

Mladost 2


Andreas Glauser, Mladost 2, video installation, 2000.


Audio / video installation, 2000.

« Das Wohngebiet Mladost 2 befindet sich ausserhalb des Stadtzentrums von Sofia und wird von Plattenbauten aus dem Sozialismus dominiert. « Mladost 2 » heisst übersetzt « Jugend 2 » . Dieses Wohngebiet, in welchem ich wohnte, inspirierte mich sehr. Eindrücke wie Stagnation, Verwilderung, Zerfall und Langeweile brachten mich dazu, die Fotografien als verschwommene, schwarz-weisse Videobilder nochmals in Erinnerung zu rufen. Die Videobilder werden von einer Audiospur, welche Rauschen und undefinierbare Geräusche zu einem dichten Netz verwebt, begleitet. Die Kombination von Bild und Ton spielt eine zentrale Rolle. »

« The neighborhood Mladost 2 lies outside the city center of Sofia and is dominated by prefabricated buildings from Socialist times. In translation, « Mladost 2 » means « Youth 2 » . This residential district, in which I lived, inspires me deeply. Impressions of stagnation, wilderness, decay and boredom brought me to recall the memory of the photographs as blurred, black-and-white video images. The video images are accompanied by a sound track that weaves noise and undefined sounds to a dense web. The combination of image and sound is key. »

Text: Andreas Glauser



Andreas Marti

Default Error


Andreas Marti, Default Error, 2011, photograph mounted on aluminum, 29.7 x 21cm.



Changed Condition


Andreas Marti, Changed Condition, 2010/07, photograph mounted between acryl.




Nicolasa Navarrete

Drawings


Nicolasa Navarrete, Untitled (The figure of the Chronicler), 2015. 200 x 150 cm, pencil on paper.


Thinking about the Cold War I started to (re)consider all the myths that were built about this conflict in our societies, a large part of which are still functional remnants of the subsequent historical defeat. Take for instance its own name: Cold War. Is it not an oxymoron? Can a war be cold? It was rather a hot war and I needed to go search for the myth that perfectly embodied this historic conflict. In a somehow Benjaminian endeavor, trying to unravel the threads on which these myths were constructed and that bind us to this imaginary past could be helpful to start rethinking about our past (building an alternative theory of the history that Benjamin call Historical materialism) and consequently about our future.

But again the impossibility to do it, only a text that refers to the text itself, as the story inside the story or the myth that appears in the myth. How I could grasp this historical past? The history is not a text, is fundamentally non-narrative and non-representational[...]However, the history is inaccessible to us except in textual form, the reality is; there is nothing but a text (1). And maybe there is not outside-text.

So then, how to be a genuine philosopher of the history?

How to be capable of respecting the specificity and radical difference of the social and cultural past, its forms, structures, experiences, and struggles,[...] with those of the present day? (bis) Maybe the only way to do so is through the history of the oppressor and oppressed, because the history of all hitherto existing society is the history of class struggles (bis). And finally, the text contain the key for understand “the text”. Inside-text.

(1) Fredric Jameson. The Political Unconscious: Narrative as a Socially Symbolic Act (NY: Cornell UP, 1981)

Text: Nicolasa Navarrete



Sandra Sterle

The Fortress of Utopia


Sandra Sterle, The Fortress of Utopia, 2015. Film still.


2015, color, stereo, PAL, 28 min. Production Kazimir, HAVC Croatian Audio Visual Fund.

The Fortress of Utopia is an experimental short
 film set in the former military bases of the Island of Vis in Croatia. The remains of its impressive military architecture serve as a stage for performances through which the author explores the nostalgia of the socialist past and its future perspectives. Not approaching the history of Yugoslavia directly, but merging facts and fiction in a peculiar way, the author introduces personages of contemporary tourists and stylized figures from the past in the same time and space, emphasizing the nature of memory (both personal and collective) and decay.



BUG (Andreas Glauser & Christian Bucher)


BUG at Institut für Neue Medien (INM), Frankfurt am Main, Germany, on 16 January 2015.


Sound performance signal at the opening.

Andreas Glauser: Synthesizer and modulated mixing desk
Christian Bucher: Drums and percussion



Jackie Brutsche


Jackie Brutsche, Peace Pills, 2015.


Reading performance peace pills at the opening.

Posted by Corner College Collective

2015 / 201512 / Artist Talk / Präsentation
The finest theories refuse to make sense;
It is said somewhere a lake has collapsed

Bénédicte Le Pimpec, Uriel Orlow, Riikka Tauriainen, Isaline Vuille
 




Presentation by the curators Bénédicte le Pimpec and Isaline Vuille, together with the artists Uriel Orlow and Riikka Tauriainen, of the exhibition project darker and darker grows the landscape (la possibilité d'une île), as guests at the Corner College exhibition Cold. War. Hot. Stars. The Iron(y) Helmet of the Intellect.


The three islands of the north are blocked with ice;
The finest theories refuse to make sense;
It is said somewhere a lake has collapsed
And dead continents rise back to the surface

-- Michel Houellebecq, The possibility of an island, 2005



darker and darker grows the landscape (la possibilité d'une île), exhibition view, 2015. Photo: Raphaëlle Mueller



The exhibition darker and darker grows the landscape (la possibilité d’une île) was organized last July by Bénédicte le Pimpec and Isaline Vuille at BAC – Bâtiment d’art contemporain in Geneva.

Most of the artists presented in the exhibition proceed by long-time investigation, whether in archives or on site, use anecdotes and details in order to set up new narratives. By focusing on human’s relations to nature and science, through the prism of botany, entomology, zoology and, more broadly, the natural sciences, they operate a change of focus and doing so they reveal wider contexts, they describe specific socio-political or historical situations.

After a short presentation of the exhibition project by the curators, Uriel Orlow will elaborate in a performance-lecture on his installation Grey, Green, Gold that enlightens a correlation between the history of a native South African plant and Nelson Mandela’s struggle against Apartheid. On her side, Riikka Tauriainen will do a performance-lecture updating on her research for her piece Contact zone that links together an Arctic expedition to the history of a major company and a science-fiction short story, and develops towards feminotopias and women travel writing.

Posted by Corner College Collective

2015 / 201512 / Performance
unfolding agency: strategies of exscription #1
Alexander Tuchaček
 




[English text see below]

Eine Performance von Alexander Tuchaček unter Mitwirkung von Daniel Marti.

In dem Stück geht es um das Verhältnis von Körper und Schrift. Ein Verhältnis, das im Zeitalter digitaler Medien ein strittiger Raum ist. Digitale Medien greifen immer stärker und unsichtbar in unser Leben ein – und das mit dem Versprechen auf Freiheit und Selbstbestimmung und der impliziten Hoffnung auf das Delegieren von Mitbestimmung in den entkörperten Cyberspace. Die Arbeit geht von einer Textstelle von Jean-Luc Nancys Buch «Corpus» aus. Dieser Text wurde als Soundfile eingesprochen und kommt in dem Stück «unfolding agency: stategies of exscription #1» zur Neuaufführung. Ein Performer, Daniel Marti, wird über einen Bewegungsmelder ‚ein-ge-lesen‘ und steuert durch minimale körperliche Bewegungen eine maschinische Wiederaufführung der Audioaufnahme des Nancy-Textes. Ein maschinischer Textschreiber versucht, Laut für Laut dem körperlichen Sprechen zu folgen. Die geschriebenen Textzeichen überschreiben den Raum und den Performer. Im Stück geht es um diesen unsichtbaren, nichtsprachlichen Zwischenraum zwischen Schreiben und Geschrieben werden. Das Stück wird in 5 Szenen aufgeführt:

exscription vocabulary #1
1. scene: hold-interrupt / de-authenticate yourself / repeated deauthentication packet bursts to jam WiFi access points
2. scene: circle-invert / fly onionized / anonymize traffic with onion routing
3. scene: endure / thermal persistence / infrared cameras tracking living bodies
4. scene: stand-idle / uncloud the desire / ownCloud localizes data
5. scene: coincidentally-synchronous / infinitely foamy / tanzende Sterne gebären


[auf Deutsch siehe oben]

A performance by Alexander Tuchaček, performed by Daniel Marti.

The piece is about the relation between body and writing. A relation which, in the era of digital media, is a contested space. Digital media intervene more and more and invisibly into our life – with the promise of freedom and self-determination and the implicit hope of delegating participation into the disembodied cyberspace. The work builds on a passage from Jean-Luc Nancy’s book “Corpus.” This text was spoken and recorded to a sound file and reenacted in the piece “unfolding agency: stategies of exscription #1.” A performer, Daniel Marti, is ‘scanned’ via a motion detector and through minimal body movements directs a machinic restaging of the audio recording of Nancy’s text. A machinic text writer attempts to follow the bodily speaking sound by sound. The written text characters overwrite the space and the performer. The piece is about this invisible, non-language interstice between writing and being written. The piece is enacted in 5 scenes:


exscription vocabulary #1
1. scene: hold-interrupt / de-authenticate yourself / repeated deauthentication packet bursts to jam WiFi access points
2. scene: circle-invert / fly onionized / anonymize traffic with onion routing
3. scene: endure / thermal persistence / infrared cameras tracking living bodies
4. scene: stand-idle / uncloud the desire / ownCloud localizes data
5. scene: coincidentally-synchronous / infinitely foamy / tanzende Sterne gebären

Posted by Corner College Collective

2015 / 201511 / Konzert / Präsentation / Sound Performance
MultiMadeira Artist Residency - Presentation & Performances
Gretchen Blegen, Lukatoyboy / Luka Ivanović, Vreni Spieser
 




MultiMadeira is an unfunded artist residency taking place on Portuguese island Madeira. The 2015 edition will take place from end of November 2015 until end of February 2016. The residency is self-organized and open to artists working in all disciplines. Participants are asked to propose a project they will be working on during their stay.

The first edition was realized during the last two months of 2013. MultiMadeira has hosted a total of 38 artists working in various fields and with different geographical and cultural backgrounds. During the first edition, over 30 various public events including concerts, exhibitions, performances and workshops were held.

On Friday, 13 November Lukatoyboy (alias Luka Ivanović) - one of the co-founders of MultiMadeira - will present the residency at Corner College. He will be accompanied by Klara Ravat, MultiMadeira artist 2015, and Gretchen Blegen, MultiMadeira artist 2013. They will talk about the reasons, methods and achieved goals, focusing on realized works.

At 21:00h performances:


Gretchen Blegen & Vreni Spieser - Conversation Take.

A text-performance on conversation, cross-overs of narratives and language as a means of communication.


Lukatoyboy - The Final Instruction, Prologue

The Final Instruction aims to present the history of objectified personal how-to knowledge, its passages from Chevrolet Caprice, disadvantaged children and juice machines.


http://multimadeira.com

Posted by Corner College Collective

2015 / 201511 / Home of the Brave: Archeology of the Moving Image
Anina Schenker: Woher kommt die Energie?
Anina Schenker
 


Anina Schenker, pirouette, 2008, video high speed, 1000 pictures per second, color/sound, 1.10 min. Video still.


von und mit Anina Schenker. Ihre Gäste sind Hili Leimgruber & Jens Woernle, mit ihrem Dokumentarfilm "Casa das Minas – Das Heiligtum verstaubt" (80', 2012).

Türöffnung: 19:00h
Beginn: 19:30h

Anina Schenker ist Gast bei Home of the Brave: Archeology of the Moving Image. Eine Veranstaltungsreihe des Corner College.



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201511 / Diskussion / Präsentation
KUNSTASYL
Do I look like a refugee?

barbara caveng, Dachil Sado
 




Opening hours:
Wed/Thu/Fri: 15:00h - 18:30h
Sat/Sun: 15:00h - 17:30h


[auf Deutsch siehe unten]

barbara caveng and Dachil Sado provide an overview over nine months of KUNSTASYL , a participatory model project of the artist living in Berlin, the team KUNSTASYL and the inhabitants of the home for those fled and for asylum seekers in Berlin-Spandau.

19-29 November, KUNSTASYL hats, Balkan pin curlers, sweatshirts and other objects on display for sale in support of and in solidarity with the project, as well as documentation.

Between Home and atHOME

The project investigates forms and possibilities of living together between locals and people who had to flee:

“It is not easy to speak of KUNSTASYL and its effects – it is a window between inhabitants and neighbors outside the home, and it changes the culture, the situation, and communication within society. It simply means civilization.”
dachil sado




Who is KUNSTASYL

KUNSTASYL is a participatory model project of the Swiss artist barbara caveng who lives in Berlin, together with the team KUNSTASYL and the inhabitants of the home for those who fled and for asylum seekers at Staakener Straße in Spandau.
KUNSTASYL is an initiative of creative workers and asylum seekers.

What is KUNSTASYL

Since February 2015 we, TEAM KUNSTASYL and the inhabitants of the home, together investigate and develop possibilities for those who fled / asylum seekers to shape their own LIVING – as opposed to ACCOMMODATION – and how the infrastructure at hand can be modified, complemented and extended in the spirit of self-responsible action.

In the focus is the question how it is possible for people who had to flee, to take part in the shaping of a space. The concept of SPACE is to be understood in a dual sense: Physical space is always also social space. The one who acts, takes part.

Over the past months, through the catalyzer of artistic work various courses of action were developed and tried out for turning the “fleeting” situation of those involved, characterized by isolation and incapacitation, into an “optional” situation. “Optional” means that the people become visible through their self-chosen doing, autonomous action and self-articulation.

After half a year of common work KUNSTASYL and the administration of the home have decided to found a project of their own, in which people who fled, and locals, live together from the beginning.

http://kunstasyl.net

[English see above]

KUNSTASYL
Seh ich aus wie ein Flüchtling?


barbara caveng und Dachil Sado geben einen Überblick über neun Monate KUNSTASYL , ein partizipatorisches Modellprojekt der in Berlin lebenden Schweizer Künstlerin, dem Team KUNSTASYL und den BewohnerInnen des Wohnheimes für Geflüchtete und Asylsuchende in Berlin-Spandau.

19.-29. November, Ausstellung mit KUNSTASYL Mützen, Balkan-Lockenwicklern, Sweatshirts und anderen Objekten, die zur Unterstützung und in Solidarität mit dem Projekt zum Verkauf angeboten werden, sowie Dokumentation des Projekts.

Zwischen Heim und daHEIM

Das Projekt untersucht Formen und Möglichkeiten eines gemeinsamen Lebens von Ortsansässigen und Menschen, die fliehen mussten:

„Es ist nicht einfach über das KUNSTASYL und seine Auswirkungen zu sprechen - es ist ein Fenster zwischen Bewohnern und Anwohner außerhalb des Heimes, und es verändert die Kultur, Situation, und die Kommunikation der Gemeinschaft. Es bedeute einfach Zivilisation.“
dachil sado


Wer ist KUNSTASYL

KUNSTASYL ist ein partizipatorisches Modellprojekt der in Berlin lebenden Schweizer Künstlerin barbara caveng zusammen mit dem Team KUNSTASYL und den BewohnerInnen des Wohnheimes für Geflüchtete und Asylsuchende Staakener Straße in Spandau.
KUNSTASYL ist ein Initiative von Kreativen und Asylsuchenden.

Was ist KUNSTASYL

Seit Februar 2015 erforschen und entwickeln das TEAM KUNSTASYL und die BewohnerInnen des Heimes gemeinsam Möglichkeiten, wie WOHNEN - im Gegensatz zur UNTERBRINGUNG - von Geflüchteten/ Asylsuchenden selbst mitgestaltet werden kann und wie die vorhandenen Strukturen im Sinne eigenverantwortlichen Handelns verändert, ergänzt und erweitert werden können.

Im Zentrum steht die Frage, wie es gelingen kann, Menschen, die fliehen mussten, an der Gestaltung von Raum zu beteiligen. Hierbei ist der Begriff RAUM in zweierlei Bedeutungen zu verstehen: Physischer Raum bedeutet immer auch sozialer Raum: Wer handelt, nimmt teil.

In den vergangenen Monaten wurden über den Katalysator der künstlerischen Arbeit unterschiedliche Handlungsstrategien entwickelt und ausprobiert, um die “flüchtige” Situation der Betroffenen, gekennzeichnet durch Isolation und Handlungsunfähigkeit, in eine “optionale” zu verwandeln. “Optional” bedeutet, dass der Mensch sichtbar wird durch selbstgewähltes Tun, autonome Handlung und die Artikulation seiner selbst.

Nach einem halben Jahr gemeinsamen Arbeitens haben sich KUNSTASYL und die Heimleitung dafür entschieden, ein eigenes Wohnprojekt zu gründen, in welchem Menschen, die geflohen sind und Ortsansässige von Anbeginn gemeinsam leben.

http://kunstasyl.net

Posted by Corner College Collective

2015 / 201511 / Dance/Music / Diskussion
TanzLOBBY Open Stage
TanzLOBBY
 




OPEN STAGE ist eine von der TanzLOBBY IG Tanz Zürich initiierte Plattform, die keine Grenzen kennt. Ob Work in Progress, Research Arbeiten, Adhoc Performances oder Experimente, alles ist möglich.

Diese Plattform ist in erster Linie für Tanzschaffende und Performance Künstler gedacht, die in der Schweiz wohnhaft sind. Während rund 90 Minuten zeigen die angemeldeten Gruppen und Künstler ihre aktuelle Arbeit. Dabei werden, kleine und oder grosse Ideen ausprobiert, neue Konzepte erprobt oder ungewohnte Kollaborationen gewagt, die im Anschluss in einem moderierten, interaktiven Publikumsgespräch reflektiert werden. Die Open Stage wandert von Bühne zu Performance Space zu Atelier Raum zu Bühne etc. und findet 4-5 Mal im Jahr statt.

Im Corner College wird die Open Stage dieses Jahr während einer ganzen Woche zu Gast sein (vom 8.-15.11.). Dabei wird es zwei öffentliche Showings geben; ein erstes am Anfang des Prozesses, am 8.11. 17.00Uhr, und ein zweites mit den selben Gruppen nach einer Woche der intensiven Austausch- und Weiterentwicklungsphase, am 15.11. 17.00Uhr. Wir sind gespannt, bei dieser Variation des Formates etwas näher an der Entwicklung der einzelnen Stücke dran sein zu können.

http://tanzlobby.ch/


Programm


Susanna Benenati & Urban Hersche
Rollende Hindernisse
Eine Auseinandersetzung mit gefährlichen Rädern eigenen Rollen und der Sehnsucht

Das ausgelassene Spiel mit der Geschwindigkeit im Rollstuhl, zu Beginn der Performance, ist gleichzeitig die autobiographische Grundlage in diesem Kurzstück. Ein Auto, das bremst, wird zu einem rollenden Hindernis. Die Behinderung nimmt sich Raum, gewinnt an Macht, Widerstand bäumt sich auf und zieht den Blick auf die gesunde Seite. Die eigene Persönlichkeit gerät ins Rollen…
Eine Tanzperformance, in der die Auseinandersetzung der körperlichen Dimension mit der seelischen erlebbar wird.

Text: Urban Hersche Regina Bremi
Tanz: Susanna Benenati Urban Hersche
Musik: Roland Christien


Katrin Kolo
The many we are

Performerin, Unternehmerin, Ehefrau, Choreographin, Frau, Forscherin, Freundin, Beraterin, Mutter, Geliebte, Tochter, Managerin, Gastgeberin… eine Selbst- und Fremddarstellung

Performance: Katrin Kolo
Texte: Katrin Kolo und Originalzitate aus Gesprächen


Angela Stöcklin
Try-out

Roundabout, windows of opportunity wird Ende Februar im Kochareal Zürich Premiere haben. Was spielerisch als Suche nach Blickkontakt beginnt spitzt sich zu einer wirren Verfolgungsjagd zwischen Licht, Sound und Performerin zu. Dies ist ein erster try-out worin der Spiegel als Mittler für Kommunikation mit dem Publikum ausgelotet wird.


Arlette Dellers
Grundemotionen

Eine Essenz aus der aktuellen Performance Grundemotionen der Gruppe Tip-Tap-Toe. Die Show wurde unter dem Leitgedanken Gefühle herunterzubrechen und auf ihre Grundbausteine zu reduzieren gebildet. Sie beinhaltet verschiedene kleinere Stücke, die jeweils eine Grundemotion repräsentieren und diese mit all ihren Facetten und Intensitäten, ihren verschiedenen Erscheinungsbildern darstellt. Sowohl Tanz als auch Musik wurden eigens für diese Performance kreiert.

Leitung, Komposition, Choreografie & Harfe: Arlette Dellers
Choreografie & Tanz: Dodo Dürrenberger, Pia Ringel

Posted by Corner College Collective

2015 / 201511 / Dance/Music / Diskussion
TanzLOBBY Informal Exchange (pre-Open Stage)
TanzLOBBY
 




Öffentliches Showing mit Angela Stöcklin, Arlette Dellers, Katrin Kolo und Susanna Benenati.

OPEN STAGE ist eine von der TanzLOBBY IG Tanz Zürich initiierte Plattform, die keine Grenzen kennt. Ob Work in Progress, Research Arbeiten, Adhoc Performances oder Experimente, alles ist möglich.

Diese Plattform ist in erster Linie für Tanzschaffende und Performance Künstler gedacht, die in der Schweiz wohnhaft sind. Während rund 90 Minuten zeigen die angemeldeten Gruppen und Künstler ihre aktuelle Arbeit. Dabei werden, kleine und oder grosse Ideen ausprobiert, neue Konzepte erprobt oder ungewohnte Kollaborationen gewagt, die im Anschluss in einem moderierten, interaktiven Publikumsgespräch reflektiert werden. Die Open Stage wandert von Bühne zu Performance Space zu Atelier Raum zu Bühne etc. und findet 4-5 Mal im Jahr statt.

Im Corner College wird die Open Stage dieses Jahr während einer ganzen Woche zu Gast sein (vom 8.-15.11.). Dabei wird es zwei öffentliche Showings geben; ein erstes am Anfang des Prozesses, am 8.11. 17.00Uhr, und ein zweites mit den selben Gruppen nach einer Woche der intensiven Austausch- und Weiterentwicklungsphase, am 15.11. 17.00Uhr. Wir sind gespannt, bei dieser Variation des Formates etwas näher an der Entwicklung der einzelnen Stücke dran sein zu können.

http://tanzlobby.ch/

Posted by Corner College Collective

2015 / 201510 / Diskussion / Workshop
Crritic! – Veranstaltungsreihe zur Kunstkritik in der Schweiz
Daniel Morgenthaler, Aoife Rosenmeyer
 




Ist «Krritiker!» – wie in Samuel Becketts «Warten auf Godot» – heute in der bildenden Kunst ein Schimpfwort? Was wollen wir tun, damit es keines mehr ist? Was sagen wir überhaupt damit, wenn wir uns KritikerInnen nennen? Oder wollen wir am Ende sogar, dass «Crritic!» erst zum Schimpfwort wird?

«Crritic!» ist eine sechsteilige Veranstaltungsreihe zur Kunstkritik in der Schweiz, deren erste Ausgabe im Corner College stattfindet und die dann nomadisch weiterziehen wird. Sie will KritikerInnen und LeserInnen in verschiedenen Regionen zusammenbringen und zum Austausch anregen über den Stand der Dinge im Kontext des Schreibens über Kunst. Und sie will die Bildung einer diskussionsfreudigen und tatkräftigen Gemeinschaft von in diesem Bereich Tätigen fördern.

«Crritic!» wird von Aoife Rosenmeyer und Daniel Morgenthaler – beide Schreibende (unter Anderem) – aufgegleist und betreut. Nach einem ersten Workshop mit eingeladenen Kritikerinnen und Kritikern aus verschiedenen Teilen der Schweiz im Oktober 2014 soll diese öffentliche Veranstaltungsreihe es ermöglichen, die initiierten Diskussionen aufzunehmen und daran in grösseren Gruppen weiterzudenken.

Am ersten «Crritic!»-Abend in Zürich stossen KrritikerInnen mit ganz unterschiedlichem Hintergrund die Diskussion an: Barbara Preisig und Judith Welter stellen ihr mit Pablo Müller und Lucie Kolb neu gegründetes Magazin – «Brand-New-Life Magazin für Kunstkritik» – vor, Marco De Mutiis spricht über seine Erfahrungen mit «Still Searching», dem Blog des Fotomuseums Winterthur, während Sophie Yerly über ihre Arbeit als unabhängige Bloggerin («We Find Wildness») berichtet.

«Crritic!» wurde in Zusammenarbeit mit Pro Helvetia – Schweizer Kulturstiftung entwickelt und wird unterstützt von der AICA – Association internationale des critiques d’art: Section suisse.

Posted by Corner College Collective

2015 / 201510 / Artist Talk / Ausstellung / Sound Intervention / Workshop
Shipwreck Study Notes Marathon Session: Artist Talk, Wreckship, Musicking, Dinner
Graeme Thomson & Silvia Maglioni
 




Artist talk by Silvia Maglioni & Graeme Thomson

The artist talk will gradually merge into the Shipwreck Study Notes sessions (Wreckship & Musicking), and be followed by a dinner.

Shipwreck Study Notes #1 (Wreckship):
Making a life raft (‘weg von hier’)


The workshop/wreckship takes up dispersed textual fragments as materials for constructing an assemblage that may function as materials for a life raft, one whose logs do not close ranks but are loosely fastened to allow the passage of water between them, yet at the same time their ties permit the raft to ‘hold fast’. One of the aims will be to think this notion of the raft in the shadow of past, recent and ongoing catastrophes of displacement. Through the score provided by the Study Notes, the functioning of the reading group will be steered towards a more floating, poetic dynamic (including texts by Kafka, Woolf, Pessoa, Gombrowicz, Lispector, Deligny, Deleuze, Guattari, Agamben).

Shipwreck Study Notes #2 (Musicking):
Aquaosmosis


Elements of the aquatic sound environment in the exhibition space become the basis for a group improvisation using existing/invented instruments or sound-making devices provided by the participants and by Corner College. The group’s deployment of these will be guided by a number of rites chosen from the Shipwreck Study Notes. The improvisation will focus on music making as a collective, participative act or activity involving heterogeneous and not-always strictly musical means of expression, rather than as the interpretation or constitution of a musical work or object.

Dinner

This event is part of the exhibition Shipwreck Study Notes (What Rises From the Depths Cannot Help But Break the Surface) by Silvia Maglioni and Graeme Thomson.

The event and the exhibition are kindly supported by the French Embassy in Switzerland.

Posted by Corner College Collective

2015 / 201510 / Buchvernissage / Diskussion / Lesung
Christian Saehrendt: Gefühlige Zeiten. Die Zwanghafte Sehnsucht nach dem Echten
Christian Saehrendt, Stefan Wagner
 




Christian Saehrendt liest aus seinem neuesten Buch, Gefühlige Zeiten. Die Zwanghafte Sehnsucht nach dem Echten.

Anschliessend Diskussion mit Stefan Wagner und mit dem Publikum.

Neo-Romantik im virtuellen Zeitalter

Wenn die Band ›Unheilig‹ singt: »Kein Augenblick ist je verloren, wenn er im Herzen weiterlebt« oder Mark Foster zu Geigenklängen intoniert »Ich geh auf Reisen. Ich mach alles das, was ich verpasst hab. Ich lass alles hinter mir. Hab was Großes im Visier«, dann sind wir am Puls unserer Zeit. Die Utopie von einem echten, wahren Leben treibt uns um – manchmal in erschreckend abgedroschenen Phrasen.

Von Shabby-Chic über Extremsport bis Rückzug – wir sind auf der Jagd nach dem echten Gefühl. Die einen ziehen sich in ihre Eigenheim-Idyllen zurück, heiraten in einem Traum von Weiß und pflegen ihren Dialekt. Die anderen suchen ruhelos das Glück in der Ferne – mithilfe von Eventtourismus oder gar im militärischen Kampf für das vermeintlich Gute.

Christian Saehrendt sucht nach der Kraft hinter all diesen paradoxen Fluchtbewegungen – und stellt fest: Wir leben in einer Epoche der Neo-Romantik, die wie vor gut 200 Jahren als Folge einer tiefgreifenden Entfremdung zu verstehen ist.


Christian Saehrendt, Gefühlige Zeiten. Die Zwanghafte Sehnsucht nach dem Echten (Köln: DuMont, 2015).

Posted by Corner College Collective

2015 / 201510 / Buchvernissage
Four new books by b.frank books




Join us for an evening of drinks and the presentation of four new books by Jenny Rova, Ester Vonplon, Will Stacey and Roger Eberhard. Jenny and Ester will be present to sign and talk about their publications. We look forward to welcoming you.

Will Stacey - Deadline

Jenny Rova - I would also like to be

Ester Vonplon und Stephan Eicher - Gletscherfahrt

Roger Eberhart - Martin Parr looking at books


b.frank books was founded by Zurich born photographer Roger Eberhard in 2011. The Swiss publishing house is run by Eberhard and Ester Vonplon and currently publishes four to six books a year. b.frank books’ main focus is the photographic artist’s book, presenting the work of young artists from all over the world.

b.frank books online: bfrankbooks.com

Posted by Corner College Collective

2015 / 201510 / Diskussion / Kino
Facs of‌ Life at Kino Xenix, Zürich
A film by Silvia Maglioni & Graeme Thomson
between Gilles Deleuze & his students

Christoph Brunner, Graeme Thomson & Silvia Maglioni
 




A screening and podium discussion at Kino Xenix organized and curated by Corner College.

With Silvia Maglioni & Graeme Thomson, Christoph Brunner, Dimitrina Sevova, HOSPIZ DER FAULHEIT.

The film is in French with English titles. The main language of the podium discussion will be English.

Ticket for the screening: 12 Fr. Podium discussion: admission free.

Composed of eight interlinked plateaus and occupying a liminal space between documentary, fiction and essay, Facs of Life attempts to map a number of molecular trajectories of life and thought beginning from a series of encounters: with video footage of Gilles Deleuze’s courses at Vincennes (1975-76), with the woods where the university buildings once stood, with students who attended the seminar, and of the new university at St Denis, and inevitably with the phantoms of revolution, both cinematic and political, that continue to haunt collective desire.

Facs of Life has been screened at numerous film festivals, museums and art spaces worldwide.

Towards a Pedagogy of the Virtual

The virtual is not opposed to the real, Gilles Deleuze writes, but to the actual. And he further concludes with his life-time companion Félix Guattari that ‘events are the reality of the virtual.’ Thinking through the event of philosophy as a pedagogy of the virtual, a pedagogy of potentiality, guides Maglioni’s and Thomson’s detailed and poetic film.

The Swiss premiere screening will be followed by an open conversation with the artists and invited guests presented by Christoph Brunner.


Opening of the exhibition Shipwreck Study Notes (What Rises From the Depths Cannot Help But Break the Surface) by Silvia Maglioni and Graeme Thomson at Corner College, on Wednesday, 7 October, 20:00h.

Both this screening and the exhibition are kindly supported by the French Embassy in Switzerland.

Posted by Corner College Collective

2015 / 201509 / Diskussion / Lecture / Präsentation
Presentation and discussion with Viktor Misiano




Viktor Misiano is invited to Corner College in the context of his curatorial visit to Zurich for the upcoming project at the National Center for Contemporary Arts in Moscow about The Human Condition. As we have the opportunity to have Viktor Misiano with us, we would like to open a discussion on independent curatorial work, philosophical-social-political thoughts on independent practices of curating and writing, what it means to work independently, what role independent intellectuals could play in Russia and globally in relation to the concept of democracy.

Viktor Misiano is an independent curator, publisher, art theoretician and critic, living in Moscow.

From 1980 to 1990 he was a curator of contemporary art at the Pushkin National Museum of Fine Arts in Moscow. From 1992 to 1997 he was the director of the Center for Contemporary Art (CAC) in Moscow. He curated the Russian participation in the Istanbul Biennale (1992), the Venice Biennale (1995, 2003, and 2005), the São Paulo Biennale (2002, 2004), and the Valencia Biennale (2001). He was on the curatorial team for the Manifesta I in Rotterdam in 1996. In 1993 he was a founder of the Moscow Art Magazine (Moscow) and has been its editor-in-chief ever since; in 2003 he was a founder of the «Manifesta Journal: Journal of Contemporary Curatorship» (Amsterdam) and has been an editor there since 2011. In 2005 he curated the first Central Asian Pavilion at the Venice Biennale. In 2007 he realized the large scale exhibition project «Progressive Nostalgia: Art from the Former USSR» in the Centro per l’arte contemporanea, Prato (Italy); the Benaki Museum, Athens; KUMU, Tallinn and KIASMA, Helsinki.

He is a lecturer at the Nuova Academia Belle Arti (NABA), Milano and holds an honorary doctorate from the Helsinki University for Art and Design. In 2014 he published the book «Five Lectures of Curatorship» by AdMarginem Publishing, Moscow.

Misiano has collaborated with numerous art magazines, given lectures at The Royal College of Art (London, UK) and School of Visual Arts (New York City, USA) and numerous other universities and art schools, and curated a variety of art projects, internationally and in Moscow.

Posted by Corner College Collective

2015 / 201509 / Diskussion
(un)earthed
Sarah Burger, Gioia Dal Molin, Michael Günzburger
 


Sarah Burger, (unearthed), 2015.


Gespräch mit Michael Günzburger (Künstler), Gioia Dal Molin (Kunstwissenschaftlerin) und Sarah Burger

Dieses Gespräch ist Teil der Ausstellung (un)earthed von Sarah Burger
04.-26.09.2015

Posted by Corner College Collective

2015 / 201509 / Diskussion
(un)earthed
Sarah Burger, Gioia Dal Molin, Romy Rüegger, Michael Wagner
 


Sarah Burger, (unearthed), 2015.


Gespräch mit Michael Wagner (Architekt), Romy Rüegger (Künstlerin), Gioia Dal Molin (Kunstwissenschaftlerin) und Sarah Burger

Dieses Gespräch ist Teil der Ausstellung (un)earthed von Sarah Burger
04.-26.09.2015

Posted by Corner College Collective

2015 / 201508 / Präsentation
artellewa and the swiss connection
Hamdy Reda
 




artellewa is an art space, founded and managed by visual artist Hamdy Reda since 2007. The space is located in Ard El Lewa, a densely populated informal area located between two of Cairo’s informal areas, Imbiba and Boulak El Dakrour. artellewa creates a space for the formation and activation of dialogue between artists and society; facilitates artists projects, offers workshops for community members and emerging artists, exhibits art and hosts artists-in-residence in addition to providing special projects to enrich the civic and cultural life in Ard El Lewa, and use art to improve the urban environment.

artellewa aims to create a space for reflection during this time of transition; a space for rejuvenation of ideas and progressive thought and connect Ard El Lewa and its inhabitants with the broader culture of the city and the world through art, and creates a unique opportunity for Egyptian and foreign artists to interact and experiment with the local community and environment.

artellewa creates a space for the formation and activation of dialogue between artists and society.

Posted by Corner College Collective

2015 / 201508 / Diskussion / Installation
The Hydra Project
Public Talk

Jens Hauser, Sven Panke, Maja Smrekar
 





Public talk with the participation of Maja Smrekar (SI), Jens Hauser (curator, art and media studies scholar, DE/DK/FR) and Sven Panke (Professor at the Department of Biosystems Science and Engineering, ETHZ, DE).

This public talk is part of the installation by Maja Smrekar, < Hu.M.C.C. > at Corner College, Zurich (CH), August 25-30, 2015.


The Hydra Project is an initiative by Hackteria, an international network active since 2009 in the field of Open Source Biological Art.


Thanks to
Biofaction KG, Migros-Kulturprozent

Posted by Corner College Collective

2015 / 201509 / Home of the Brave: Archeology of the Moving Image
Video Stories: Eine Oral History von Heinz Nigg
über unabhängiges Videoschaffen in den 80er-Jahren.

Heinz Nigg
 





[English text below]

«Film in Bewegung» und Home of the Brave / Corner College präsentieren:

Im Oral History Projekt «Video Stories» kommen Videoschaffende zu Wort. Sie haben in der Schweiz während den 80er-Jahren die Erforschung des damals noch neuen Mediums Video massgeblich geprägt: in der 80er Jugendbewegung, in Do-it-yourself Projekten, in der ethnografischen Forschung, im Dokumentar- und Spielfilm sowie in der bildenden Kunst. Die Videoschaffenden erzählen von ihrem persönlichen Werdegang und wie sie mit dem Medium Video in Berührung kamen: Welche Erfahrungen machten sie mit Video? Wie prägte der Umgang mit Video ihr Leben und ihre weitere berufliche Entwicklung? Welche Auswirkung hat ihr Schaffen auf Kultur und die neuen Medien bis heute?

Heinz Nigg zeigt Ausschnitte aus seinen Videogesprächen mit Samir (Iraqi Odyssee), Christian Schmid (Video in der Stadtforschung), Thomas Krempke (Züri brännt) und Margrit Bürer (Community Video). Mit einer Diskussion über Oral History als transdisziplinäre Methode. Welche Bedeutung hat Oral History für Kunst, Forschung und Archive von urbanen Bewegungen?

Über die Veranstaltungsreihe «Film in Bewegung»
Durch das Internet wird heute das Arbeiten mit Filmkameras in sozialen Bewegungen und in der Alternativkultur vielfältiger und professioneller. Videos können ohne grossen Aufwand in verschiedenste Bewegungszusammenhänge eingebaut werden. Doch werden dadurch die Filme besser? Und erreichen sie auch ein Live-Publikum und nicht nur die online-community? In «Film in Bewegung» kommen Filmschaffende zu Wort, die Einblicke in ihre Arbeit geben und im Gespräch mit dem Publikum der Frage nachgehen, ob sich Anspruch und Wirklichkeit von Gegenöffentlichkeit decken - damals und heute.

Veranstalter
Konzeptbüro Rote Fabrik und AV-Productions NIGG in Zusammenarbeit mit Corner College (in der Reihe Home of the Brave) und dem Schweizerischen Sozialarchiv.


[Deutscher Text oben]

«Film in Motion» and Corner College present:

Video Stories: An Oral History by Heinz Nigg
about independent video in the Eighties


Heinz Nigg is a visual anthropologist and community artist in Zurich, Switzerland. He did social anthropology, history and political science at the University of Zurich, and finished his studies with an ethnographic documentation of alternative video and community media practise in the UK 1976-1980. Since then he has been working as an independent researcher and community artist. His fields of interest are social movements, alternative culture, youth protest, migration, urban development, media art and visual anthropology.

In the oral history project «Video Stories» the voices of video makers find expression. During the 80s they explored the then new medium video: in urban movements, in DIY-projects, in ethnographic field research, in filmmaking as well as in the visual arts. The video workers - as some called themselves - talk about their background and how they got in touch with video. How did they experience the new medium? How did video influence their lives and careers? What impact did the period of independent video have on their present understanding of media, art and politics?

Heinz Nigg shows excerpts of video interviews with Samir (Iraqi Odyssee), Christian Schmid (video in urban research), Thomas Krempke (Züri brännt) and Margrit Bürer (Community Video). The discussion also will focus on Oral History as a transdisciplinary method. How can Oral History contribute to understand processes of paradigm change in the visual arts, in cultural studies and urban movements?

About the series of events «Film in Motion»
Working with film in urban movements has become more varied and gained new channels of distribution through the use of the Internet. Without great efforts videos can be built into most different movement contexts. But has filmic representation of movement activities improved? And do movement films also reach out to a live audience and not only to an informed online-community of insiders? In «Film in Motion» filmmakers, artists, researchers and activists give valuable insights into their practise as film producers. How do claims of nurturing counter-public discourses match with reality - then and now?

Organised by Konzeptbüro Rote Fabrik and AV-Productions NIGG in cooperation with Corner College (in the series Home of the Brave) and Schweizerisches Sozialarchiv.




Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201507 / Artist Talk
High on a Rock: Work presentation
Erica van Loon
 


Video still of work in progress during residency at Artist on a Hill, 2015.


This summer Erica van Loon lives and works in Wald ZH (CH) at Artist on a Hill, a residency organized by Arts Atrium. Here she researches for new works, gathering input from her new surroundings and through visits to, i.a., the department of earth sciences at ETH University in Zürich and the Jung Institute in Küsnacht.

Through an extensive range of media she studies possible relations to our natural environment, often taking the human body as a starting point. During her work presentation at Corner College she will show a special compilation, consisting of existing works and new thoughts and sketches of what she explored during her residency in the nearby hills.

Posted by Corner College Collective

2015 / 201510 / Ausstellung
Shipwreck Study Notes
(What Rises From the Depths Cannot Help But Break the Surface)

Graeme Thomson & Silvia Maglioni
 




An exhibition by Silvia Maglioni & Graeme Thomson

Opening hours:
Wed/Fri: 16:00h - 18:30h
Thu: 16:00h - 20:00h
Sat: 15:00h - 17:00h

(See English text below.)

L’exposition se constitue à partir d’un assemblage de fragments dispersés d’un film « naufragé » (épreuves de tournage, images, sons, textes, éléments du décor et de la recherche) installés dans l’espace de Corner College. Tourné pendant une traversée de l’Atlantique sur un paquebot de Lisbonne à Sao Paolo sur des variations du roman L’Amérique de Franz Kafka, le film explore des états d’épuisement et d’effondrement sur le fond de la crise financière, dont les effets sont cachés et différés par un régime de divertissement et de consommation forcés. Pour l’exposition Shipwreck Study Notes, l’ambiance sonore dans l’espace et l’installation de certains éléments seront activées et modifiées par des micro-interventions orchestrées par les artistes pendant leur séjour à Zurich. Ces micro-interventions seront improvisées, avec la complicité du public, selon une série de suggestions mi-aléatoires (Study Notes), une performance et une action collective musicale (musicking). L’objectif est de transformer l’espace en un lieu de vie, de réflexion, de soin et de mise en accord de longueurs d’ondes fluctuantes et imprévisibles.

Commissariat: Dimitrina Sevova

Nous tenons à remercier l'Ambassade de France en Suisse de son soutien.

(Texte en français ci-dessus.)

What Rises From the Depths Cannot Help But Break the Surface is a modular installation of variable dimensions that reconfigures material related to the film Disappear One (2015) in an open, experimental environment.

The exhibition constitutes itself on the basis of an assemblage of dispersed fragments of a "shipwrecked" film (rushes, images, sounds, texts, elements of the props and research) installed in the space of Corner College. Shot during a transatlantic cruise from Lisbon to Sao Paolo on an ocean liner over variations of Franz Kafka's novel America, the film explores states of exhaustion and collapse on the backdrop of the financial crisis, whose effects are hidden lag in time due to a regime of compulsory entertainment and consumption. For the exhibition Shipwreck Study Notes, the sound environment and the installation of certain elements will be activated and modified by micro-interventions orchestrated by the artists during their stay in Zurich. These micro-interventions will be improvised, with the complicity of the audience, following a series of semi-random suggestions (Study Notes), a performance and a collective musical action (musicking). The aim is to transform the space into a place of life, reflection, care and tuning of fluctuating and unpredictable wave lengths.

The conception of different installation modules of Disappear One marks the continuation of Silvia Maglioni and Graeme Thomson’s research into the possibilities of ‘exploded’ or dispersed forms of cinema, moving on from the various exhibitions and installations they have created with and around several films: Wolkengestalt (2007-2015), Facs of Life (2009-2015) and In Search of UIQ (2011-2015).

For the artists, the installation of a film necessary involves a formal and material mutation, a process of virtualization that reverses the actualized film into the problematic field of its making, and, one could also say, of its unmaking or undoing. This also implies a redistribution of time. Spatial montage allows this transformation of the interstitial spaces between elements into cracks in time, letting in a draught of ‘elsewhere wind’ that may loosen the viewer’s hold on their own time.

The topos of the shipwreck is a condition which envelops and permeates the filmic material, the Atlantic crossing the artists made with the UEINZZ Theatre Company and other fellow travellers, Kafka’s novel (already an abandoned fragment of a dispersed oeuvre) and the exhibition form itself - which at the formal level consists of redistributed visual, aural and textual flotsam that breaks the surface in a different configuration of elements each time the work is displayed.

Curated by Dimitrina Sevova



This exhibition is kindly supported by the French Embassy in Switzerland.



This dual film/installation project was selected and supported by the patronage committee of FNAGP (Fondation Nationale des Arts Graphiques et Plastiques). The film Disappear One was co-produced by Spectre, Le Fresnoy Studio National d'Arts Contemporains and Terminal Beach.

Posted by Corner College Collective

2015 / 201508 / Ausstellung / Buchvernissage / Sound Performance
accumulations
Andrea Brunner, Andreas Glauser, Julia Kälin, Silvan Kälin
 


1/10 of accumulation no. 6


Buchvernissage und Ausstellungseröffnung
von Julia Kälin und Silvan Kälin (Editora Aplicação)
mit einer Sound Performance von Andrea Brunner & Andreas Glauser.

Wenn das Wetter mitspielt, gibt es auf dem Vorplatz des Corner College ein barbecue. Bringt eure Lieblings-Grilldelikatessen mit. If the weather works out, there will be a barbecue in front of Corner College. Please bring your favorite grillables.


Eröffnung und Buchvernissage: 20.00 Uhr
Soundperformance: 21.30 Uhr

Ausstellung: 15.8. bis 21.8.2015
Öffnungszeiten Ausstellung
Sa, So, Di, Mi, Fr: 15 - 18 Uhr
Do: 15 - 20 Uhr

Anlass für die Ausstellung und die Buchvernissage im Corner College ist die Publikation 1/10 of accumulation no. 6, welche während Julia Kälins Aufenthalt in Recife (Brasilien) in Zusammenarbeit mit dem Verlag Editora Aplicação entstanden ist.

Silvan Kälin von Editora Aplicação wird während des Abends weitere Publikationsprojekte vorstellen, die er zusammen mit Priscila Gonzaga in Brasilien herausgegeben und produziert hat.

Anschliessend lassen Andrea Brunner und Andreas Glauser in ihrer experimentellen Soundperformance Frequenzen schwingen, Lärmpartikel kollidieren und Tieftöner brummen.

Mehr Informationen: Andrea Brunner / Andreas Glauser, Silvan Kälin, Julia Kälin

Andreas Glauser: http://www.brainhall.net/artproduction_perf.htm
Andrea Brunner: http://www.andreabrunner.com/
Julia Kälin: http://www.brainhall.net/juliakaelin/choice.htm
Editora Aplicação: http://editoraaplicacao.com.br
Silvan Kälin: http://amarelo.ch

Posted by Corner College Collective

2015 / 201509 / Buchvernissage
Veranstaltung zu b_books
Book Launch von Torpor (Chris Kraus)

Karolin Meunier
 


b_books Schaufenster.


b_books ist ein kollektiv organisierter Buchladen, Verlag und Veranstaltungsort in Berlin. Das Programm umfasst Filmvorführungen, Lesungen sowie Diskussionen und hat meist einen improvisierten Charakter. Alle Arbeitsfelder sind inhaltlich und ökonomisch eng miteinander verknüpft und bilden einen sozialen Raum, der sich temporär und in verschiedenen Konstellationen mit dem Kunstbereich, politischen Projekten und weiteren Orten in Berlin und anderswo kurzschließt.


Chris Kraus, Torpor (deutsche Übersetzung).


Bei Corner College wird Karolin Meunier die Arbeit von b_books vorstellen und das zuletzt von ihr betreute Verlagsprojekt, die deutsche Übersetzung des Romans Torpor von Chris Kraus. Die US-amerikanische Autorin und Künstlerin schreibt Romane und Kunstkritiken und lebt in Los Angeles. Ihr dritter Roman (engl. Org. 2006) ist eine Erzählung über die frühen 1990er, über die Zeit von Amerikas erstem Golfkrieg, den Fall der Berliner Mauer und die Medienrevolution in Rumänien.

Posted by Corner College Collective

2015 / 201508 / Workshop
The Hydra Project
Hu.M.C.C.
Maya YogHurt
Open Workshop

Maja Smrekar
 





Open workshop in which Maja Smrekar will present and share her artistic research and allow the public to experiment with the Maya YogHurt.

The workshop is part of the installation by Maja Smrekar, < Hu.M.C.C. > at Corner College, Zurich (CH), August 25-30, 2015.

The Hydra Project is an initiative by Hackteria, an international network active since 2009 in the field of Open Source Biological Art.


Thanks to
Biofaction KG, Migros-Kulturprozent

Posted by Corner College Collective

2015 / 201508 / Installation / Work in Progress
The Hydra Project
Maja Smrekar < Hu.M.C.C. >

Maja Smrekar
 




The Hydra Project

Maja Smrekar < Hu.M.C.C. >
at Corner College, Zurich (CH), an installation and work in progress curated by Boris Magrini as part of Hackteria's The Hydra Project.

August 25-30, 2015

Opening hours:
Tue / Wed / Fri / Sat / Sun: 14:00h - 18:00h
Thu: 15:00h - 19:00h

The Hydra Project is an initiative of Hackteria, which aims to foster artistic and literary ventures in addition to the association’s main mission of promoting knowledge sharing and citizen’s science. The hydra is a mythological creature, a hybrid, a polychephalous monster and antagonist to fictional heroes seeking glory and fortune. It is also the name of a small organism, a water animal with the ability to indefinitely regenerate its cells and tissues, hence being virtually immortal and therefore a fascinating subject for biologists and researchers. The crossbreed form of the hydra is a metaphor for the merging of art and science that characterizes the activities of the Hackteria platform while signifying a multiplicity of interventions across a variety of disciplines. The project aims to support and present artists working with biotechnologies in collaboration with cultural institutions in Switzerland and worldwide, presenting their work to a wider public. Furthermore, it seeks to foster exchanges and encounters between artists, curators, critics and researchers of trans-disciplinary fields and with a larger public.

During a Hydra Project, one or more artists are invited to stage an intervention within the space of the partner institution or at an alternative location in the city. The artists are selected on the basis of their personal and creative use of biotechnologies, DIY/DIWO tools and hacking strategies and they are encouraged to develop new projects and partnerships. At Corner College in Zurich, Slovenian artist Maja Smrekar will present her work Hu.M.C.C. (Human Molecular Colonization Capacity) from August 25 to 30. The work consists of the presentation of a nutriment, the Maya YogHurt, which was produced in a laboratory by creating a new genetically modified microorganism containing the artist’s enzyme. It is a very provocative work, questioning the industrial food chain and its sustainability while also raising ethical questions about the future possibilities for nutrition offered by biotechnologies.





On Thursday August 27 at 7pm, Corner College will host a public talk with the participation of Maja Smrekar (SI), Jens Hauser (curator, art and media studies scholar, DE/DK/FR) and Sven Panke (Professor at the Department of Biosystems Science and Engineering, ETHZ, DE). On Saturday August 29, the artist will offer a workshop, presenting and sharing her artistic research and allowing the public to experiment with the Maya YogHurt. In addition, Maja Smrekar has been invited to share her artistic research and findings with the public through the Hydra Reader, a small publication printed as a compendium to the project.


Events
- August 25-30: Work in progress installation of Maja Smrekar’s .
- Thursday, August 27, 6 pm: official opening of the exhibition followed by a public talk.
- Thursday, August 27, 7 pm: public talk with the participation of Maja Smrekar, Jens Hauser and Sven Panke.
- Saturday, August 29, 4 pm: open Workshop with Maja Smrekar.


Hackteria is an international network active since 2009 in the field of Open Source Biological Art.


Thanks to
Biofaction KG, Migros-Kulturprozent

Posted by Corner College Collective

2015 / 201507 / Dance/Music
WOFF WOFF im Provitreff
Corner College Collective
 




Ab 21:00h

Concert:
BATMAN

Sound:
flexin & fly robin
Frau Hermann
Nicki Manij

Special Appearance:
Milenko Lazic

Crêpes by Dienstgebäude
Nipomo Burrito by Brigham Baker
Schnaps by Michél Kiwic

By: Corner College, Chamber of Fine Arts, SALON contemporary projects, Dienstgebäude, Le Foyer, Les Complices*, Counter Space, menuedata_GAST, Kunsthaus Aussersihl, eggn'spoon

Provitreff, Sihlquai 240, 8005 Zürich

Eintritt: 5.-- Fr.

Posted by Corner College Collective

2015 / 201507 / CC Choir
8th CC Choir rehearsal
Corner College Collective
 




(English below)

Achte Probe des CC Choir.

Der Chor als Klangkörper, der durch die Summe der einzelnen, klingenden Menschenkörper entsteht, ist eine der ältesten gemeinschaftsbildenden Tätigkeiten. Wir verstehen den CC Choir als Experiment auf diese ursprüngliche, prä-humane Tradition zurück zu blicken und in der Freude seinen eigenen Körper als Klangproduzent zu benutzen, neben dem gemeinsamen Singen von bekannten Liedern, rituelle und animalische Gesangstechniken zu erproben.

Der Chor ist offen für alle und das Repertoire wird gemeinsam ausgesucht und erprobt.

Die Chorleitung hat Oscar Mario Echeverry inne.

(Deutsch siehe oben)

8th CC Choir rehearsal.

The choir as an ensemble given by the sum of the singular, resonating human bodies, is one of the oldest community-building activities. We understand the CC Choir as an experiment harking back to this original, pre-human tradition to use one-s own body with pleasure as a sound producer, and besides singing known songs together, to experiment in ritual and animalistic singing techniques.

The choir is open to all, and the repertoire will be elaborated and practiced together.

The choir is under the direction of Oscar Mario Echeverry.

Posted by Corner College Collective

2015 / 201506 / Sunday Brunch – Making Space for Kids and Animals
Fourth Sunday Brunch
Corner College Collective
 




English (Deutsch siehe unten):

This is the fourth event of the series Sunday Brunch – Making Space for Kids and Animals.

For this Sunday 28.06 as a surprise there all be still the setup installed from the exhibition Displaying Humans​ including an indoor playground​. Kids, parents, animals are invited to make animal masks. We will bake giant Zopfs and muffins. You are welcome to contribute either by bringing something for the brunch or by giving around 10 fran​c​s.

Deutsch (English above):

Dies ist die vierte Veranstaltung der Serie Sunday Brunch – Making Space for Kids and Animals.

An diesem Sonntag, dem 19. April wird als Überraschung der Aufbau der Ausstellung Displaying Humans noch bestehen. Wir werden Riesenzöpfe und Muffins backen. Ihr könnt gern beitragen, indem Ihr etwas für den Brunch mitbringt, oder mit einer Spende von etwa 10 Franken.

Posted by Corner College Collective

2015 / 201507 / 201508 / Ausstellung
Zwei Sätze à zwölf Wiederholungen
Hannah Gieseler, Esther Kempf
 


Einladungsflyer für die Ausstellung.


Hannah Gieseler & Esther Kempf
Ausstellung im Corner College, 17. Juli – 8. August 2015
Eröffnung: 16. Juli um 19.00 Uhr


Wir neigen und dehnen uns beim Kleiderwaschen, wir recken und strecken den Körper zum Fensterputzen, wir trainieren beim Treppensteigen, wir vollziehen Kniebeugen beim Ausräumen der Abwaschmaschine oder beim Schuhe binden. Die Ausstellung Zwei Sätze à zwölf Wiederholungen zeigt Resultate von Experimenten, die Bezüge zwischen Bewegungen aus zwei unterschiedlichen Kontexten untersuchen: Bewegungen, die im Fitnessstudio ausgeführt werden und Bewegungen, die wir beim Erledigen des Haushalts und im alltäglichen Leben vollbringen.

Hannah Gieseler und Esther Kempf haben beide an der Gerrit Rietveld Academie in Amsterdam, NL studiert. Beide beschäftigen sich in ihren Arbeiten mit der Wahrnehmung und den Möglichkeiten, diese zu täuschen oder von ihr getäuscht zu werden. Zudem haben sie eine Vorliebe für ausgeklügelte und eigentümliche bis zwecklose Gerätschaften. 2006 hatten sie eine Duo-Ausstellung im Projektraum 1646 in Den Haag, NL. Zu dieser Zeit teilten sie sich eine Wohnung, die sie mit hyper-praktischen Vorrichtungen ausstatteten – wie zum Beispiel einem Bett, das zu einer Bühne umgebaut werden konnte, ein Ventilator, der als Schneemaschine für ein improvisiertes Krippenspiel fungierte, oder einen überdimensionierten Haken, mit dem man vom Balkon aus im Garten das Inventar der Vormieter angeln konnte, einen Backofen der nur über eine Leiter zu erreichen war und ein Küchenradio, das durch einen Flaschenzug mit dem Gewürzregal verbunden war.

Hier knüpfen Gieseler und Kempf an und führen ihre Recherchen weiter; sie analysieren und interpretieren alltägliche Aktionen, ihre Bedeutungen und Nebenbedeutungen sowie die Verbindung zwischen Körper und Gegenständen im Haus und im Fitnesscenter – zwischen Klischee und Realität.

Nach dem Studium ist Gieseler nach Berlin und Kempf nach Zürich gegangen. Über die Distanz führen Sie nun ihre Recherche und Beobachtungen der alltäglichen Aktionen weiter. Die Ausstellungsvorbereitungen passieren somit an drei Orten: in Berlin, in Zürich und online. Auf dem Blog housekeepingandbodybuilding sammeln die Künstlerinnen Ideen, Referenzen und erste Ansätze. So haben sich bereits Kategorien wie „Schwierige Übungen“, „Gerätschaften“, „Schuhe binden“, „Formen“ und “Archiv“ gebildet in denen die Recherche und Ideen gesammelt, kommentiert, weiterentwickelt und erste Experimente vorgestellt werden.

Gieseler & Kempf gehen humorvoll mit den gegenwärtigen Klischees des Fitnesswahns und der häuslichen Arbeit um und provozieren den Betrachter mit ihrer scherzhaften Ernsthaftigkeit.­



Experiment 1: waschen und stretchen.



Skizze für mögliche Gerätschaft #1: Jedem Besucher wird die Tür durch Schulter rückwärtiges ziehen des Bodybuilders geöffnet.



Aus der Blog-Kategorie „Schwierige Übungen“. Balance halten auf einem runden Ball.


Blog: https://housekeepingandbodybuilding.wordpress.com

Posted by Corner College Collective

2015 / 201509 / Ausstellung
(un)earthed
Sarah Burger
 


Sarah Burger, (un)earthed Object No1, 2015, Stoff und Polyesterfaden, ca. 50 cm × 35 cm × 9 cm.


eine Ausstellung von Sarah Burger
Eröffnung: Freitag, 4. September 2015, 19 Uhr
Ausstellung bis 25. September

Öffnungszeiten:
Mi/Fr/Sa: 14:00h - 18:00h
Do: 15:00h - 19:00h

Kollaborationen mit Erde, Stoff und Polyester.
Umgekehrte Archäologie.
9 Objekte vergraben an 8 Orten.
Ein Projekt über das Verschwinden und darüber, was dabei zu Tage tritt.

Sarah Burgers Projekt (un)earthed besteht aus 9 Skulpturen/ Objekten aus kompostierbarem Stoff und Polyesterfaden, die sie an 8 unterschiedlichen Orten vergraben hat und im Abstand von etwa 3 Wochen immer wieder aufsucht, der Erde entnimmt, beobachtet, dokumentiert und wieder vergräbt.

Die Ausstellung im Corner College gibt einen Einblick in den Prozess, nimmt seine Strukturen auf und erweitert ihn räumlich um Bilder, Videos, Installationen und Gespräche.

Gespräche in der Ausstellung:

Donnerstag, 10. September, 19 Uhr
Michael Wagner (Architekt), Romy Rüegger (Künstlerin), Gioia Dal Molin (Kunstwissenschaftlerin) und Sarah Burger

Donnerstag, 24. September, 19 Uhr
Michael Günzburger (Künstler), Gioia Dal Molin und Sarah Burger


Das Projekt (un)earthed wird unterstützt von der Ernst und Olga Gubler-Hablützel Stiftung.
Danke auch der Firma Freitag für F-ABRIC©.

Posted by Corner College Collective

/ 2015 / 201506 / Präsentation
Werkpräsentation von Trevor Yeung (Hong Kong)

(in Englisch)


Trevor Yeung’s Encyclopedia


Trevor Yeung ist ein in Hong Kong lebender und arbeitender Künstler. Er schloss 2010 an der Academy of Visual Arts, HKBU in Hong Kong ab und ist zurzeit an einer Arbeit über Haustiere und der Rechtssituation von Tieren als Ausstellungselementen. Seine Arbeiten waren u.a. an der Art Basel Hong Kong, im Para Site in Hong Kong ode rim CAFA Art Museum Beijing zu sehen.

Trevor Yeung is a Hong Kong based artist born in Guangdong. He graduated 2010 from the Academy of Visual Arts, HKBU in Hong Kong and currently lives and works in Hong Kong. At present he’s researching on pet animal and the legal situation of animals in art spaces. His works were shown among other places at the Art Basel Hong Kong, Para Site in Hong Kong or at the CAFA Art Museum in Beijing.

Posted by Corner College Collective

/ 2015 / 201506 / Workshop
Workshop How to Act Like an Animal und Videodreh


Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com


How to Act Like an Animal


Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben. Die Ergebnisse des Workshops werden am Schluss auf Video aufgezeichnet.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises. The outcome of this workshop will in the end be captured on video.

Posted by Corner College Collective

/ 2015 / 201506 / Präsentation
Werkpräsentation von Rachel Mayeri (L.A.)
(in Englisch)


Rachel Mayeri mit Carla


Rachel Mayeri ist eine in Los Angeles lebende Medienkünstlerin. Sie arbeitet an der Schnittstelle zwischen Kunst und Wissenschaft. Ihre Projekte erkunden die Geschichte von Special Effects bis hin zum menschlichen Tier. Die Videos und Installationen waren u.a. am Sundance Festival, der Berlinale, der Documenta 13, an der Ars Electronica, im Getty Museum oder im MoMA PS1 zu sehen.

Rachel Mayeri is a Los Angeles-based media artist working at the intersection of science and art. Her projects explore topics ranging from the history of special effects to the human animal. Her videos and installations have shown at Sundance, Berlinale, Documenta 13, Ars Electronica, The Getty Museum, and MoMA PS1.

Posted by Corner College Collective

/ 2015 / 201506 / Workshop
Workshop How to Act Like an Animal

Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com


How to Act Like an Animal


Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises.

Posted by Corner College Collective

/ 2015 / 201506 / Kino
Screening: The Human Animal part 4 to 6
(in Englisch)


The Human Animal


Part 4: The Biology of Love
Part 5: The Immortal Genes
Part 6: Beyond Survival

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.

Posted by Corner College Collective

/ 2015 / 201506 / Kino
Screening: The Human Animal part 1 to 3
(in Englisch)


The Human Animal


Part 1: Language In The Body
Part 2: The Hunting Ape
Part 3: The Human Zoo

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.

Posted by Corner College Collective

/ 2015 / 201506 / Ausstellung
DISPLAYING HUMANS

6. BIS 26. JUNI 2015
Eröffnung am 5. Juni um 19:00 Uhr

Mit: Elisa Foster, Janette Barber, Mariana Matveichuk/Larissa Venediktova, Mike The Intern, Maccadole, Rachel Mayeri, LadyLila12, Séverine Urwyler und Trevor Yeung

Kuratiert von Benjamin Egger

Öffnungszeiten:
Mittwoch: 16:00 bis 18:00 Uhr
Donnerstag: 18:00 bis 20:00 Uhr
Freitag: 16:00 bis 18:00 Uhr
Samstag: 14:00 bis 18:00 uhr


Ausstellungsflyer


Die Ausstellung DISPLAYING HUMANS befragt das Körperverständnis des Menschen in Bezug zur kulturellen Konstruktion des Tieres. Die Fähigkeit des Tieres, den eigenen Körper im Affekt zu benutzen, wird mit der menschlichen Vorstellung von authentischem Körperausdruck gedacht. Es gibt kein zurück zum Tier - nur ein nie hier gewesen sein.

The exhibition DISPLAYING HUMANS emerges questions about the human body awareness in relation to the cultural construction of the animal. The capability of the animal to use its body in the heat of the moment is thought through the human concept of authenticity. There is no return to the animal – just a never-have-been-here.


PROGRAMM:


The Human Animal

Screening: The Human Animal part 1 to 3
(in Englisch)

Part 1: Language In The Body
Part 2: The Hunting Ape
Part 3: The Human Zoo

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.






The Human Animal

Screening: The Human Animal part 3 to 6
(in Englisch)

Part 4: The Biology of Love
Part 5: The Immortal Genes
Part 6: Beyond Survival

The Human Animal ist eine BBC Dokumentarfilmserie von und mit Desmond Morris. Die Erstausstrahlung war am 27. Juli 1994 in England. Morris beschreibt die Serie als eine Studie des menschlichen Verhaltens aus einer zoologischen Perspektive. In der Serie bereist er filmend die Welt – auf der Suche nach Bräuchen und Gewohnheiten in verschiedenen Regionen und ihrem gemeinsamen Ursprung.

The Human Animal is a BBC nature documentary series written and presented by Desmond Morris, first transmitted in the United Kingdom from 27 July 1994.
Morris describes it as "A study of human behavior from a zoological perspective." He travels the world, filming the diverse customs and habits of various regions while suggesting common roots.






How to Act Like an Animal

Workshop: How to Act Like an Animal
Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com

Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises.





Rachel Mayeri mit Carla

Werkpräsentation von Rachel Mayeri
(in Englisch)

Rachel Mayeri ist eine in Los Angeles lebende Medienkünstlerin. Sie arbeitet an der Schnittstelle zwischen Kunst und Wissenschaft. Ihre Projekte erkunden die Geschichte von Special Effects bis hin zum menschlichen Tier. Die Videos und Installationen waren u.a. am Sundance Festival, der Berlinale, der Documenta 13, an der Ars Electronica, im Getty Museum oder im MoMA PS1 zu sehen.

Rachel Mayeri is a Los Angeles-based media artist working at the intersection of science and art. Her projects explore topics ranging from the history of special effects to the human animal. Her videos and installations have shown at Sundance, Berlinale, Documenta 13, Ars Electronica, The Getty Museum, and MoMA PS1.





How to Act Like an Animal

Workshop und Videodreh: How to Act Like an Animal
Mit Rachel Mayeri (L.A.)
(in Englisch)

Auf Anmeldung (nur 10 Teilnehmerinnen): cornercollege@gmail.com

Der Workshop erkundet die Kommunikationsformen und die soziale Struktur von Primaten. Die Teilnehmerinnen werden Videos von Verhaltensformen bei Wildtieren beobachten und lernen wie sich ein Affe gebärdet, bewegt und ausdrückt. Es werden Techniken aus dem Theater angewendet und wir werden uns im Verhalten von Schimpansen und Bonobos üben. Die Ergebnisse des Workshops werden am Schluss auf Video aufgezeichnet.

This performative workshop explores primate communication and social organization and leads to a videotaped wildlife film, part of the Primate Cinema series. Participants will watch videos of animal behavior in the wild, learning how apes act, move, vocalize, and express their feelings. We'll try physical theatre techniques and improvise in chimpanzee and bonobo acting exercises. The outcome of this workshop will in the end be captured on video.





Trevor Yeung’s Encyclopedia

Werkpräsentation von Trevor Yeung (Hong Kong)
(in Englisch)

Trevor Yeung ist ein in Hong Kong lebender und arbeitender Künstler. Er schloss 2010 an der Academy of Visual Arts, HKBU in Hong Kong ab und ist zurzeit an einer Arbeit über Haustiere und der Rechtssituation von Tieren als Ausstellungselementen. Seine Arbeiten waren u.a. an der Art Basel Hong Kong, im Para Site in Hong Kong ode rim CAFA Art Museum Beijing zu sehen.

Trevor Yeung is a Hong Kong based artist born in Guangdong. He graduated 2010 from the Academy of Visual Arts, HKBU in Hong Kong and currently lives and works in Hong Kong. At present he’s researching on pet animal and the legal situation of animals in art spaces. His works were shown among other places at the Art Basel Hong Kong, Para Site in Hong Kong or at the CAFA Art Museum in Beijing.

Posted by Corner College Collective

2015 / 201505 / Ausstellung / Diskussion / Finissage
Finissage
Spooky Action at a Distance
(Artes Mechanicae and Witch's Cradle)
with a discussion between the artists and the curators
and a talk by Cathérine Hug on "The" Black Square

Amélie Brisson-Darveau, Brandon Farnsworth, Gabriel Gee, Catherine Hug, Andreas Marti, Conor McFeely, Benjamin Ryser, Dimitrina Sevova, HannaH Walter
 

Finissage of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes today on 22 May 2015.


Invitation flyer for the exhibition.




18h00: Discussion between the artists and the curators, with Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz, Gabriel Gee and Dimitrina Sevova.



19h00: Discussion with Cathérine Hug on "The" Black Square.


From Robert Fludd, The Metaphysical, Physical, and Technical History of the Two Worlds, Namely the Greater and the Lesser, Oppenheim 1617.




With a sound intervention, Lointain (2015) by Brandon Farnsworth, Benjamin Ryser and HannaH Walter.

Posted by Corner College Collective

2015 / 201505 / Solianlass
frau*m kalender soli nachteule bar




Deutsch (English see below):

Die berüchtigte Nachteule, auch bekannt unter dem Namen Lorde's Hole, zeitenweise auch Café Luxemburg, dann wieder Virginia's Notfallstation, oder Wittig's genannt, empfing während Jahrzehnten unzählige berühmte, aber auch lichtscheue Gäst_innen aus dem Quartier und aus aller Welt. Diese verqualmte, tiefgründige Lesbenbar, war bekannt für kunstvolle Darbietungen der queer_feministischen Art und raffiniert vorbereitete Spirituosen. Im Hinterzimmer der Bar war das Redaktionsbüro der Streitschrift Das Korsett untergebracht. Nächtelange Pokerrunden, Sitzungen, Diskussionen und queerleske Stripshows, Performances, legendäre Konzerte, Filmscreenings, nicht zu vergessen Lesungen von Poesie, Prosa,Theorie, polemischen, politischen, persönlichen Texten, Notizen und Randnotizen, fanden allesamt im gemütlichen verruchten Ambiente dieser Bar statt.

Am Freitag 29. Mai 2015 werden die Erinnerungen an die Nachteule wieder ins Leben gerufen:

Nachteule reloaded! Kommt alle und seid dort und lasst euch überraschen von der unwiderstehlichen Magie dieser geschichtsträchtigen Lokalität.

Ab 19h Barbetrieb und Intermezzi

Solianlass für fraum* - Frauen*Zentrum Zürich - http://www.fraum.ch

open for all genders


English (Deutsch siehe oben):


The infamous Nightowl, also know as Lorde's Hole, some of the time also as Café Luxemburg, and then also as Virginia's Emergencyroom or the Wittig's, received during decades uncountable famous, but also shade-loving guests from the neighborhood, and the whole world. This smoky, profound lesbian bar, was known for fancy presentations of the queer_feminist kind and refinedly prepared spirits. The back-room of the bar accommodated the editorial office of the polemic paper Das Korsett. Pokerrounds, meetings, discussions and queerlesque stripshows, performances, legendary concerts, film screenings, not to forget readings of poetry, prose, theory, polemic, political, personal texts, notes and side notes all night long, took all together place in the cozy wicked ambience of this bar.

Friday May 29th 2015 the memories of the Nightowl will be revived:

Nightowl reloaded! Welcome everybody and be there and let the irresistible magic of this locality steeped in her_story surprise you.

From 7pm on: Bar and intermezzi

Soli for fraum* - Wom*en's Center Zurich - http://www.fraum.ch

open for all genders

Posted by Corner College Collective

2015 / 201505 / Additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle / Lecture
Boris Magrini: Being immortal, again
Rayelle Niemann: Syria's uprising on-line
perspectives on the massive quantity of imagery, on ethics, icons, and narrations, methodology of archiving and memorising

Boris Magrini, Rayelle Niemann
 

18:30h Boris Magrini
Being immortal, again


Tobias Bernstrup, Sing My Body Electric, performance at Friktioner festival, Uppsala Konsert & Kongress, 2 June 2012.


Recent developments in artificial intelligence, biotechnologies and robotics have produced a body of speculative journalism depicting visions of our future society that are deeply embedded in transhuman (or even posthuman) ideologies. The implementation of global connectivity, social networks and multiplayer online games offered new tools for artists to create works mimicking similar narratives while contributing to a critical discussion of these visionary prophecies. Between fictions and predictions, how are artists helping to shape and imagine our future immortality?



19:30h Rayelle Niemann
Syria's uprising on-line
perspectives on the massive quantity of imagery, on ethics, icons, and narrations, methodology of archiving and memorising








Followed by a discussion with Boris Magrini, Rayelle Niemann and the audience.

Posted by Corner College Collective

2015 / 201505 / Additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle / Lecture
Zwischen Operationssphäre und Horizonterweiterung. Eine Annäherung an einen für die Kunstgeschichte relevanten Maschinenbegriff
Heiko Schmid
 




Die Übertragung von menschlichen Handlungen und Denkvorgängen auf Maschinen funktioniert immer dann, wenn sich Handlung und Denken mittels Abstraktion in eine Folge von elementaren und rekombinierbaren Teilaktivitäten zerlegen lassen, also wenn menschliche Handlungen und Denkprozesse als Algorithmen entkörperlicht und dekontextualisert werden können. In welcher Weise diese elementaren und rekombinierbaren Teilaktivitäten zu beschreiben sind, ist jedoch keinesfalls eindeutig zu fassen. So spricht etwa der Kybernetiker Gotthard Günther im Kontext der Maschine von Serien mit unterschiedlichen Freiheitsgraden, wobei er den Konzepten der "Kausalität" und der "Magie" in diesem Zusammenhang die extremen Pole zuweist. Für Günther sind also durchaus "Maschinen" denkbar, die sich allein in magischen Bezugssystemen konstituieren und damit selbst den basalsten Grundlagen der klassischen Kybernetik widersprechen würden. In meinem Vortrag werde ich, ausgehend von Günthers Einordnung, einen Maschinenbegriff skizzieren, in dessen Zusammenhang statische Serialisierungen von Handlungs- und Denkvorgängen in Frage gestellt sowie Spielräume für alternative Verkettungen und somit "Funktionsstrukturen" eröffnet werden. Ziel wird es hierbei sein den Maschinenbegriff in einer Weise scharf zu stellen, dass mittels diesem selbst aktuell relevante künstlerische Phänomene interpretiert werden können.

This lecture is part of the additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes on 22 May 2015.

Posted by Corner College Collective

2015 / 201505 / Additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle / Lecture-Performance / Workshop
Machination, or The Spectre of the Invisible Hand
Raphaële Bidault-Waddington, Caroline Palla
 

English (French see below):

Performative Lecture and Workshop by Raphaële Bidault-Waddington
In complicity with Caroline Palla



« Bulle Poético-Spéculative » (Poetico-Speculative Bubble), photographic installation, Raphaële Bidault-Waddington a.k.a. PIIMS, Paris Project Room, 2001.


Paris-based artist Raphaële Bidault-Waddington returns to Corner College on 9 May for one of her performative lectures (cf. Semiospace), where she proposes a new digression, theoretical and poetic around her three laboratories for artistic research.
Raffinerie Poétique (Poetic Refinery), PIIMS/Petite Industrie de l'Image Sensorielle (Little Industry of the Sensorial Image) and LIID/Laboratoire d'Ingénierie (Idea Engineering Lab) all three feed on a “machinic imaginary”, playing on the illusion of a performing organization and a mastered creation process that can elicit a sense of rationality, clarity and understanding. The LIID in particular has the ambition of affirming the power of “aesthetic intelligence” as a mode of addressing the world and an efficacious form of knowledge production, giving rise to numerous collaborations with universities, urban projects and companies around the world.
Nonetheless the labs overflow, drift, without one being able to grasp where the border lies between the fictitious and the speculative, to such an extent that the story will at times seem incredible, as if all this was not possible. The machinic arrangement of RBW is on the verge of machination, as if behind this so well-articulated ecosystem that is here stripped bare, there was something else, an intrigue, or even a conspiracy.

Behind the appearance of the story of operational transparency, the shadow of doubt lurks, evoking the ghosts that haunt the contemporary era in which the “data-deluge” breaks the benchmarks of truth and in which a new technological empire spoils discernment as the screens suck its lifeblood.

The contact with the economic world elicits different forms of fear that echo the concerns borne by late capitalism, the famous spectre of the invisible hand, or yet Big Data, the new monster generated by the cloud and whose psycho-climatic intoxication PIIMS replays, having become an autonomous world-image ….

All this shall serve as a basis to an exploratory and exhilarating research session around the engineering of these both artistic and cognitive dramatic elements, in complicity with Caroline Palla, a Zurich-based artist and moviemaker, and the public of Corner College.

For further information: https://en.wikipedia.org/wiki/Rapha%C3%ABle_Bidault-Waddington
Websites: http://www.liid.fr, http://goodwill.is.not.free.fr

This performative lecture and workshop is part of the additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes on 22 May 2015.

This event is kindly supported by the French Embassy in Switzerland.



Français (texte en anglais ci-dessus):

Machination, ou le spectre de la Main Invisible
Conférence performative et atelier de Raphaële Bidault-Waddington
En complicité avec Caroline Palla


L'artiste parisienne Raphaële Bidault-Waddington revient au Corner College pour l'une de ses conférences performative le samedi 9 Mai (voir Semiospace) où elle nous proposera une nouvelle digression théorique et poétique autour de ses trois laboratoires de recherche artistique.

La Raffinerie Poétique, PIIMS/Petite Industrie de l'Image Sensorielle et LIID/Laboratoire d'Ingénierie sont tous trois nourris d'un "imaginaire machinique", se jouant de l'illusion d'une organisation performante et d'un processus de création maîtrisé, propre à susciter un sentiment de rationalité, de clarté et d'entendement. Le LIID se donne tout particulièrement pour ambition d'affirmer la puissance de l'"intelligence esthétique" comme mode d'adresse du monde et forme de production efficace de connaissance, donnant lieu à de nombreuses collaborations avec des universités, des projets urbains et des entreprises de part le monde.

Néanmoins les laboratoires débordent, dérivent, sans que l'on puisse saisir où se situe la frontière du fictif et du spéculatif, et au point que l'histoire semble parfois incroyable, comme si tout ceci n'était pas possible. L'agencement machinique de RBW, frôle la machination comme si, derrière cet écosystème pourtant si bien articulé et ici mis à nu, il y avait encore autre chose, une intrigue voire un complot.

Derrière l'apparence d’un récit de transparence opératoire, l'ombre du doute plane, non sans évoquer les fantômes qui hantent l'ère contemporaine où le "data-déluge" brise les repères de la vérité, et où un nouvel empire technologique abîme le discernement, vampirisé par les écrans.
L'accointance avec le monde économique suscite différentes formes de peur faisant écho aux inquiétudes véhiculées par le capitalisme tardif, le spectre de la fameuse main invisible, ou encore le Big Data, nouveau monstre généré par le cloud, et dont PIIMS, devenu monde-image autonome, rejoue l'ivresse psycho-climatique…

Tout ceci servira de base à une séance de recherche exploratoire et jubilatoire autour de l'ingénierie de ces ressorts dramaturgiques, autant artistiques que cognitifs, en complicité avec Caroline Palla, artiste et cinéaste zurichoise, et le public du Corner College.

Plus d’informations : https://en.wikipedia.org/wiki/Rapha%C3%ABle_Bidault-Waddington
Sites: http://www.liid.fr, http://goodwill.is.not.free.fr

Cette conférence performative et atelier font partie du programme supplémentaire contextualisant et étendant le discours de l'exposition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, qui aura lieu du 23 avril au 22 mai 2015.


Nous tenons à remercier l'Ambassade de France en Suisse de son soutien.

Posted by Corner College Collective

2015 / 201505 / Lecture-Performance
The Slowness of Writing as a Way of Reading
or
A Curious Amalgam of Voices

Delphine Chapuis Schmitz
 

From 19:00h till the end.




In her lecture-performance, Delphine Chapuis Schmitz will activate a text written by Kenneth Goldsmith* by literally rewriting it and having it projected “live” for the audience.

* and published in 2013 as the first movement of “Suite for Exhibition(s) and Publication(s)”, a proposal by Mathieu Copeland for the Jeu de Paume in Paris.

The lecture-performance will be held in English.

Posted by Corner College Collective

2015 / 201504 / Sunday Brunch – Making Space for Kids and Animals
Third Sunday Brunch
Corner College Collective
 




English (Deutsch siehe unten):

This is the third event of the series Sunday Brunch – Making Space for Kids and Animals.

For this Sunday 19.04, Sunday Brunch – Making Space for Kids and Animals, we will experiment with folding using paper and other materials. We will bake giant Zopfs and apple pancakes. You are welcome to contribute by bringing something for the brunch or by giving around 10 franks.

Deutsch (English above):

Dies ist die dritte Veranstaltung der Serie Sunday Brunch – Making Space for Kids and Animals.

An diesem Sonntag, dem 19. April werden wir im Sunday Brunch – Making Space for Kids and Animals mit dem Falten von Papier und anderen Materialien experimentieren. Wir werden Riesenzöpfe und Apfelpfannkuchen backen. Ihr könnt gern beitragen und etwas für den Brunch bringen, oder mit einer Spende von etwa 10 Franken.

Posted by Corner College Collective

2015 / 201504 / Diskussion
ZHdK MFA Podiumsdiskussion: "Kunst und Nicht Kunst im Kunst-Kontext"




Kunstkontexte sind vermehrt Räume zur Verhandlung von Fragestellungen und Debatten, die sich etwa mit Blick auf aktuelle politische Verhältnisse und Entwicklungen stellen oder unter dem Label Forschung geführt werden – um nur zwei Beispiele zu nennen. Im Rahmen der Panel-Diskussion soll diskutiert werden, welche sich verändernden Kunst– und künstlerischen Selbstverständnisse hinter diesen Entwicklungen stehen, wodurch Kunstkontexte heute eine spezifische Weise der Verhandlung ermöglichen, wie durchlässig die Grenze zwischen Diskursen innerhalb und ausserhalb von Kunstkontexten ist und was dies für das Verhältnis von Kunst und Nicht-Kunst bedeutet.

Die Podiumsdiskussion wird mit drei Themen dreifach geteilt:
1. Politics of Legitimation: Regimes of Truth and Art Today
2. The Decision Makers
3. Do You Love Me Regardless of My Flaws? (The attitudes, techniques and attributions of the artist.)

Auf dem Panel:
Dimitrina Sevova (Independent Curator, Corner College)
Stefan Wagner (Independent Curator)
Nicola Ruffo (Independent Curator)
Florence Jung (Artist)

Datum & Uhrzeit: 21. April 2015, 14:00-18:00 Uhr
Ort: Corner College, Kochstrasse 1, 8004 Zürich
Konzept and organisation: Master Fine Arts, Zurich University of the Arts (ZHdK)
Sprache: Deutsch & English
Eintritt frei

Posted by Corner College Collective

2015 / 201504 / 201505 / Ausstellung
Spooky Action at a Distance
(Artes Mechanicae and Witch's Cradle)

Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz
 


Invitation flyer for the exhibition.


With Amélie Brisson-Darveau, Andreas Marti, Conor McFeely, Mareike Spalteholz.

Opening on 23 April, finissage on 22 May 2015.

Both at the opening and at the finissage, there will be a sound intervention, Lointain (2015) by Brandon Farnsworth, Benjamin Ryser and HannaH Walter.

Curated by Gabriel Gee (TETI) and Dimitrina Sevova (Corner College).

An accompanying program of talks and screenings will be announced shortly on this website.




Invitation flyer for the exhibition.


This exhibition brings together works by Zurich-based artists Amélie Brisson-Darveau, Andreas Marti, Mareike Spalteholz, and the Northern Irish artist Conor McFeely that explore and question the technological premises on which our human societies are built.

The exhibition is organized by Corner College in collaboration with the TETI group (Textures and Experience of Transindustriality).
http://www.tetigroup.org/


Curatorial text by Gabriel Gee
Darkroom notes underneath the artes mechanicae

The codification of the artes mechanicae at the turn of the 12th century served as a starting point to consider the binary between material and virtual realities in the beginning of the 21st century. The medieval invention of the artes mechanicae underlined the contributions of practical arts such as agriculture, metallurgy, but also medicine and architecture to the shaping of the world. They provided categories to complement those of the liberal arts, noble practices such as arithmetic, logic and rhetoric. This historical process could be used as a guiding thought when transposed into the present world, where the multiplication of images, virtual fluxes and platforms increasingly dislocate the embodied experience of the world. Social-robots and post-human hybrids are certainly fascinating creatures and futures. Yet an attention to the actors who command our 21st century nascent imaginaries appears appropriate, and given the remoteness of the design agencies fuelling our screens and mind, a practical exploration of the mechanics of creation offers a possible pathway to bring some light into often inscrutable processes. It is in other words the recognition of embodied practices as valuable and definable, that can analogically be used to unravel the nature of our digital present.

In the present exhibition, a common thread explored by all four artists revolves around a mise-en-abîme of creative conduits, a mode of framing artistic invention and underlining its components for the benefit of the visitor. One particular mode of appreciating this focal attention onto the mechanics of creation is channeled both in a concrete and metaphorical sense by the Camera Obscura. The camera obscura, or darkened room, is a phenomenon and device known since Antiquity: in a dark room, through a small aperture, a reversed image of the outside world can be projected. Subsequently, in the late 16th century, the principle was adapted to a pinhole box equipped with lenses and mirrors, enabling the projection to become mobile. From there on, the optical camera was developed, used in mapping as well as an aid to painting, it became a model for the understanding of the eye, culminating in the 19th century seminal discovery of how to stabilize the imprint of the reversed image on silver iodide coated paper.
The camera obscura functional concentration of matters pertaining to optics, coupled with its long and uncertain journey to provide material visual evidence, are echoed in the works presented hereby; furthermore, the pieces presented also explore through their anatomy the two terms themselves and for themselves: the room, and obscurity.

See the full curatorial text by Gabriel Gee as a PDF file here


Curatorial text by Dimitrina Sevova

Magic is an art of radical immanence, but immanence is precisely what has to be artfully created, the usual regime of thinking being that of transcendence that authorizes a standpoint and a judgment, the art of magic has been disqualified, prosecuted.
(Isabelle Stengers, The Cosmopolitical Proposal)

Magical criticism as a manifestation of the highest stage of criticism.
From Walter Benjamin’s note “Criticism as the Fundamental Discipline of Literary History,” in his diary The Destructive Character (1931)

Intro-action!

With this exhibition we are trying to perform and materialize a new agency or to re-work the agential conditions of possibilities, as they bring creativity, criticism and resistance both to the practices of art and to daily life. Through these agential conditions, magical criticism is a practice of diffraction and agential separability, to be understood not as separation but as deviation, as making new connections and new commitments. My curatorial proposal is to follow here Karen Barad’s concept of quantum mechanical entanglement, where “diffraction can be a metaphor for another kind of critical thought,” which can be employed in the practices of Arts as well, to provide new insight into the notion of performativity, and how it matters.

In the collaboration on this exhibition with co-curator Gabriel Gee, who gave the initial drive with his idea of Artes Mechanicae, as a result of which we bring on display the works of Amélie Brisson-Darveau, Andreas Marti, Conor McFeely and Mareike Spalteholz, my curatorial effort is to engage the context of the project with feminist thought and practices through which we can activate the aesthetic perception and polemic discussion between the spectators and the art objects, and the space created through their relational structures. Another idea that troubles me is how an exhibition and art practices can be infused with magical criticism (Walter Benjamin), and how they can be a way to approach agency, e.g. the agency of unknown witch actants (Isabelle Stengers) or agential realism (Karen Barad). In the chemistry of magical criticism, the agents or catalysts are the critical mass that link the artistic practices to realism and materiality without being directly part of the art objects. They embody and embed their ability to manipulate objects in the performative aspects of traveling fluxes of matter and culture. Through artist practices and their art objects, the Arts’ actants can empower the spectators to feel and sense what it means to stay with the trouble. (Donna Haraway)

Talking about the materiality of art practices and the actants of magical criticism brings us to the idea that discourse did not start with language, but with material forms, as in Foucault’s prison-form. In this fashion, the artists critically incorporate in their installations in the exhibition industrial forms like moving images, elements of interfaces and of their ideological superstructures as well as historical materials from technological apparatuses and scientific and cultural dispositives, re-enacting collected parts in a new network of relations, where the material production and the performative stream of non-semiotic signs and characters trigger new agency. This is thus an expression of radical empiricism that can engage the spectator with phenomena and their material performativity, as in what Rosi Braidotti calls double vision. Which means that an exhibition produces both aesthetic relations and alternative forms of knowing, and opens towards perceptions of the oppositional consciousness or counter rationality and its micrologics, where one can abandon and reject the dualistic tradition and its practices of making such oppositions, between critique and creativity, or analytics and aesthetics.

In times of the Anthropocene and Capitalocene, their dispositives and synthesis of power-knowledge, science-technology, labor-capital have reached their limit, and their crisis cannot be overcome by just re-thinking them. New relations may arise by casting the spell of magical criticism and activating the new agency of witch actants in the ecological, social, and cultural environment. Let’s call our exhibition proposal a visionary alternative constructed by situated objects, knowledge and concepts in-between art, aesthetics, politics, and science. In this proposal, magical criticism and agential realism are practices of combination driven by subjectivity, creating self-organized patterns of cultivating differences. My wish is that the context may embrace Stengers’ cosmopolitical proposal, where one can take a feminist perspective seriously, as a feminist engagement with the subject matter, with the curatorial, with art practices and the space of the exhibition, inspired by a speculative feminism that provides the ground for a new materialism – i.e., a radical materialist metaphysics within material thought and the materiality of the art practices, that makes critical thought perform and take shape in its practical expressions in the entanglements of the materialized objects. In our dystopian non-localization we must create a situation in which one can grasp the fatal hinge between science and capitalism, which produces the techno-scientific knowledge economy and increased militarization. Some hope may come from an ethos of care, which is a matter of care, created with care.

This exhibition as a hexagram

This exhibition is a knot or an entanglement of six positions and their intra-acting agencies of phenomena of ontological disjunctions and speculative commitment to neglected things. These performative temporalizations draw invisible lines in the form of a hexagram of extra relations in the fourth dimension between the traced objects, ideas and their modulations, as the present birth of affective facts. As all assemblages, the collective artistic and curatorial endeavors in this exhibition are a product of transversal relations and forced movement. It is the affirmation of the movement or the second movement in itself, and correspondingly a matter of care, as Stengers might say – something artfully created to disturb, trouble or confuse “the usual regime of thinking.” It is an affectual and sensual vortex, a web of little events that is able to de-familiarize how one looks at something else, which is a sobering process in which what was understood as normal, as good behavior that serves as a protection layer against empathic reactions, is dispersed. Here, with Donna Haraway, it is time to prolong the process of de-familiarization with a series of de-normalization, in order to destabilize the world of thinking with other thoughts, or the world of images with other images, or the world of art and the finesse of the liberal arts with the return of the notion of Artes Mechanicae, as an act of resistance. As Deleuze said, speaking of Bach’s speech act: “his music is an act of resistance, an active struggle against the separation of the profane and the sacred. This act of resistance in the music ends with a cry.” Magic is an art of radical immanence, is la vida loca, the carnivalesque that comes from a critical mass or multitude, where the agency of witch actants generates the miracle of slowing down, without which there can be no creation, no generative radiation of resistance. “A return of the Arts reveals much in the way of study and praxis, as we soon become aware of the manifold arts that cease to inform (or perhaps marginally) the revolutionary practice of living la vida loca.” (Raiders of the Lost Arts, Tactical Magic Manifesto)

The techniques of slowing down, which also bring the idea of coming back, are a call for action that embraces “the crisis as a new form of discourse” to abandon the premises of material progress of a society based on techno-scientific information. It “demands immediate convolution of all discourses and disciplines,” to turn away one’s dazzled eyes from the blind spot left by looking into the sun in our melancholy and loneliness and try to undertake the journey back, to return home – to the Earth, i.e., to the body, to the mundane and small sins, to the plane of truth outside the norms. To slow down is to express a disappointment and disillusionment with the medium of traveling at great speed in the sky of heaven – which in any event makes no sense, since there is neither outside nor inside.

Coming back home, which means returning on the ground with its formless and muddy functions, is Donna Haraway’s proposal. It can be taken seriously as an alternative concept to those of rationality, which is the basis of the rationalization of all aspects of life that leads to cognitive commercial operations in the knowledge economy. Along this line, we urgently have to re-read “pre-scientific” and non-rational knowledge and practices that can be the beginning of a counter-movement to the Copernican revolution, making space for prayer, contemplation and knowledge to take place. The legending of the fabulations of science fiction and scientific fact this time does without the heroic stories of the walking signifier. If one comes back home, is rather a reverse engineering, a releasing of stigmatized thought, a mind journey back from the universe or universalism to the kakosmos (Bruno Latour) and then to the immanence of the radical plane of consistency of the cosmopolitical proposal, where the political affirms the cosmic, which is not equivalent to any particular cosmos. Stengers’ cosmos, like Nietzsche’s, is an event (a cosmic event or becoming). In the cosmos and cosmopolitics there are no representatives. They can protect us from an entrepreneurial version of politics, not limiting pragmatic thought or emotional, intellectual and material skills to the logic of the scientific organization of the labor, accumulation, extraction, producing technology for profit. According to Donna Haraway we have to go back to the Middle Ages to investigate the formation of the market and the accumulation of wealth.

Often, the revolutionary aspect lay not in the act of invention itself, but in its technological refinement and application to political and economic power.
(Wikipedia, entry on Medieval technology)

See the full curatorial text by Dimitrina Sevova as a PDF file here



Amélie Brisson-Darveau
http://www.ameliebd.com/


Amélie Brisson-Darveau, Shadow Theater


Amélie Brisson-Darveau's initial interest focused on shadows in relation to literature. More specifically on the loss of the shadow as a means of disturbing (multiplying) the subjectivity of its owner and to interrogate its materiality.

In the current project, she turns her attention towards film noir. These movies, coming from an economic and politically “dark” period (Great Depression and WW II), are particularity appealing because of their visual qualities of shadow play and explicit contrasts of lights. Dark, they are influenced by German expressionist movies (and concrete aesthetics by extension), and the neorealist Italian movies foregrounding the use of shadows to demonstrate monstrosity (a clear reference to WW II).

Film noir, like the literature regarding persons who lost their shadow (by E.T.A. Hoffmann, De Chamisso, Anderson, and Hofmannsthal) which was the basis of my recent works, have one point in common: the character is depersonalized by the deformation and multiplication/disappearance of his/her shadow. Both features, a perishing shadow or one that is projected in an elongated series, activate a “matrix” of fear or threat. The person who lost his/her shadow is excluded, while the one whose shadow is deformed becomes threatening, sometimes monstrous.

This project consist in three small essays on the depersonalization of the shadow. The essays take the form of theatres investigating ways of distortion, transformation and depersonalization of the figure through textures of light and shadow on different stenographical structures. Three theatre boxes generate resonances between different areas of my researches on shadow theatre and marionettes (from Sophie Taeuber Arp), dream, scenography (costume and architecture), studies on movement and film noir.

Mareike Spalteholz
http://www.mareikespalteholz.com/

Simultan

The urban living space is a complex construction. By intersecting/overlapping rooms/areas and topics there seem to be infinite (im-)possibilities. Everything is connected and nearly impossible to divide again.
A cubus-like object showing different photographs of different areas. By moving the single pieces of the object, the images will «melt» into each other and become hard to separate.
A qr-code leads you to a website explaining the various options.

Im Getriebe/ Inside the machine

Something that grows out of sight. A secret world of its own. A cosmos somewhere growing inside. Rotten, disturbing and somehow fascinating at the same time. The beauty of ugly(ness). Structures, landscapes and living things overlap and connect each other.
Macro-photography of self-created coffee-mould/fungus-landscapes.

75%


Mareike Spalteholz, 75%


As the title says: the imperfect of perfection. The work focuses on the simulated, never really coinciding and represented semblance of reality with the help of technical instruments that promise the human being to be able to get closer to things: see more, feel more, be more connected. But the complete opposite is the case.
You always see something that isn’t what you think you see. It can only get you close to an idea of a situation or action. Immediate experiences gets covered by a technical layers (by the reproduction of the reproduction, etc.) that promises closeness and intimacy. Instead, the layers make the immediateness disappear more and more completely. The human being is always connected but never living the moment anymore.
Photography of an iPhone showing a livestream of the partial solar eclipse of 20 March 2015 in Zürich.

Andreas Marti
http://www.andreasmarti.ch/


Andreas Marti, Testing a Test of Tests


Andreas Marti's practice incorporates a range of mediums, including paper, paint, photography and chemical substances, with a predilection for sculptural and installation forms of displays. Recent pieces have explored the mechanics of creation through kinetic structures, as well as performances investigating the thin line between matter’s permanence and change.

Conor McFeely
http://www.mentalimage.org.uk/mentalimage.html

Prisoner's Cinema


Conor McFeely, Prisoner's Cinema


Conor McFeely has been developing work based on an ongoing interest in the phenomenon of The Prisoners Cinema and the Ganzfeld effect which refers to a condition (an optical illusion) created by perceptual deprivation in the eye and brain experienced by people kept in long term darkness or confined to cells for lengthy periods of time. He has been playing with this notion on various levels. Firstly in relation to the idea of the Prisoner’s Cinema/ Ganzfeld effect as thought of in terms of the biological /neural condition, through audio and video and sculpture, and secondly that of an actual, if somewhat collapsed cinema for one person. The is structure is modeled on a specific and partly collapsed site I have been documenting on and off over a number of years in North West Donegal. This was a former colonial naval fort fallen into disuse after Independence. The extracts included in “Spooky Actions” are indicative of the notion of cinema as a place where contemporary myths and illusions are constructed and shaped. One purpose of the project is to take viewers on a perceptual journey to probe the senses and the intellect. It is known that hallucinations caused by sensory deprivation can, like ganzfeld-induced hallucinations, turn into complex scenes. Conor McFeely has been working with short video montages, “vignettes” using sampled footage from early cinema which combined with my own footage and audio represent the core of the project. The video sequence for this project is one of these and contains sampled footage and outakes from Metroplois. The photographs have a similarly faux Gothic appearance. This is a play on the nature of objective and subjective experience and the imagery used points to possible narratives with socio-political and biological undertones.


Brandon Farnsworth, Benjamin Ryser and HannaH Walter

Sound intervention at the opening and at the finissage, Lointain (2015).

Lointain (2015) is a performance installation developed by Benjamin Ryser and Brandon Farnsworth, performed and interpreted by HannaH Walter. The work explores the production and regulation of an intimate virtual space, as well as its relationship to the outside.

The title of the piece, Lointain, is the French term to describe something distanced from the observer in space and time. It is also a musical term used by composers to describe a certain sound quality (timbre) that evokes this feeling of distance. A body delineating and creating its position on the inside of a space by simulating one on the outside.


Brandon Farnsworth, Benjamin Ryser and HannaH Walter, Lointain (2015)

> The full curatorial text by Dimitrina Sevova as a PDF file

Posted by Corner College Collective

2015 / 201504 / CC Choir
Zweites Treffen des CC Choir
Corner College Collective
 




Zweites Treffen des CC Choir.

Der Chor ist offen für alle und das Repertoire wird gemeinsam ausgesucht und erprobt.

Die Chorleitung hat Oscar Mario Echeverry inne.

Second meeting of the CC Choir.

The choir is open to all, and the repertoire will be elaborated and practiced together.

The choir is under the direction of Oscar Mario Echeverry.

Posted by Corner College Collective

2015 / 201504 / Écriture Collective - Reading Fiction and Its Theoretical Monster Prodigies
Jorge Luis Borges, A New Refutation of Time
Corner College Collective
 


Edgar Allan Poe, The Man of the Crowd, Jorge Luis Borges, Selected Non-Fictions, Elias Canetti, Crowds and Power, Walter Benjamin, The Flâneur


In this fourth session we will start investigating lines that can take us from Edgar Allan Poe's The Man of the Crowd to other texts, and back. We will return to it from different angles, exploring its rhizome of interaction with theory and fiction alike, in the genealogy from Gottfried Wilhelm von Leibniz, Gabriel Tarde and Walter Benjamin to Elias Canetti and Bruno Latour, or Gilbert Simondon, Donna Haraway or Antonio Negri and Michael Hardt. Other texts are welcome that can contribute to the diagram, from Science Fiction to microbiological and cosmological scientific texts, philosophy, and contemporary theoretical and fictional writing with new perspectives on the social, which connect the subjects of crowds, swarms, packs, colonies of bacteria, and celestial clusters!

We will start on this endeavor by reading Jorge Luis Borges' A New Refutation of Time, which is a text that in this context can be seen as a bridge between Poe's piece and Benjamin's Flâneur, about strolling the urban space in the middle of the night, in search of lost or wasted time.

We expect not only to read, but also to write, draw, intervene, or display.

Posted by Corner College Collective

2015 / 201504 / CC Choir
Drittes Treffen des CC Choir
Corner College Collective
 




Drittes Treffen des CC Choir.

Der Chor ist offen für alle und das Repertoire wird gemeinsam ausgesucht und erprobt.

Die Chorleitung hat Oscar Mario Echeverry inne.

Third meeting of the CC Choir.

The choir is open to all, and the repertoire will be elaborated and practiced together.

The choir is under the direction of Oscar Mario Echeverry.

Posted by Corner College Collective

2015 / 201504 / Workshop
Zine & Collage
VOLUMES
 




Zine & Collage Workshop: an afternoon of zine making through collage.
Join us to look at the practices of collage within different artistic movements, browse through a variety of international zines, and create your first collage zine.

A Zine is a small circulation self-published work of original or appropriated texts and images.
Frequently reproduced via a photocopier and bound with staples, zines are very individualised and are informed by the punk and DIY (Do It Yourself) ethos.
The topics covered by zines are broad. They can be dedicated to art, design, poetry, politics, subcultures, fanfiction, short stories etc.
The majority of zines are produced in editions of fewer than 100, and profit is not the primary intent of publication.


Collage (from the french coller = to glue) consists in the creation of an ensemble by pasting cuttings of already existing pictures, illustrations or photos.
The origins of collage can be traced back hundreds of years, but the technique made a dramatic reappearance in the early part of 20th century as an art form of novelty.
A collage may include fragments of newspaper or magazine, portions of texts, photographs or other found objects, glued to a piece of paper or a canvas.
By fragmenting and recombining existing text and images, new content and meaning can be created in a playful way. The reconstruction can be done arbitrarily or intentionally.

All zines produced within the workshops will be exhibited at VOLUMES, Independent Publishing Fair in November 2015 in Zürich.

Workshop run by Anne-Laure Franchette and Patrizia Mazzei.

Participation is free. Small donations accepted to cover the cost for materials.

To register please email: volumes.zurich@gmail.com

Posted by Corner College Collective

2015 / 201504 / Listening Session
A Selfless Self in the Nightless Night; Disembodied Voices & Imaginary Friends # 2
Margit Säde
 




A listening session in 2 chapters.

As artificial sounds and voices are an intrinsic part of our daily lives, there is still no reproduction of the voice that doesn’t have an outlandish or uncanny feel to it. It’s a pleasure augmented by horror, an old dream accomplished. It’s like being somewhere without really being there, a person without a person, alarm and rapture that is engendered by this miracle.

Chapter 1: Disembodied Voices (45 mins)
A curious selection of disembodied voices; EVP recordings, a talking budgie, automatic telephone answers, speech synthesis and public space announcements. Electronic Voice Phenomena (EVP) recordings are sound fragments that come from ghost hunters scouring audio tracks for background voices. This chapter encourages us to become attuned to the voices that surround us, both literal and paranormal.

Chapter 2: Imaginary Friends (45 mins)
Most of us have experienced interactions and conversations with imaginary friends in early childhood. They are powerful signs of an imaginative mind and a way of learning to understand the world and coping with new or difficult experiences. This chapter departs form the idea of imaginary companions taking a more ambiguous approach on how recorded voice, speech and tone is used by ventriloquists, sound poets and artists.

With recordings by Alfred Wolfsohn, Emma Clarke, Disinformation, Laurie Anderson, Gregory Whitehead, Sarah Angliss, Robert Ashley, Sparkie Williams, Konstantin Raudive, Diana Deutsch, Ernst Jandl, Antye Greie, Erik Bünger, Malcolm Clarke (BBC Radiophonic Workshop) and others.

Posted by Corner College Collective

2015 / 201503 / Ausstellung / Dance/Music
Finissage:
Collecting the Future
2014–2006–2016
A Sinopale Exhibition

Corner College Collective, T. Melih Görgün
 


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Research material for the group of work Exercice d’isolation Digital image, Sinop, Turkey, 2012


Finissage of the exhibition:

COLLECTING THE FUTURE
2014–2006–2016
A SINOPALE EXHIBITION


13 February to 14 March 2015

With Amélie Brisson-Darveau, Quynh Dong, Benjamin Egger, Esther Kempf, Franziska Koch, Petra Koehle & Nicolas Vermot Petit-Outhenin, Daniel Marti, Garrett Nelson, Cat Tuong Nguyen, RELAX (chiarenza & hauser & co), Romy Rüegger, Riikka Tauriainen, and works from the collection of Sinopale by Alpaslan Baloğlu, Nezaket Ekici, Shilpa Gupta, Ashley Hunt, Emre Koyuncuoğlu, Monali Meher, Lerzan Ozer, Adrien Tirtiaux, XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), Eşref Yıldırım.

Curated by T. Melih Görgün, founder and artistic director of Sinopale, and co-curated by Dimitrina Sevova


The exhibition collects in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflect on their work at Sinopale in contributions between archive, research and art work.


Finissage with a DJ set by Nicki Manij, hot vegetarian soup and bar.

> The full text about Sinopale at Corner College can be found here in PDF format.

Posted by Corner College Collective

2015 / 201503 / Écriture Collective - Reading Fiction and Its Theoretical Monster Prodigies
Edgar Allan Poe, The Man of the Crowd
Corner College Collective
 


Edgar Allan Poe, The Man of the Crowd, Elias Canetti, Crowds and Power, Walter Benjamin, The Flâneur


Please note the change in the time: 20:00h, to accommodate those of you who would like to attend Étienne Balibar's lecture at ZHdK before that.

In this third session we will read Edgar Allan Poe's The Man of the Crowd. In the following sessions we will return to it from different angles, exploring its rhizome of interaction with theory and fiction alike, in the genealogy from Gottfried Wilhelm von Leibniz, Gabriel Tarde and Walter Benjamin to Elias Canetti and Bruno Latour, or Gilbert Simondon, Donna Haraway or Antonio Negri and Michael Hardt. Other texts are welcome that can contribute to the diagram, from Science Fiction to microbiological and cosmological scientific texts, philosophy, and contemporary theoretical and fictional writing with new perspectives on the social, which connect the subjects of crowds, swarms, packs, colonies of bacteria, and celestial clusters!

Posted by Corner College Collective

2015 / 201503 / Sunday Brunch – Making Space for Kids and Animals
Second Sunday Brunch
Corner College Collective
 




English (Deutsch siehe unten):

This is the second event of the series Sunday Brunch – Making Space for Kids and Animals.

Details to be announced.

Deutsch (English above):

Dies ist die zweite Veranstaltung der Serie Sunday Brunch – Making Space for Kids and Animals.

Einzelheiten folgen.

Posted by Corner College Collective

2015 / 201503 / CC Choir
Erstes Treffen des CC Choir
Corner College Collective
 

Erstes Treffen des CC Choir.

Einzelheiten folgen.

First meeting of the CC Choir.

Details to be announced.

Posted by Corner College Collective

2015 / 201503 / CC Choir
New Series: CC Choir
Corner College Collective
 




Der Chor als Klangkörper, der durch die Summe der einzelnen, klingenden Menschenkörper entsteht, ist eine der ältesten gemeinschaftsbildenden Tätigkeiten. Wir verstehen den CC Choir als Experiment auf diese ursprüngliche, prä-humane Tradition zurück zu blicken und in der Freude seinen eigenen Körper als Klangproduzent zu benutzen, neben dem gemeinsamen Singen von bekannten Liedern, rituelle und animalische Gesangstechniken zu erproben.

Der Chor ist offen für alle und das Repertoire wird gemeinsam ausgesucht und erprobt.

Die Chorleitung übernimmt Oscar Mario Echeverry.

Posted by Corner College Collective

2015 / 201503 / Buchvernissage
Gerald Raunig, DIVIDUUM
Gerald Raunig
 

Deutsch (English below)

Gerald Raunig, DIVIDUUM

Buchvernissage mit Gerald Raunig, mit performativen Lesungen und Interventionen von Niki Kubaczek, Isabell Lorey und Alexander Tuchaček.

Die Buchvernissage ist Teil des Programms der 11. kritnet Tagung mit dem Schwerpunktthema «Ökonomie und Rassismus im europäischen Migrations- und Grenzregime», die vom 26. bis 29. März 2015 in der Shedhalle und in anderen Räumen in Zürich stattfindet.


Gerald Raunig, DIVIDUUM, cover (back and front)


Erst die Erschaffung einer Mitte, in der die vielen Komponenten der Maschine auseinander- und zusammenstimmen, lässt das Gras von der Mitte des Stengels her wachsen. Eine dividuelle Maschine also, teilbar und teilend. Dort, in der reissenden Mitte des Dividuellen, braucht es keinen Grund, keine Wurzel, keinen Boden, keine Wände, die Leitern halten, keine weissen Wände, die Gesichter zeigen. Dort verketten sich die Körpermaschinen, die sozialen Maschinen, die molekular-revolutionären Maschinen, mit den Textmaschinen, dort entsteht aus mannigfaltiger Geisterhand die dividuell-abstrakte Linie.

Dividuum entwickelte sich als Begriff zusammen mit seinem Negativ, dem Individuum. In frühen römischen Komödien erscheint es als Marker für Sklaverei und gegenderte Herrschaft, und zugleich für Weisen des Wegstehlens und Fliehens aus diesem extrem herrschaftlichen Konnex. In der lateinischen Philosophie dient es zur Übersetzung des Teilbaren (im Gegensatz zum Atom), und dann in der Spätantike und Scholastik als Teil der theologischen Diskussion über Mannigfaltigkeit und Singularität der Dreifaltigkeit. Hier, in den hochmittelalterlichen Texten des Bischofs Gilbert de Poitiers, findet sich der Ausgangspunkt des Narrativs der Dividualität als zeitgenössische Produktionsform und Lebensweise. Zeitgenössischer dividuell-maschinischer Kapitalismus basiert nicht nur auf der Unterordnung des Menschen unter Maschinen, die in menschliche Körper und Geister eindringen, sondern auf maschinischer Dienstbarkeit und Selbst-Teilung durch soziale Medien, Quantifizierung des Selbst und vielfältige Formen des Anhängens an die Maschinen. Und auch auf den abstrakt-dividuellen Linien von Big Data, algorithmischer Logistik und Derivaten, die die individuellen Körper von Personen und Dingen wie auch ihre Wünsche und Sozialitäten durchqueren. Wenn wir vor diesem Hintergrund adäquate Formen des Widerstands in Betracht ziehen wollen, müssen wir sie auch auf der Ebene von Division, Dividualität, Condividualität denken.

Das Tier der moekularen Revolution wird kein Maulwurf sein und keine Schlange, sondern ein Drohnen-Tier, fest, flüssig und gasförmig. Un/Gefüge.

English (Deutsch siehe oben)

Gerald Raunig, DIVIDUUM

A book launch with Gerald Raunig, with performative readings and interventions by Niki Kubaczek, Isabell Lorey and Alexander Tuchaček.

The book launch is part of the program of the 11th kritnet Convention on the theme of «Economy and Racism in the European Migration and Border Regime», which takes place at Shedhalle and in other spaces in Zurich from 26 to 29 March 2015.

Posted by Corner College Collective

2015 / 201503 / Buchvernissage
Un verano antes del verano
Poesie, Fotografie und Notizen aus Buenos Aires

Florian Bachmann, Helen Ebert
 




Nach einer Einleitung durch die Herausgeber lesen Rosa Isela Lopez Gotoo und Tim Czerwonatis einige der abgedruckten Gedichte im argentinischen Original und in der deutschen Übersetzung.

«Un verano antes del verano» («Ein Sommer vor dem Sommer») inszeniert typografisch und fotografisch 16 Gedichte zeitgenössischer argentinischer LyrikerInnen*, mit Übersetzungen ins Deutsche**. Die Gedichte werden umrahmt von einer persönlichen Annäherung an die Stadt Buenos Aires, in Form einer chronologischen Collage aus Texten und Notizen, und von 51 Fotografien zur Stadt in s/w und Farbe.

Von November 2012 bis Januar 2013 sprachen Florian Bachmann und Helen Ebert in der argentinischen Hauptstadt spanisch, assen Fleisch, warteten auf den Bus und lasen zeitgenössische argentinische Gedichte. Herausgekommen ist eine persönliche Sicht auf die Stadt, ihren Alltag und ihre Lyrik, im Jahr 2015 verlegt von der Bieler «edition clandestin».

*Gedichte: Fabián Casas, Soledad Castresana, Macky Corbalán, Washington Cucurto, Martín Gambarotta, Fernanda Laguna, María Medrano, Marta Miranda, Cecilia Pavón, Sergio Raimondi, Noelia Rivero, Alejandro Rubio

**Übersetzungen: Juana und Tobias Burghardt, Timo Berger, Odile Kennel, Léonce Lupette, Valentin Schönherr

Dieses Buch erscheint auch in einer signierten Vorzugsausgabe von 30 Exemplaren mit risographiertem Umschlag, nummeriert und signiert 1/30 – 30/30

Helen Ebert + Florian Bachmann: Un verano antes del verano. Poesie, Fotografie und Notizen aus Buenos Aires. Freirückenbroschur, 28.2 × 25.8 cm. 144 Seiten, 4-farbig. Deutsch / spanisch. edition clandestin, Biel 2015.

ISBN 978-3-905297-61-4. CHF 38.– / € 32.–

Posted by Corner College Collective

2015 / 201503 / Artist Talk
Quynh Dong: Artist Talk
Quynh Dong
 


Tears of a Swan / 2013 / sculpture


Quynh Dong takes us on a journey into her studies of movement, of what has to be done from the vanishing point. The artist maps or sketches the affectual orientation and disposition of her practices, concerned with the politics of movement and its formal aesthetics. They confront her immediately with the affect and its practical and theoretical implications, as the affect always brings something unstable in the encounter between forces and mutable matter, through performative inversions of a choreographic web, like a dance of space/time whose distortions affect, able to induce the migration of the image or to decolonize bodies, as affect is resistance, too.

The artist’s interest in the affect lies in its potentiality of opening her practices towards an ethico-aesthetic paradigm in which race, class and sex become affective forms that are not directly inscribed in the bodies and the subjects, but are political spaces. This moves the bodies and subjects away from identitarian constructions and their cultural limitations. Identities, understood as projections of the signifier, are dispersed in the field of the affect with is forces liberating them, which become able to create themselves as a process of self-organizing and self-inventing subjectivities.

The artist deliberately exaggerates the femininity of her female characters, such as to affirm the ongoing feminization of affective labor inherent in the post-colonial landscape of late global capitalism. This embodied femininity, with its fragility and weakness, has the power to induce a creative melancholic opening that intensifies the flowing ephemera, re-appropriating them and the affect from the post-Fordist economic relations and recent rapid technological developments. She sets out, by means of art, to fill the atmosphere with fleeting implications of e-motions and sentiments that make the spectator feel how their perceptions depend on the conditions and the angle of their position in the space. The affect is for real, which means that its arrival serves as a force on her work that sometimes is rather non-work, which in the range of the affect lose their opposite values as the artistic practices are extended to the aesthetics of existence, i.e., “how to affect and how to be affected.”

Despite the apparent solidity of Quynh Dong’s sculptural installations, where she abandons the human subject in the fever of disjointed pieces of glossy ceramic leaves from the chalices of moribund flowers running away from each other. They are sculptural assemblages of oversize copies of pieces of dying matter, which emphasize their partial relations in the generating structures. In close-up, their surface becomes quantized, which leads to the idea that the world has a resolution. Their assembled ontology is a convoluted space oriented towards the virtual, trapping the perception into an installation process embodying optimistic cruelty that performs with striking effects to model the space in patterns patterning the plane. It brings the spectator directly to the heart of phantasm. The phantasm and the apparent solidity of the object are both flux and concrete, one turning into the other depending on the spectator’s distance to the object, which changes their picture of the world.

“Art is an object of Beauty!” states Quynh Dong about her work. She sees the position of the artist in old fashion as the copyist of nature who questions reality, reaching a romantic overmodel of it and even kitsch. The copyist’s gesture evokes the law of the copy and the matrix in a biopolitical sense. The copyist-artist can be seen as embodying the dark side of grace, as the artist gets access to the weak forces of a second nature of something artificial and plastic, which breaks the symmetry of the laws of physics and can capture and sustain the natural glamour and attraction of the dying flower like the frozen ripples of space/time, modeling the reality of decay and the noise of the entropic process. Could this be the noise coming from the degrees of microscopic freedom of the entropic process? Indeed, there is hidden information in the solid objects, which can be understood as the intervals between “the infinity of little affective events,” induced by the relation of rest and accelerated movement of the virtual images blocked between the particles of solid matter. These oscillations are the creative resistance of the material. The waving reality of the hysteresis of the forces within the clay and their virtual potentialities meet the hesitating line the artist traces into it. In this sculptography, the network of objects becomes a system that claims that “the social is always more than human,” as assemblages are always social, and the social lies in the principle of connectivity. The links between them have to be composed by the audience walking among them. One can never be sure where these delusive statements are the noise of the ripples of laughter, or the artist’s own laughter, and where it has to be taken very seriously.

Text: Dimitrina Sevova

> Here you can find the full text about Quynh Dong's work by Dimitrina Sevova, in PDF format.

Posted by Corner College Collective

2015 / 201503 / Lecture
Between Selves and Others
Teresa Chen
 


Teresa Chen, Self-Portrait


The artist Teresa Chen (www.teresachen.ch) began a dissertation as a way to extend her own artistic practice by exploring how contemporary visual artists – especially women with (East) Asian diasporic backgrounds – express ideas or meanings about Otherness and issues of belonging in their art. Using proposed set of categories, her methodology was a comparative analysis of selected pairs of artists – where at least one was a woman artist of (East) Asian diasporic background. The results of her research confirmed the significance of cultural, historical, and geographic experiences on both the conception and reception of visual art and indicated that various artistic strategies have the potential to expose and undermine culturally constructed meanings of difference. In this lecture, she outlines some of the main arguments and themes from her research.

Dr. Teresa Chen

Posted by Corner College Collective

2015 / 201502 / Buchvernissage
Book Launch: Zurich Art Space Guide (2nd edition, January 2015)
Anne-Laure Franchette, Fabio Kunz, Andreas Marti
 


Zurich Art Space Guide, 2nd edition


The Zurich Art Space Guide is a free of charge A4 color brochure offering an up to date listing of 39 independent art spaces and artist run-spaces in Zürich.

Available in art and culture related places all around Zürich, this free guide has been produced as much for local Zürich art lovers than for visitors to the city. It aims to make more visible and accessible the vibrant independent Zürich based art scene.

It features a map of Zürich on which are indicated the locations of the different art spaces, as well as a listing which provides the names, adresses, websites, public transport connections and contact details of all listed projects.

http://www.artspaceguide.com/



Edition 02 - January 2015

Contact / New Projects / Updates:
artspaceguide@gmx.ch

Published by:
Anne-Laure Franchette, Andreas Marti, Fabio Kunz (Design)

This event on Facebook: https://www.facebook.com/events/1668927363334485/

Posted by Corner College Collective

2015 / 201502 / Dance/Music
Erste WOFF-Party im Provitreff
Corner College Collective
 




Ab 22:00h

DJs
Margit de Sade
Fred Hystère
Nicki Manij

Provitreff, Sihlquai 240, 8005 Zürich

Eintritt: 5.-- Fr.

Corner College - Les Complices* - Dienstgebäude - Le Foyer - OOR - Station 21 - Chamber of Fine Arts - K3 Project Space - Menuedata

Posted by Corner College Collective

2015 / 201502 / 201503 / Ausstellung
Collecting the Future
2014–2006–2016
A Sinopale Exhibition


Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Research material for the group of work Exercice d’isolation Digital image, Sinop, Turkey, 2012


Sinopale, International Sinop Biennial for Contemporary Art, Turkey
in collaboration with Corner College, Zürich
present:

COLLECTING THE FUTURE

2014–2006–2016

A SINOPALE EXHIBITION


13 February to 14 March 2015

With Amélie Brisson-Darveau, Quynh Dong, Benjamin Egger, Esther Kempf, Franziska Koch, Petra Koehle & Nicolas Vermot Petit-Outhenin, Daniel Marti, Garrett Nelson, Cat Tuong Nguyen, RELAX (chiarenza & hauser & co), Romy Rüegger, Riikka Tauriainen, and works from the collection of Sinopale by Alpaslan Baloğlu, Nezaket Ekici, Shilpa Gupta, Ashley Hunt, Emre Koyuncuoğlu, Monali Meher, Lerzan Ozer, Adrien Tirtiaux, XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), Eşref Yıldırım.

Curated by T. Melih Görgün, founder and artistic director of Sinopale, and co-curated by Dimitrina Sevova

Sinopale Newspaper (printable as PDF 3.35MB).


Opening Hours during the exhibition / Öffnungszeiten während der Dauer der Ausstellung:

Monday closed. Montag geschlossen.
Tuesday closed. Dienstag geschlossen.
Wednesday: 3 pm - 7 pm. Mittwoch: 15 - 19 Uhr.
Thursday: 3 pm - 9 pm. Donnerstag: 15 - 21 Uhr
Friday: 3 pm - 7 pm. Freitag: 15 - 19 Uhr.
Saturday 2 pm - 6 pm. Samstag 14 - 18 Uhr.
Sunday 2 pm - 6 pm. Sonntag 14 - 18 Uhr.


The exhibition collects in a non-linearly organized display at Corner College reflections, documentation, archive and research materials as well as some art works from the five editions of Sinopale – International Sinop Biennial, in-between its past, present and future. Especially for this exhibition, the Swiss participants in the past two editions reflect on their work at Sinopale in contributions between archive, research and art work.

Friday, 13 February, 19:00h Opening with the performance Exercice d’Isolation (Tagblatt) by Petra Elena Köhle and Nicolas Vermot Petit-Outhenin, continuing into the next day’s activities

Saturday, 14 February, 16:00h Talk, screening and performances

16:00h Presentation of Sinopale by T. Melih Görgün, founder and artistic director of Sinopale

18:00h Screening of The Sea in Me by XsentrikArts (Bahanur Nasya & Yılmaz Vurucu), 2012, Sinopale 4, documentary, 60ʹ

20:00h Performance My Mondays roll into my Tuesdays, and my Tuesdays roll into my Wednesdays by Riikka Tauriainen

Throughout the afternoon and evening, the performance Exercice d’Isolation (Tagblatt) by Petra Elena Köhle and Nicolas Vermot Petit-Outhenin, continuing from the opening night


Riikka Tauriainen, My Mondays roll into my Tuesdays, and my Tuesdays roll into my Wednesdays.


One can say that Sinopale is a peripheric and young biennial of contemporary art on the map of the International Biennials of the art world system, and rather alternative to the so-called “biennial phenomena” and their genre. If it has been in a position of weakness with respect to the center and its political, economic and aesthetic dominance, indeed it mobilizes personal and collective collaborative efforts on the creative edge, where crossing over local and global perspectives, south and north and east and west, it analyzes and re-signifies the biennial discourses dominated by a logic of globalization, traveling art lovers and the shipping of expensive art works.

With its less spectacular exhibition and more humble project, it embraces a rather pragmatic approach to its structures, which in its generosity functions in the mode of new institutionalism rather than institutional critique, and even generates a rupture with the representational models of the big-scale art world projects from the center. It has the advantage to re-invent the relevance of the relation between contemporary art practices and daily life, and re-define the paradoxes of the creation of the value and status of art on the limit. It re-situates and re-articulates the notion of art and its institutionally driven formats and betrays the established network of distribution of art, such as the art markets or the circuit of commercial galleries. Where art, in a real situation, can be seen as an object that acts as ambiguous support or medium or catalyst of existential change and new ways of transference of relations, i.e., art practices can be seen as transversal tools for social change that can dissolve in the existing context as they externalize and modulate it and can productively cast new bridges to reconnect the land-space-town, with responsibility towards relational and new ecologies and their potentialities that engender the conditions for creation.

This transversality is not given, but a matter of a pragmatics of existence, a kind of openness and progressive deterritorialization from existing modelization. “Transversality still signifies militant, social, undisciplined creativity” (Félix Guattari), where art practices work as urban guerilla. [1]

Sinopale puts a finger on the painful points and dynamics in the post-industrial and neoliberal conditions of living in-between urbanized and rural environments in which the commercialization and permanence of the economic crises threaten the communities and challenge daily-life existence. Sinopale is a Biennial for all, with its broad and open stage for an aesthetics and politics of art that can empower the quality and quantity of life and bring new experiences in which the present memory and historical past interweave towards the future, with the social and cultural commitment and self-valorization.


[1] Hou Hanru emphasized at the beginning of the 10th International İstanbul Biennial manifesto that “We are living in a time of global wars,” and stated that “In such a debate, artistic actions, including the Biennial itself, can certainly find their roles in prompting cultural and social changes through innovative forces of intervention – a form of urban guerrilla.” 10th International İstanbul Biennial, Hou Hanru, “Not Only Possible, But Also Necessary: Optimism in the Age of Global War” (Istanbul: İstanbul Foundation for Culture and Arts, 2007).


Adrien Tirtiaux, The sinking of the Göke, 2008. Performance with cardboard-ship, Sinopale 2, Sinop, Turkey.




Organized by




Special thanks to






for their support!

> The full text about Sinopale at Corner College can be found here in PDF format.

Posted by Corner College Collective

2015 / 201502 / Material Experimentation Lab
Lab #1
Corner College Collective, Nicole De Brabandere
 




16:00-19:00h

For the first session the Corner College Collective and Nicole De Brabandere propose explorations of the Corner College’s material and spatio-temporal textures.

“We invite participants to activate the space of Corner College with us as an emergent technical and material ecology. We propose an engagement with the space that explores the multiple potential for qualities of relation and for relation of qualities. This will involve developing a sensitivity with the qualities of the space, which could include the hard concreteness of the floor or the large window vitrine that covers the entire length of one side. To treat the space simultaneously as a material and a relational practice, we propose the exploration of material qualities and textures in terms of how they afford and invite movements in the space. The available materials will include non-woven fabrics (including felt, Tyvek and paper); spreadable materials (such as graphite, charcoal, ink and chalk), liquids (water and ink) and movable projections of photographic footage from previous relational/material explorations. For example, the powdery qualities of charcoal invite different ways of spreading or fixing it with paper. The loose patterning of fibers that compose non-woven textiles invite different ways of opening up its' layers in new relational dynamics. The movable projections will activate the mediated qualities of archival footage as an immediate materiality of light, image and scale. Other processes could include spreading, covering, flowing, binding, blending and layering, among others, that explore both material, movement and spatial thresholds. The space will not be mute. Throughout the process of exploration we will both write and verbalize emergent thresholds as they are felt. This process of articulating while doing will help drive the continual evaluation of processes so that they can be individually or collectively reentered in a dynamic of mediated and immediated movements of thought and feeling. Put otherwise, by integrating conversation into the collective orientation of this phase, we aim to develop thought-traces, memory-artefacts, and lures for feeling.”
(Amélie Brisson-Darveau, Nicole De Brabandere and Christoph Brunner)

Posted by Corner College Collective

2015 / 201502 / Material Experimentation Lab
New Series: Material Experimentation Lab
Corner College Collective
 




This series of workshops with guest artists invites everyone who is interested in questions of materiality. We will open up a spontaneous material experimentation lab at Corner College dedicated to what things can do. The idea of the lab is a communal sharing of techniques, of experimenting and tinkering together. So, bring your stuff!

Dealing with materials affords not only a specific knowledge of properties but also concerns the process of thought. Instead of presuming that artists form docile matter, one might assume that the material’s active role in the process of formation. From here, we might also consider the process of formation as being shaped by its very situated emergence. The lab aims at constituting concrete situations of artistic experimentation following the materiality of materials seeking out their aesthetic qualities rather than their scientific properties. How can we engage in a process of “material thought” and how do such thinking activities impinge on artistic practice? Further we wonder, how we can extend our sense of collaboration and of collectivity towards the more-than-human dimensions of existence? What would be the political consequences of such an approach?

This format derives from the field of artistic research but refuses to speak of “new forms of knowledge” and instead amplifies any form of experimental practice as situated, fragmented, and materially active. Initiators of the Lab are Amélie Brisson-Darveau and Christoph Brunner of the Corner College Collective, artist Nicole De Brabandere, and designer and architect Verena Ziegler. The lab invites artists, designers, architects, philosophiers and activists experimenting with materials and material thought in their practice. We will engage in “hands on” material experimentations, seeking out their potential, their capacity to evoke surprising and unforeseen constellations and experiences. Form here the process might take us into the development of a lecture performance, an installation or exhibition, but also text production or a publication.

Posted by Corner College Collective

2015 / 201502 / Buchvernissage
Magazine Launch: Cows when reading JUNK JET produce more milk.
m-a-u-s-e-r (Mona Mahall and Asli Serbest)
 


Cows when reading JUNK JET produce more milk.


Junk Jet is an independent magazine founded in 2007 as a collaborative format, to discuss speculative works in art, architecture, and media. The presentation will be a trip through the world of Junk Jet, consisting of 6 issues, 222 contributors, 666 pages and 5 kilos. In this world (JUNK), the magazine becomes not only a container and archive, but at the same time a transporter (JET)*, a manifesto, architectural structure, performance, and even scientific research. Mona Mahall and Asli Serbest, the editors of Junk Jet, will talk about the history, development and future of Junk Jet.

http://junkjet.net

* Junk Jet has been at “Millennium Magazines”, MOMA: Museum of Modern Art, New York; Perloff Gallery, UCLA Architecture and Urban Design Los Angeles; “A Few Zines” Los Angeles Forum for Architecture and Urban Design Gallery; “Libros Mutantes”, Contemporary Art Center La Casa Encendida, Madrid; “Archizines”, Australian Centre for Design, Sydney; “Zine”, Kunsthalle Wien, Museumsquartier, Wien; Tokyo Art Book Fair; Osaka Art Book Fair; Shibaura House, Tokyo; Vancouver Art Gallery; HKW, Transmediale, Berlin; AA Architectural Association, London; New York Art Book Fair, etc.

Posted by Corner College Collective

2015 / 201502 / Écriture Collective - Reading Fiction and Its Theoretical Monster Prodigies
Italo Calvino, Invisible Cities
Corner College Collective
 

In this second session we will continue reading Italo Calvino's Invisible Cities, Chapter 2.

> Italo Calvino, Invisible Cities, Chapter 2

Posted by Corner College Collective

2015 / 201502 / Buchvernissage
Fight-Specific Isola book launch
Paolo Caffoni
 


Fight-Specific Isola


Fight-Specific Isola traces the long history of the Isola area of Milan and the organic, spontaneous progress of the Isola Art Center over the past 12 years. Featuring texts and many images, the book tells the story of an artistic and urban transformation, led by artists, who often had to invent tools and concepts along the way. This publication serves as an example of how to act on the ground in today’s urban condition. Different narratives of history, artistic intervention and action allow the reader to trace the complex idea of collectivity, solidarity and fight-specificity. Testing new terms such as dirty cube and dispersed centre this book shows a possible way to respond to the constant pressure of neoliberal development and gentrification.

Isola Art Center is an open, experimental platform for contemporary art based in Milan’s Isola neighborhood. It is powered by energy, enthusiasm and solidarity. Over the last decade Isola Art Center has confronted an urban situation marked by conflict and extensive transformations. Its projects continue to be ‘no-budget’, precarious, hyperlocal. Doing away with conventional hierarchical structures, Isola Art Center rhizomatically brings together Italian and international artists, critics and curators, artists’ collectives, activists, architects, researchers, students and neighborhood groups.

Archive Books
144 pages
21.5 × 28 cm
Format: Paperback
Pages: 432
ISBN: 9783943620016

Posted by Corner College Collective

2015 / 201502 / Sunday Brunch – Making Space for Kids and Animals
First Sunday Brunch
Corner College Collective, Maria Prieto
 


Myrtha with her puppies


English (Deutsch siehe unten):

As a first event of the series Sunday Brunch – Making Space for Kids and Animals we will start from the idea that the word text and textile are sharing the same origin.

Kids, parents, animals are invited to experiment with various low technological ways of weaving (with a hula hoop or straws or the Corner College space for example) including different materials. The event will be in collaboration with Maria Prieto, trained in biodynamic agriculture, and initiator of an interdisciplinary artistic community project in Chile.

Deutsch (English above):

Für die erste Veranstaltung der Serie Sunday Brunch – Making Space for Kids and Animals gehen wir aus vom Gedanken, dass die Wörter Text und Textil eine gemeinsame Herkunft haben.

Kinder, Eltern, Tiere sind eingeladen, mit unterschiedlichen low-tech Arten des Webens (mit einem Hula-Hoop-Reifen oder Trinkröhrchen oder dem Raum des Corner College zum Beispiel) mit unterschiedlichen Materialien zu experimentieren. Die Veranstaltung findet in Zusammenarbeit mit Maria Prieto statt, die in biodynamischer Landwirtschaft ausgebildet ist und ein interdisziplinäres künstlerisches Gemeinschaftsprojekt in Chile initiiert hat.

Posted by Corner College Collective

2015 / 201501 / Écriture Collective - Reading Fiction and Its Theoretical Monster Prodigies
Italo Calvino, Invisible Cities
Corner College Collective
 


Italo Calvino, Invisible Cities (cover)


For the first session of Écriture Collective – Fabulous Fiction we propose to read excerpts of Italo Calvino's Invisible Cities, pp. 5-23.

> Italo Calvino, Invisible Cities, pp. 5-23

Posted by Corner College Collective

2015 / 201501 / Écriture Collective - Reading Fiction and Its Theoretical Monster Prodigies
New Series: Écriture Collective – Reading Fiction and Its Theoretical Monster Prodigies
Corner College Collective
 




The art of reading fiction is probably one of the most understated intellectual practices of our time – a practice that requires creative artistic passion and invention to re-activate and re-animate the written text through reading. Fiction, it seems, is the secret undercurrent of our desire for other moods and encounters with characters, for a peculiar garden of many times to blossom for a prolonged moment of timelessness in the midst of our everyday. We enter fiction on the train, in the transitions between spaces, when the kids are in bed. We live its intensities, cry with its protagonists, anticipate futures through its signs, and become someone else through fiction.

Writing has always been a collective process, while reading is often a lonely endeavor. For Reading Fiction and Its Theoretical Monster Prodigies we want to begin reading fiction together, discussing it and working with it, a process that occurs in the circulation between the two poles of writing and reading, with its infinity of loops and ripples and leaps in which writing becomes reading, and reading becomes writing. Fiction, we suggest, plunges us into the virtual that constitutes a vital part of our reality. We want to explore fiction’s multiple temporalities while reading, thinking, talking and writing collectively, drawing lines from the power of fiction to our own creative practices. From reading, we might start drawing, scribbling, doodling, writing, typing, reading aloud to one another, co-writing, or (why not?) singing each other’s re-collection of words and their lines and figures. The possibilities are plentiful.

Reading Fiction and Its Theoretical Monster Prodigies arises from an urgency to activate forms of écriture collective, of a new wave of creative encounters with language that becomes the other of itself, a stranger to itself, capable of re-animating the power of fiction to shape the real.

The format is open to your active involvement, aiming at collaborations in and through fiction. Everyone is welcome to add new material and suggest practical experiments. Periodically, we will look back and think of ways to share our investigations with a public.

Posted by Corner College Collective

2015 / 201502 / Sunday Brunch – Making Space for Kids and Animals
New Series: Sunday Brunch – Making Space for Kids and Animals
Corner College Collective
 


Petiri, Pembeele, Pili and Tzippi (from left to right), Inherent Crossing, Research Project since 2013 at Walterzoo Gossau


English (Deutsch siehe unten):

Making Space is a practice not only of hospitality, but also of communality and living together with care. A Sunday brunch for kids and animals together with their parents and caregivers, as well as artists without kids or pets who are interested in the approach or work with children, and all who happen to be hanging out in Zurich on a Sunday morning and would like to brunch with colleagues and are unafraid of the noisy ambience.

The idea is as simple as that: Artists with kids are a generally precarious group in the art scene both as participants in ongoing discourses and due to a lack of time dedicated to their own production. Most of us living with kids feel that there is little opportunity for casual gathering, making space for all kids, animals and their grown-up friends on equal terms.

Corner College invites all of you who will feel comfortable and are interested in taking part in a mixed group in which special attention will be paid to the needs and demands of kids, their self-expression through play or other inspirations to their creativity, to come and gather around a cup of coffee or hot chocolate, some fruit and croissants. We will offer small activities like play that can turn to bookmaking, screenings, crafting with or just touching and tasting materials (sometimes with guests), or performances. We hope that you may contribute to a self-organized making of this space by your presence, your ideas and your involvement.

We are in the process of building a small library that will be available in the space, along with our art journal and editions stand with delicacies from around the globe.

Come and play with us!

Deutsch (English above):

Making Space (Raum schaffen) ist eine Praxis nicht nur der Gastfreundschaft, sondern auch der Gemeinschaftlichkeit und des sorgsamen Zusammenlebens. Ein Sonntagsbrunch für Kinder und Tiere zusammen mit ihren Eltern und Betreuer_innen, sowie Künstler_innen ohne Kinder und Tiere, denen die Vorgehensweise oder die Arbeit mit Kindern interessant scheint. Alle jene, die an einem Sonntagmorgen in Zürich rumhängen und gern mit Kolleg_innen brunchen und das laute Ambiente zu schätzen wissen.

Der Gedanke ist sehr einfach: Künstler_innen mit Kindern sind in der Kunstszene, sowohl als Teilnehmer_innen in zeitgenössischen Diskursen als auch in ihrer Produktion, da sie kaum Zeit finden, allgemein eine prekäre Gruppe. Die meisten von uns, die wir mit Kindern zusammen leben, spüren, dass es kaum Gelegenheiten gibt, sich zwangslos zu treffen, Raum für die Kinder, Tiere und ihre erwachsenen Freund_innen zu beanspruchen.

Corner College lädt alle ein, die sich dabei wohlfühlen und interessiert sind daran, an einer gemischten Gruppe teilzunehmen, in der besonders auf die Bedürfnisse und Wünsche der Kinder, ihren Selbstausdruck im Spiel oder andere Inspirationen ihrer Kreativität geachtet wird, zu kommen und sich um eine Tasse Kaffee oder heisse Schokolade, Früchte und Gipfeli zu versammeln. Wir bieten kleine Beschäftigungen an wie Spiele, die zum Buchmachen, zu Filmvorführungen, Basteln oder auch nur Berühren oder Schmecken von Materialien werden können (manchmal mit Gästen), oder auch zu Performances. Wir hoffen, dass Ihr mit Eurer Anwesenheit, Eure Ideen und Euren Einsatz zum selbstorganisierten Schaffen dieses Raums beitragen mögt.

Wir sind daran, eine kleine Bibliothek aufzubauen, die im Raum verfügbar sein wird, zusammen mit unserem Stand mit Kunstzeitschriften und Editionen mit Delikatessen aus der ganzen Welt.

Kommt und spielt mit uns!

Posted by Corner College Collective

2015 / 201501 / Konzert
Concert: Alberto Boccardi, Fingers
Alberto Boccardi, Sébastien Peter
 

Corner College in collaboration with Sonnenstube present:


Alberto Boccardi, Fingers


Alberto Boccardi’s minimalist orchestral piece, Fingers, is an electro-acoustic journey that has been innerved by the contribution of multiple instrumentalists. The result is a contrast between repetitive elements and hypnotic loops with electronic and acoustic layers surfacing before disappearing into the variable and floating element known as time.

The material has been recorded between Kazakhstan, Italy and Iceland, over a period of 8 months: from the field recording materials of the Kazakh winter to the feeble piano notes of the Greenhouse studio in Reykjavik.

Fingers is released via Important Records’ Cassauna series (tape) and Monotype/Catsun (CD).

vimeo.com/100997863 || vimeo.com/100997864

The event is curated by Sébastien Peter of Sonnenstube.

Posted by Corner College Collective

2015 / 201501 / Home of the Brave: Archeology of the Moving Image
Uncanny Likeness
Zilla Leutenegger
 




Deutsch (English below):

Die wiederkehrende Koexistenz von Videoinstallation, Skulptur und Zeichnung in Zilla Leuteneggers Arbeiten steht auch in der Performance mit dem Titel „Uncanny Likeness“ im Fokus. Es werden zwei essentielle Themen in Zilla Leuteneggers Arbeiten auftauchen: Einerseits die Kombination von Farben und Formen und andererseits der “bewegte Strich im Raum”.

Anders als in den räumlichen Installationen wird hier eine Momentaufnahme stattfinden, die nach der Performance wieder verschwindet. Mit „Uncanny Likeness“, also mit einer frappierenden Ähnlichkeit, soll dieser Versuch, eine Ballerina zu imitieren, ein Rennrad zu fahren oder Gewicht zu stemmen, von ihr mit einer gefühlten Leichtigkeit in bewegte Bildinstallationen in Einklang gebracht werden. Es sind Momentaufnahmen unaufgeregter Alltagssituationen.




English (Deutsch siehe oben):

The recurring coexistence of video installation, sculpture and drawing in Zilla Leutenegger’s works is once again the focus of her performance under the title “Uncanny Likeness”. Two of the essential themes of her work will make their appearance: On the one hand, the combination of colors and forms, and on the other the “moving line in the space”.

Unlike in spatial installations there will now be a snapshot that disappears after the performance. With “Uncanny Likeness” she shall try to reconcile her attempt to imitate a ballerina, to ride a race bicycle or to lift weights, with perceived ease, into moving image installations. These are snapshots of unexciting everyday situations.



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201501 / Home of the Brave: Archeology of the Moving Image
Power relationship in moving images production
Cicero Egli
 

English (Deutsch siehe unten):

Workshop at 17:00h, ending with an apéro and soup at 20:00h

Let’s start with a critical statement : The act of filming induces a power relationship. Some of post ’68 french moviemakers, as Jean-Louis Comolli, see the moving image production as «pensées en acte» (thoughts as act). They question the distinction of fiction and documentary as well as the place of the spectator.

During this workshop, we will produce a diagram based on a selection of my videos and films. My proposal is to start out with the notions social realities, narrative operations and the place of the spectator, and to discuss some new approaches.

Cicero Egli, December 2014


Photo: J.J. Weibel


Deutsch (English above):

Workshop um 17:00h, mit anschliessendem Apéro und Suppe um 20:00h

Lasst mich mit einer kritischen Aussage beginnen: Der Akt des Filmens bewirkt eine Machtbeziehung. Einige der französischen Post-1968-Filmer, wie Jean-Louis Comolli, betrachten die Produktion von bewegten Bildern als «pensées en acte» (Gedanken als Akt). Sie hinterfragen die Unterscheidung zwischen Fiktion und Dokumentarischem sowie die Stellung der Zuschauer_in.

Im Verlauf des Workshops werden wir aufgrund einer Auswahl meiner Videos und Filmen ein Diagramm produzieren. Mein Vorschlag ist es, von den Konzepten der sozialen Wirklichkeiten, erzählerischen Operationen und der Stellung der Zuschauer_in zu auszugehen und einige neue Vorgehensweisen anzudenken.

Cicero Egli, Dezember 2014



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201501 / Home of the Brave: Archeology of the Moving Image
"Video war damals wie heute künstlerisch nicht festgeschrieben. Das schafft Raum."
Muda Mathis & Sus Zwick
 

Deutsch (English below):

Das Medium Video (und Audio) war das ideale Medium für die feministische Künstlerin der 80iger Jahre. Video war damals wie heute künstlerisch nicht festgeschrieben. Das schafft Raum. Es gab schon damals, als wir anfingen, tolle Vorreiterinnen wie Ulrike Rosenbach, Joan Jonas, Valie Export u.a. auf die wir uns beziehen konnten. Video ist ein „praktisches“ Ding, es ist kompakt, leuchtend und klein und schliesst soviel ein: Bild, Bewegung, Zeitlichkeit, Rhythmus, Abstraktion, Figur, Erzählung, Farbe, Sprache, Musik, Dokument und Fiktion. Video wie Musik impliziert Teamarbeit, das hilft gegen künstlerische Einsamkeit. Das ist schön.




English (Deutsch siehe oben):

The medium of video (and audio) was the ideal medium for the feminist artists of the 1980s. Video was then not artistically determined, and still isn’t. This makes space. Even then, as we started, there were amazing pioneers like Ulrike Rosenbach, Joan Jonas, Valie Export and others, to which we could refer. Video is a “practical” thing; it is compact, bright and small and includes so much: image, movement, temporality, rhythm, abstraction, figure, narration, color, language, music, document and fiction. Video, like music, implies teamwork; this helps against artistic loneliness. This is beautiful.



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201501 / Home of the Brave: Archeology of the Moving Image
The Interview as Artistic Practice.
You want to teach me what migration in Switzerland is all about?

Ingrid Wildi Merino
 


Ingrid Wildi-Merino


Deutsch (English below):

Die chilenisch-schweizerische Künstlerin Ingrid Wildi Merino wurde 1963 in Santiago de Chile geboren und musste wegen der Diktatur mit ihrer Familie 1981 ins politische Exil in die Schweiz emigrieren. Sie verwendet Interviews und Installationen, um einen Bereich der Reflektion herzustellen im Hinblick auf Migration, Deterritorialisierung und den daraus resultierenden Status des Deplaziert-Seins. Ihre Arbeit hinterfragt die Globalisierung, was sie dazu führt, sich mit Migration zu beschäftigen sowie mit anderen Fragestellungen wie soziale, kulturelle und politische Differenzen in Bezug auf die Ökonomie und die globale Entwicklungspolitik, die der Migration entspringen.

Die europäischen Gesellschaften durchlaufen derzeit einen komplexen Prozess der Wiederanpassung der Strukturen und Mechanismen, die seit dem 18. Jahrhundert die Diskurse der Moderne gestützt haben (Kant, Rousseau, Hegel). Dieser Prozess beruht teils auf dem Zusammenbruch der modernen Meta-Geschichten, unter ihnen das sogenannte Ende der Utopien und das Ende der Geschichte. Gleichzeitig haben Mikronarrative zu Migration neue Möglichkeiten aufgezeigt, das Zusammentreffen von kulturellen Räumen, von Menschen und Politiken zu verstehen. Seit den 1960er Jahre gab es eine Massenmigration von Lateinamerikaner_innen, um der komplexen politischen Situation zu entrinnen und bessere wirtschaftliche Bedingungen zu suchen – Beweggründe, die nicht gänzlich voneinander zu trennen sind. Insbesondere in Europa hat dieses Phänomen die Landkarten der Identität in Aufnahmeländern verändert, auch wenn diese Landkarten oft als eine Art Negativität im kollektiven Unterbewussten versteckt bleiben. Desgleichen sind die Gemeinschaft, die sozialen Bindungen und die nationale Identität der Migrant_innen in den neuen veränderten Räumen in stetem Wandel begriffen, verklingen und werden neu strukturiert.

In Ingrid Wildi Merinos Arbeiten geht es um vertriebene Menschen, deren Reisen und Dislozierung in bestimmten europäischen Gesellschaften. Sie produziert Landkarten von Outsidern, die sich nicht integrieren, sondern vielmehr ihrer Distanz und der Schichten, die in einem bestimmten Gesellschaftsgefüge bestehen, gewahr werden. Ihre Arbeit ist besonders relevant in einem europäischen Kontext, da sie über eine Figur nachdenkt, die unsichtbar gemacht oder in subjektive Wahrnehmungen gehüllt wurde. Sie zeigt Geschichten und Erfahrungen von Migrant_innen, die Bedeutung, die sie ihrer Vertreibung, ihren Gegenständen, ihrer Poesie und ihrer mündlichen Überlieferung beimessen.

Die Künstlerin beschreibt ihre Arbeit als Video-Essays, die eine Landkarte und einen kritischen Raum für Reflektion herstellen, in ausreichender Abgrenzung zum Dokumentarischen. Indem sie Interviews in nicht-journalistischer Weise verwendet, als künstlerische Praxis, die Fragmente kombiniert und anordnet, um eine neue Form der Narration zu produzieren, versucht sie, eine andere Lesart und eine unterschiedliche analytische Sichtweise auf die Auflösung sozialer und kultureller Bindungen aufzuzeigen. Ihr künstlerischer Diskurs situiert sich daher inmitten vermischter, migrantischer Identitäten im steten Wandel. Die Künstlerin produziert Installationen mittels unterschiedlicher Medien, Texten, Video-Essays und Photographie.

English (Deutsch siehe oben):

Chilean-Swiss artist Ingrid Wildi Merino was born in Santiago de Chile in 1963 and had to emigrate to Switzerland with her family in 1981 into political exile from the dictatorship. She uses interviews and installations to create an area of reflection, focusing on migration, deterritorialisation and the resulting out-of-place status. Her work questions globalisation, leading her to look at migration and other issues including social, cultural and political differences related to the economy and global development policy resulting from migration.

European societies are currently going through a complex process of re-adapting the structures and mechanisms that have supported discourses on modernity dating from the 18th century (Kant, Rousseau, Hegel). This process is partly due to the collapse of modern meta-stories, including the so-called end of utopias and the end of history. At the same time, migration micro-narratives have established new ways of understanding the meeting of cultural spaces, people and policies. There has been mass migration of Latin Americans since the 1960s, to escape complex political situations and to search for better economic conditions – reasons that are not entirely separate. In Europe in particular, this phenomenon has changed identity maps in host countries, however these maps often remain hidden in the collective subconscious as a form of negativity. Likewise the community, social bonds and national identity of the migrant become diluted and restructured in a fluid way in the new altered spaces.

Ingrid Wildi Merino’s work deals with displaced people, their journeys and their dislocated condition in certain European societies. She creates maps of outsiders who do not integrate, but rather realise their distance and the layers that exist in the fabric of a particular society. This work is particularly relevant in a European context, as it reflects on a figure that has been made invisible or covered in subjective perceptions. It shows migrants’ stories and experiences, the significance that they themselves attach to their displacement, their objects, their poetry and their oral history (Francisco Godoy).

The artist describes her work as video essays, which create a map and a critical space for reflection, sufficiently removed from documentaries. She attempts to establish a different way of reading and a different analytical view of the dissolution of social and cultural bonds by using interviews in a non-journalistic way, as an artistic practice, combining and arranging fragments to create a new form of narration. Her artistic discourse, therefore, situates itself among mixed, migrant and fluid identities. The artist produces installations using various media, texts, video essays and photographs.

Screening of Los Invisibles by Ingrid Wildi Merino


Ingrid Wildi Merino, Los Invisibles, 2007


Five Colombian immigrants living clandestinely in Switzerland for many years evoke their situation, their suffering, their fears and the reasons that led them to leave their country. By discontinuous montage and the fragmentation of her interlocutors’ accounts, artist Ingrid Wildi builds up an arborescent address about the inherent problems around the status of clandestinity – identity conflict, issues of cultural and linguistic bond, difficulties with social integration.
In order to preserve their anonymity, only body fragments – torso and arms – of the interviewed persons are shown on screen, a device calling to mind simultaneously the missing part of the filmed subjects and their situation of “invisibility”.

Ingrid Wildi’s video essay paradoxically shows us the unseen, by putting into the spotlight a few of the many “invisible” co-citizens who surround us. Through her interviews, we are not only given the opportunity to see them, but also, and especially, to listen to them. While the facelessness of these clandestine witnesses underscores the difficulty of granting them a social identity, this same facelessness gives their migrant bodies a voice they are usually deprived of.
These voices refer to the very specific and current context of illegal Colombian workers in Switzerland. But this example is emblematic of a situation shared today by many other displaced persons, since, in our globalized world, the invisibility, intrinsic to the ineffable status of illegal workers, has become one of the most widespread side effects of economic growth.

Beyond the social distress they evoke, these testimonies weave also a polyphonic tale of the painful memory of exile. These invisible people, both actors and victims of the economic flows supposed to guarantee a common welfare, tell us here a story about the pursuit of happiness quite different from the one we tend to fantasize about, or the one we are told by those governing us.

Pedro Jiménez Morrás
September 2007



Home of the Brave:
Archeology of the
Moving Image

Posted by Corner College Collective

2015 / 201501 / Home of the Brave: Archeology of the Moving Image
New Series: Home of the Brave: Archeology of the Moving Image
Corner College Collective
 




Home of the Brave – Archaeology of the Moving Image

“The function of the image, as Gogol said, is to express life itself, not ideas or arguments about life. It does not signify life or symbolize it, but embodies it, expressing its uniqueness.”
Andrey Tarkovsky, Sculpting in Time

Under the roof of the title Home of the Brave, Corner College evolves a series of rather heterogeneous events with lectures, talks, screenings, workshops, performative relations and experiments that de-automate our “experiences of vision” (Vertov), in a multivalent engagement with the aesthetics and politics of the moving image and its creative, analytical, critical and feminist power, rather than to represent certain concepts of trends or schools.

We, borrowing this “WE” from “WE: Variant of a Manifesto’’ by Dziga Vertov, which is actually a collective persona of three: a director, a camera operator, and an editor, we, “a collectivity” of themes, problems and questions, we, with the magnitude and collectivity of the event, “on the wing of hypothesis” and analysis, we contemplate the moving image as a collection and composition of relations of movement and rest, we go with the rhythm of its movements to experience the moment of the direct image and concrete time: “Drawings in motion; Blueprints in motion; Plans for the future;” and beyond.

The main title of this series is appropriated from Laurie Anderson’s 1986 concert film or multimedia ‘talking opera,’ in which one can encounter a hallucinatory world of bizarre magnitudes of composed sequences or lengths, mobilizing all quantity and intensities of disconnected virtual raining drops that come down and go underground and then come back, as they are composing quantities. These dots of ungrounded or groundless smaller and larger pieces are the virtual impregnation of the real with thousands of specters.

See the complete text by Dimitrina Sevova announcing the series: PDF (145 KB).

Posted by Corner College Collective

/ / /
Wishing you a good start into 2015!
Corner College Collective
 




The new Corner College Collective wishes you a good start into the new year!

Information about the program for January will be posted here soon.

The Corner College Collective (Alan Roth, Amélie Brisson-Darveau, Benjamin Egger, Christoph Brunner, Esther Kempf and Dimitrina Sevova)

Posted by Corner College Collective

Dance/Music
CIAO CIAO - COU COU
- - -
 


...


Come and say CIAO CIAO to the old Corner College Team. Come and say COU COU to the new Corner College Team.

We start at 6pm with drinks and snacks, talks and fun. On turntables you will find DJs Grauton, Margit de Sade, Maria Guggenbichler & DJ Mosh.

We would be delighted to see you for the last - or the first time!


...


Some impressions from the party and from San Keller's handing over the keys performance:


DJanes Maria Guggenbichler and Margit de Sade






San Keller, Handing Over the Keys

Posted by Corner College Collective

Diskussion / Performance
GLAM
RJS Rroma Jam Session art kollektiv
 


what is the color of your car? - sevi farba si tu vurdon? Foto: Urs Schmid


"Was haben die Verdammten dieser Erde im Diskursraum der Kunst verloren - eine Revolte gegen die Autorität der westlichen Kunstauffassung?"

Das Rroma Jam Session art kollektiv ist ein Künstlerkollektiv aus Zürich, das sich performativ, politisch und vermittelnd mit Themen der Migration und ethnischer Zugehörigkeiten auseinandersetzt. In ihren Auftritten hinterfragen RJS gesellschaftlich und medial konstituierte Stereotypen und fordern Rechte für ethnische Gruppen, insbesondere von Roma und Sinti.

Im Corner College plant RJS eine kurze Intervention die in eine Diskussion mit verschiedenen Gästen und dem Publikum überführt. Einige Fragen stehen dabei im Vordergrund. Zum Beispiel, wie geht die westliche (Kunst-)-Geschichtsschreibung mit Anliegen bestimmter Gruppen, die aufgrund verändernder globalpolitischer und territorialer Strukturen zur Migration gezwungen sind? Weshalb mutiert eine unbekannte Kultur zu einer fremden? Zeigt sich gerade an ethnischen Gruppen, die ihre Lebens- und Kulturansprüche nicht auf nationalstaatliche Territorien begrenzen, Defizite institutioneller Geschichtsschreibung? Führen die zurzeit hoch im Kurs stehenden nationalen Kulturhegemonien, die institutionell gefördert werden, in eine Sackgasse? Kurzum: Welche Bilder von Kultur und welche Arten von gesellschaftspolitischen Entwürfen können mit Arbeiten wie diejenigen des RJS dechiffriert werden? Was allenfalls kann eine sesshafte Kultur und Nationalstaaten von solchen deterritorialen Kulturen lernen?

Es diskutieren:

- Angela Mattli, Gesellschaft für bedrohte Völker, Bern;
- Katharina Morawek, künstlerische Leitung, Shedhalle, Zürich;
- Heinz Nigg, Ethnologe, arbeitet an der Dokumentation der Zürcher Stadtentwicklung und ihren Widerständen seit den 1970ern, Zürich
- RJS art kollektiv (Mo Diener, Medien- und Performancekunst, Zürich; RR Marki, Grafics, Schweiz/Mazedonien; Milena Petrovic, Schauspielerin, Schweiz/Serbien)

---

"So silen nashavdo ko Arti akale Phuvjakere Manushen - shai amen te kera Revolt kontra West conceptia andar fine Art autoriteta?"

RJSAK Rroma Jam Session Art Kollektiv si kerdo Artistendar kola performativ politikane kerena intervencia ki Tema Migracia taj Etnikani Identifikacia.Ko Performance keren puchiba RJSAK ko manushipaskere Medial konstruime Stereotipia taj roden Hako ki Etnikani Identifikacia, majbut ko Roma vi Sinti.

Ando Corner College Zirich planirinen intervencia koja so djal ki Diskusia e Publikaja. Historikano xramiba ko globalpolitikane teritoriakere strukture ki Grupe Manusha bichalde ki Migracia, bi teritoriakere nacionaldizjakere interesea!

So shaj asavke deteritorialna Kulturakere Manushendar o beshutne Kulturakere Manusha te sikloven ?

Diskutirinena:

- Angela Mattli, Roma Proektangluni GfbV Bern
- Katharina Morawek, Art Direktor Shedhalle Zirich
- Heinz Nigg, Etnologo Zirich
- RJS Art Kollektiv (Mo Diener, Media Performance Art Zirich - RR Marki, Grafika Shvajcaria/Macedonia - Milena Petrovic, Akterka Shvajcaria/Srbia)

--

“what kind of discourse are the damned of the earth claiming in the fine arts arena? - do we have to deal with their revolt against our western concept of fine arts authority?”

The art collective Rroma Jam Session, out of Zurich, is a performative group dealing with issues of migration and ethnic affiliations based on their research into historical and contemporary (art) history writing. They work with artistic, political and educational platforms. RJS performances question constituted stereotypes in social structures and the media of western societies, and demand rights for ethnic groups, particularly Roma and Sinti.

In Corner College, RJS has planned a short intervention, followed by discussions with guests and the public. Questions such as: How do we relate to western (art-) history writing within the background of
a changed political and territorial global structure, including forced migration? Why do unknown cultures become the other?If we look closer at the issue of ethnic culture and history, and their open claims - not limiting their discourse on territorial and nation building - could we recognize a deficit in institutional history writing? Do cultural hegemonial practices lead to a dead end? In short: what kind of culture pictures and social political sketches could be decrypted with the works of RJS? And last but not least what could a sedentary culture with the concept of nation states learn from the recognition of deterritorial cultures?

Discussion round with:

- Angela Mattli, Society for Threatened People, Bern
- Katharina Morawek, Artistic Director, Shedhalle, Zürich;
- Heinz Nigg, Ethnologist, documenting developpment of Zurich and its resistances and oppositions since 1970, Zürich
- RJS art kollektiv (Mo Diener, media and performance art, Zurich; RR Marki, Grafics, Zurich / Macedonia; Milena Petrovic, actress, Zurich / Serbia)

Posted by Stefan Wagner

Exkursion / Performance / Recherche
Egyptian Secrets, or Pawel investigates the after life of James Lee Byars
Pawel Kruk
 

During his two week stay in Cairo, Pawel Kruk restages The Ghost of James Lee Byars, the artist’s seminal 1969 work: a completely lightless environment. First installed in Düsseldorf, it consists of an empty, pitch-black room. The work has since been recreated in several group exhibitions, each providing the darkness with a different reading based on the context in which it’s displayed. For his project, Kruk presents The Ghost of James Lee Byars in a hotel room at the Mena House Hotel (1) where the artist died in 1997.



In his project, Pawel Kruk intends to explore the tension between what we know and what we do not know; between the visible and invisible knowledge. He’s interested in the mechanisms that created the myth of James Lee Byars as well as in the aftermath of his death. Approaching Cairo as if it was Byars’ crypt, he aims at locating and interviewing people the late American artist met or worked with while living in Cairo before his death. He also hopes to create a temporary archive assembled of objects and memories that indicate Byars' presence in Cairo. The results of his research, some physical and some ephemeral, in its work-in-progress stage, will be presented during a performance hosted by Beirut (2) in Cairo. By restaging The Ghost of James Lee Byars and by presenting the results of his research, Kruk hopes to give the local audience and himself some context of what remains of Byars in Cairo. From 29th to 30iest November Pawel will do a Performance in Cairo. Get more information here.

1. Mena House is one of the most unique hotels in Cairo, a place with a rich and colorful history. Surrounded by 40 acres of lush green gardens, the hotel is located in the shadow of the Great Pyramids of Giza in Cairo. Mena House played host to kings and emperors, Heads of State and celebrities. For Pawel, Mena House is mainly a place where James Lee Byars died of cancer in 1997.

2. Beirut is a new initiative and space for art in Cairo, founded in May 2012 by Sarah Rifky and Jens Maier-Rothe. Beirut’s activities are centered around hosting artists, artworks, research projects and other institutions (locally, regionally, internationally) that wish to engage with similar questions we share concerning politics, economy, education, ecology and the arts.

Posted by Stefan Wagner

Konzert
A Concert With or Without You
Fabian Gisler, Michael Jaeger, San Keller
 


...

Posted by Stefan Wagner

Performance
SEMIOSPACE
A performance-conference to carry out conceptual research while exploring Raphaële Bidault-Waddington's work with Sylvain Menétrey

Raphaële Bidault-Waddington, Sylvain Menétrey
 

Ever since 2000, French artist Raphaële Bidault-Waddington has been developing a complex and diversified process that spans immaterial formats of conceptual art to manual and sensual works. The artist emphatically endorses this diversity which she stages using a pseudonymous strategy. Rather than adopting conventional aliases, Bidault-Waddington describes her pseudonyms as art-based research laboratory stemming from acronyms and logos which she draws from corporate aesthetics and language.


...


Hence LIID ® (Laboratoire d’Ingénierie d’Idées – www.liid.fr) is the laboratory for engineering ideas wherein Bidault-Waddington develops her conceptual research projects – creating diagrams, exploring the notion of aesthetic intelligence as well as pursuing both conceptual and collaborative research on the aesthetic dimensions found in organizations. PIIMS ® (la Petite Industrie de l'Image Sensorielle) meaning the Small Industry of Sensory Image, is the vehicle she uses to focus on urban design as well as information architecture through photographic sampling and composition whereas her laboratory for creating or experimenting with textiles is known as la Raffinerie Poétique ®, meaning the Poetic Refinery.
Parallels can be drawn between the structure of these art laboratories and corporate R&D departments or branches of academic institutions involved in research and innovation. The laboratories revolve around the figure of the artist herself, multifaceted and empowered by the freedom to activate any or all of them depending on her needs, projects or desires. Far from adopting the form of insular entities, interaction between the three laboratories along with various external organizations (cities, universities, companies, etc.) leads them to influence and inspire each other. Bidault-Waddington has thus created an original artistic ecology and economy that reflects her interest in system analysis, cartography, model-making, fictionalization and future planning - be it on a local, urban or global scale.
Semiospace, a neologism that can be freely defined as the combination of mental and material space, is a fitting term to evoke Bidault-Waddington's expanded and multidimensional work in a cross-sectional manner. The artist often operates as a quasi-scientist by delineating an area of research and extracting data, signs and information. Artistic activity therefore functions as would a refinery - to coin the artist's own term – that transforms the various elements into imaginary landscapes. Thought is converted from a solid to a gaseous state, giving it free rein to form associations and amalgams at will, combining accuracy as well as mental plasticity while delighting in abstraction and speculation.

Led by author and curator Sylvain Menétrey, the Corner College conference serves to apply this sublimation process to exploring Bidault-Waddington's various semiospace prototypes while simultaneously experimenting with collective (audience participation inclusive) design and performance enacting this essential concept.

Posted by Stefan Wagner

Performance
Glorious Suffering to Instant Healing. Inszenierung
Blond & Gilles, Gian-Andri Toendury
 


...


Art as Therapy. Das Hyperactivity Revival Therapy Center HRTC kuriert Symptome wie Chaos, Übermut, Manie, Überreizung und Realitätsverlust und versucht mittels neu entwickelten Therapien kognitive Dissonanzen ins Gleichgewicht zu bringen. Das HRTC umfasst verschiedene neuentwickelte Therapie-Angebote, benötigt keine Vorkenntnisse und lebt von Partizipation. Blond & Gilles untersucht äussere und innere gesellschaftliche Dissonanzen und stellt sie in einen erfahrbaren Diskurs. Bis heute hat HRTC folgende Therapien im Angebot: Acedia Concept (Collective Rorschach-Test), 700 Philosophy Questions, Oracle Movement Cards, Karma Self Therapy, Distance Treatment, Wellness Spa und Posing Act I.


HRTC, Distance Treatment, Brüssel, 2014


Im Corner College realisiert das HRTC- Therapie Center einen Heilkreis. Mit Instant Healing, einer neuen Therapie, wird versucht das Heilversprechen unserer Zeit neu zu formulieren. Der Kreide- Heilkreis wurde auf der Strasse entdeckt, vom HRTC Therapy Center aufgenommen und im Corner College Zürich neu inszeniert. Die Farben Rot, Grün, Blau und Gelb verweisen auf das kreisförmige Labyrinth in Chartres (F), das die Besuchenden durchschreiten, wenn sie die Kathedrale betreten. Rot symbolisiert den Eingang, grün die Umwandlung in die Tiefe, blaue Farbe für das Ego und die Meditation und die gelbe Farbe für die Umkehrung. Der Kreis ist für jedermann zugänglich und ist selbstheilend. In der Natur haben wir es meistens mit kreiskausalen Prozessen zu tun, mit Ursachen, die nicht nur eine Folge haben, sondern zirkelförmige Wirkungen entfalten. Ein funktionierendes System zeichnet sich dadurch aus, dass zwischen allen Teilen des Systems fragile Wechselbeziehungen bestehen. Das bedeutet, dass eindimensionale Logik der Ziele und Zwecke durch eine sensiblere Logik der Beziehungen ersetzt werden müssen. Der Kreis mit den vier Farben ist Sinnbild für diesen Prozess der Ganzheitlichkeit.


Philip Ortelli, Posing Act I Makel und Tics by Blond& Gilles, Biennale Bern 2014, Foto Gian- Andri Toendury


Angereichert wird die HRTC-Session mit einer HRTC-Ausgabe, die in Zusammenarbeit mit dem Berner Fotografen Gian-Andri Toendury an der Biennale Bern entstand. Das Publikum kann sich mit den eigenen „Macken“ und Tics posierend, im Gespräch mit den Therapeuten ablichten lassen.

Die HRTC-Session im Corner College findet von 19 bis 21 Uhr statt.

Posted by Stefan Wagner

Präsentation
beginchar, endchar, bye.
Parametric type design, METAFONT and Metaflop

Marco Müller, Alexis Reigel, Linus Romer
 

Seit über 45 Jahren zeichnnet man digitale Schriften mit Outlines. Diese als Standard geltende Technologie ermöglicht eine von Endgrösse und der Auflösung unabhängige Darstellung von Schriftzeichen. Obwohl Outlinefonts ausgereift sind und gute Resultate für Web und Druck liefern, sind sie von Natur aus unflexibel. In den 90er Jahren war die Suche nach Nachfolgetechnologien von Outlinefonts ein viel diskutiertes Thema in der Forschung und der Schriftgestaltung. Leider gelang es aber keiner der neu entwickelten Methoden wie Multiple Master oder parametrische Schriften, die Outlinefont-Technologie in der Praxis abzulösen. Seither ist das Interesse von Akademikern und Designern an Type Design Software rapide gesunken und erst seit Kurzem wieder erwacht.

Wir geben eine Einführung in die Font-Programmiersprache namens METAFONT, welche vom Mathematiker Donald E. Knuth in den späten 70er Jahren entwickelt worden ist. Sie wird heute noch häufig in naturwissenschaftlichen Artikeln und Formelsätzen in Kombination mit dem Schriftsatzsystem TEX verwendet. In METAFONT können Schriftzeichen mit geometrischen Gleichungen beschrieben und deren Parameter stetig verändert werden.

Abschliessend präsentieren wir Metaflop, eine Webapplikation für die Modulation von METAFONTs und den Export in verschiedene Fontformate, inklusive OTFs und Webfonts.


...


The outline font technology has for over 45 years been established as the standard way to design typefaces, allowing characters to be represented independently of print size and resolution. Although outline fonts are mature and produce results of sufficient quality for professional online and printing needs, they are by their nature inflexible. In the 1990s, the topic of finding a successor to outline fonts was a hot topic of research and type related discussions. Unfortunately, none of the methods, such as Multiple Master or parametric fonts, were successful in replacing outline font technology and its field of use. Since then researchers and designers have rapidly lost interest in type design software, that only recently regains consciousness.

We revisit a parametric font format developed in the late 70s by Donald E. Knuth, which is still in use today and is called METAFONT. It is nowadays mostly used in combination with the typesetting system TEX. Characters in METAFONT can be built up using pen strokes defined by geometric equations, enabling several parameters to be varied continuously.

To conclude, we provide a discussion on parametric type design in the light of today’s web-centric technologies and present the open source web application Metaflop that is enabling users to modify METAFONT parameters and export the results to current type formats on the fly.

Posted by Stefan Wagner

Konzert
SPACE RISOTTO

- - -
 


...


Mackie ProFx12, Motu Ultralite MK3 Hybrid, Elektron Machinedrum SPS-1UW+, Elektron TM-1 Turbo Midi, Akai MPK Mini, BOSS CS-3, BOSS RV-5, BOSS PS-3, BOSS DS-1, Fender Telecaster Plus, Roland Cube 40, Gretsch Chet Atkins Tennessee Rose, Ernie Ball VP JR., Korg Pitchblack, Empress Effects Compressor, Moogerfooger MF-102, The Empress Tremolo, BOSS OD-20, MXR M169 Carbon Copy, BOSS HM-3, ehx Stereo Memory Man with Hazarai, BOSS RV-5, Fender Hot Rod DeVille, Motu Ultralite MK3, Hybrid, AKAI MPK 61, Ableton+Push, Minimoog OS version, DX100, Moogerfooger analog delay, Moogerfooger ring modulator, Boss chorus, Doepfer sequencer.

Elektronisch-akustisches Live-Set, das exklusiv von Vincent Devaud (JU), Olivier Gilliéron (FR) und Jeremy Schorderet (FR) für SPACE RISOTTO konzipiert wurde.

19.30 Uhr Door opens and Corner Cuisine
20.30 Uhr Liveset

Posted by Stefan Wagner

Hackteria
Läb(e) am Egge
Baggenstos/Rudolf
 

Das Projekt Läb(e) am Egge öffnet für eine Woche vom 20. bis 26. Oktober im Corner College Zürich seine Türen. Das Projekt ist ein Resultat von Recherchen, die das Künstlerduo Baggenstos/Rudolf und Marc Dusseiller seit Sommer 2014 zu biologischem Licht von Tieren, Pflanzen und Bakterien betreiben. Die im Atelier begonnenen Experimente mit biolumineszenten Bakterien und Pilzen wollen sie an Ort und Stelle weiter führen und einer breiteren Öffentlichkeit präsentieren. Dazu verwandeln die OrganisatorInnen das Corner College in ein temporäres Bio Hacker-Labor.


...


Die Tätigkeit des Experimentierens ermöglicht den KünstlerInnen einen Kontakt zu Bakterien und anderen Kleinstlebewesen. Gleichzeitig ist es auch eine Möglichkeit, gesellschaftliche Aspekte wie, Ängste vor Unbekanntem, abstrakter Forschung, synthetischer Biologie etc. zu reflektieren. Wenn Künstler und Künstlerinnen mit biologischem Material arbeiten, stellt sich unweigerlich die Frage, was es heisst, mit lebender Materie zu arbeiten. Wann ist ein Kunstwerk fertig? Wenn es lebt und sich ständig verändert, wenn das Kunstwerk kein Objekt mehr ist, sondern zum Subjekt wird?

Mit diversen Workshops, Präsentationen von und mit eingeladenen, internationalen Gästen lassen die OrganisatorInnen Kunst, Wissenschaft, Geschichte und neue Technologien aufeinander treffen. Der bewusst gewählte transdisziplinäre Ansatz soll eine öffentliche Diskussion über verschiedene Aspekte von Innovation, Bio Art, Wissenschaft, Technologie, DIY und aktivistischer Praktiken in Gang setzen. Jeder kann mit lebender Materie experimentieren und spielen: «Läb(e) am Egge» bietet dafür ein offenes Labor mit selbst gebauten Laborinstrumenten, freundlichen Bakterien, Pilzen und heissem Kaffee.


+++ PROGRAMM +++

--- MONTAG, 20.10. ---

18 Uhr
Türöffnung

20 Uhr
#HSC-Talk-Runde: Bio art labs conspiracy mit
Luc, Yann & Robin von «Hackuarium» open & community-driven citizen biology lab in Renens/Lausanne
Brian Degger, TransitLab, Bio-Hacking Space Manchester
Paula Pin, PechBlenda Lab, TransHackFeminist HardLab for Bio-Electro-Chemical-Experimentation
Marc Dusseiler (dusjagr), NanoŠmano, Temporary labs for transdisciplinary production and artistic research
Urs Gaudenz on Open Ego-Lab Networks, GaudiLabs, Luzernm Temporary Labs, Hackteria and friends


--- DIENSTAG, 21.10. ---

13 - 20 Uhr
Offenes Labor


--- MITTWOCH, 22.10. ---

13 - 20 Uhr
Offenes Labor


--- DONNERSTAG, 23.10. ---

13 - 21 Uhr
Offenes Labor

17 - 21 Uhr
Workshop «Das blaue Blut des Kastanienbaums│UV-Phänomene in der Natur» mit Prof. Dr. Helmut Brandl & Zoe Bont Uni Zürich Institute of Evolutionary Biology & Environmental Studies

Viele Dinge, die man in der Küche oder in der Natur findet (wie Pfefferminztee, Curry oder Eierschalen) fluoreszieren im UV-Licht. Wir werden mit Naturstoffen experimentieren und sie zum Leuchten bringen! Stellt man zum Beispiel einen Zweig der Rosskastanie in Wasser, so fliesst aus der Rinde Aesculin heraus, welches bei Bestrahlung mit UV-Licht stark blau leuchtet. Und mit ein wenig Chemie löst sich aus braunen Eierschalen ein Farbstoff, den man im UV-Licht rot leuchten sieht.


--- FREITAG 24.10. ---

13 - 23 Uhr
Offenes Labor

19 - 23 Uhr
Glow-Your-Food Evening Experimentelle Cooking Show


--- SAMSTAG, 25.10. ---

13 - 24 Uhr
Offenes Labor

10 Uhr
Workshop «Lüchtends Holz» mit Baggenstos/Rudolf. Treffpunkt 10 Uhr Tramhaltestelle Triemli Dauer bis ca. 14h. Exkursion im Wald; Holz suchen und präparieren. Ohne Anmeldung.

20 Uhr
Corner College Installation/Exhibition «Lüchtends Holz»


--- SONNTAG, 26.10. ---

10 - 20 Uhr
Offenes Labor

14 Uhr
Workshop für Jugendliche/Familien mit Marc Dusseiler (dusjagr) & Paula Pin

18 Uhr
Finissage

- - -

Läb(e) am Egge ist Teil einer Veranstaltungsreihe von Hackteria Society und Corner College. Organisiert wird sie vom Künstlerduo Baggenstos/Rudolf.

Posted by Stefan Wagner

Ausstellung
I Dreamt of You so Much That...
Stefan Constantinescu
 

In his stirring 1926 poem, J’ai tant reve de toi, (J’ai tant reve de toi que tu perds ta realite) Robert Desnos laments the impossibility of real love with the young woman he tries to capture in his dreams. Desnos remains in a state of longing, lost between reality and the idealised image he creates of her, the carnal and the immaterial. He takes refuge in his dreams, the space where he can hold on to her, and as he does, his lover recedes more and more away from reality. Therefore, hope for true connection is futile – the two lovers are but shadows to each other, existing only in the imagination, a third space, or heterotopia to quote Foucault, that mixes reality and fantasy, and allows them to make the impossible possible.


...


Much like in Desnos’s poem, the imagination of the characters in Stefan Constantinescu’s three films (of a future seven-film series), Troleibuzul 92, Family Dinner, and Six Big Fish, which in this case is activated through the use of technology, plays a central role to the conflicts and tensions that well up within the relationship of today’s heterosexual couple. And yet, Constantantinescu’s open-ended stories do not cling to the specific events depicted– they reveal larger societal realities, hypocricies, and deformations that force the viewer to question himself and his role as spectator, but also participant, in everyday human dramas. This calling into question of societal structures is an aspect that Jean-Luc Godard considered essential to making films politically today, by ”creating moments of openness and undecidability: moments that also question the structural principles of cinema and the filmer-filmed-viewer contract."

The exhibition, which in addition to the films also features a photo essay and journal, Northern Lights, revealing private moments, anxieties, and longing typical of the immigrant experience, as well as a pop-up book, The Golden Age, juxtaposing the artist's biography to the history of Romania, his native country, is built as a living room where one hosts friends and relatives, a third space between the public and the private, and yet a bit of both. Here we encounter the artist's most intimate disclosures, transforming us from mere spectator to participant and even more so, a partaker in the artist's life. We are forced to question our role as audience and explore new relationships with art and our environment, an essential element in today's political cinema and art.

Opening:

Thursday November 6th, 7-10pm

During the vernissage Stefan Constantinescu will cook and serve a meal for the guests.

Opening hours exhibition:

Thursday/Friday 4-7pm
Saturday/Sunday 2-5pm

The exhibtion is organized by Olga Stefan.

Posted by Stefan Wagner

Tanz
OPEN STAGE
Zoé Blanc, Mirjam Bührer, Laura Bächer, Manuela Bär, Maka Mamporia, Anne Rosset
 


...


OPEN STAGE ist eine von der TanzLOBBY IG Tanz Zürich neu initiierte Plattform, die keine Grenzen kennt. Ob work in Progress, Research Arbeiten, Adhoc Performances, oder Experimente, die Tanzschaffenden entscheiden selber, was sie zeigen wollen. Open Stages fanden bereits in der Roten Fabrik statt und 2015 im Tanzhaus Zürich sowie bei Zürich tanzt.

Bitte reservieren Sie unter info@tanzlobby.ch Ihren Platz frühzeitig.

----

Türöffnung und Bar um 16:30 Uhr

Beginn Performances 17:30 Uhr, Dauer ca. 90 min

Anschliessend Gespräche an der Bar

Posted by Stefan Wagner

Lecture
At the edge of meaning – A lecture about and with Fernand Baudin
Loraine Furter
 


...


Fernand Baudin (1918-2005) is a Belgian book designer, or “typographiste” as he likes to call himself. Baudin was an author, teacher and lecturer, active in organisations like the Rencontres de Lure and Association Typographique Internationale (ATypI). Next to an extensive correspondence with international designers of his time (Stanley Morison, Gerrit Noordzij, John Dreyfus… among many others), Fernand Baudin is the author of the books How Typography Works (and why it is important) and The Gutenberg Effect, and has written essays in Belgian and international periodicals (Arts et techniques graphiques, Cahiers GUTenberg, Letterletter, Visible Language) about typography and design. Loraine Furter, coordinator of the Fernand Baudin Prize- the Belgian Most Beautiful Books Prize will focus on a recurring topic in Baudins work: the evolution of writing and designing tools and their influence on communication and culture.

Posted by Stefan Wagner

/ Corner Cuisine / Konzert
Drastic Dislocations
, Luigi Archetti, Mario Marchisella, Barry Wallenstein
 




Der Poet Barry Wallenstein aus New York spielt sein zweites Konzert in der Schweiz wiederum im Trio „Drastic Dislocations“ mit den beiden Multiinstrumentalisten Luigi Archetti und Mario Marchisella aus Zürich.

Der emeritierte Professor für Literatur und Creative Writing Wallenstein schreibt schon seit den 60-er Jahren Gedichte, die in zahlreichen Sammelbänden und Magazinen publiziert werden (Ploughshares, The Nation, Centennial Review und American Poetry Review).

Seit den 70-er Jahren performt er seine Gedichte zusammen mit Musikern in wechselnder Besetzung, welche vorwiegend aus dem Jazz Bereich stammen. Zu erwähnen wären da etwa: Charles Tyler, John Hicks, Vincent Chancey und Adam Birnbaum. Barry hatte in seiner Karriere immer wieder sehr spezielle, durch Zufall geprägte Begegnungen wie mit Charles Mingus oder mit Fela Kuti. Seine erste dieser Art fand bereits 1959 während des Studiums statt, als ihn sein Professor in einen Club namens „The Showplace“ in Greenwich Village schickte, um endlich seine geschriebenen Gedichte auch einmal einem Publikum vorzustellen: Da wartete niemand geringerer als Charles Mingus, der die Studenten auf seinem Kontrabass begleitete. „I was a little bit in shock and very nervous. I surely don’t recall what I recited or how it went, but I will never forget this large man’s kindness to us kids and the feeling of just being in his company.“

Barrys Stil ist wohl am ehesten mit einer Frühform des Spoken Word beschreibbar. Eine musikalische, stark rhythmisierte Art des Rezitierens, welche zwischen Singen und Sprechen changiert. Inhaltlich nimmt einem Barry in seinen Gedichten auf kleine, grosse Reisen mit, surreale Begegnungen mit dem Nachbarn, einem Hasen oder dem Zorn...


Auszug aus dem Gedicht: THE LEGEND OF THE WILD WEST

Around these parts
her caress is as famous as death.
It's told she holds her men for the kill
and never gets measured herself.
But, having come a long way,
with nothing else to do in the town,
I stepped a pace and looked her up
and she led me in all softness
and covered my mouth
as if to silence caution.

Then, and slowly, she worked her fingers into my mouth.
I thought it was sex.
It might have been murder.
And if I hadn't been clued
by one who knows
I'd still be calling her death-lock, love.
So just as the town ends
I too left clean glad to be alive and breathing.

Alicia Ostriker beschreibt Barry’s Stil wie folgt:
“Barry Wallenstein’s voice is unique in American poetry: magic, seductive, cryptic, a little demonic, definitely sexy, as if some perfume from Les Fleurs du Mal clung to its overtones.”

www.audioscope.tv


19:00 Corner Cuisine
20:00 Konzert
Eintritt frei, Kollekte

Posted by Sarah Infanger

Lecture
Alfred Gell on Art, Vol II
Adam Jasper
 


Bas Jan Ader, Tea Party


In the 1980s a transformation took place in the way that global art was shown and discussed. Retrospectively, this can also be seen as a period of the invention of an entirely new anthropology of art, in particular by Alfred Gell, around whose work there is a currently a resurgence of interest. The exhibition ART/artifact, held at the Centre for African Art New York in 1988, is crucial to this new history of the development of global art. It is perhaps the strongest example of an attempt to test the exhibition as a machine for generating ideological consensus. Many exhibitions claim to be ‘experiments’, but ART/artifact has a stronger claim to this status than most, as it set out to reveal the methods by which museums endowed objects with the status of being either artworks, or evidence. It also acts as the trigger for one of the most provocative and unusual cross-cultural ontologies of art ever to be devised: Alfred Gell's argument that the art object is, quite literally, a kind of cognitive trap.

Such discussions may seem arcane, but the development of what has become known as the ‘ontological turn’ in the work of Bruno Latour, Eduardo Viveiros de Castro and Phillippe Descola owes much to Gell’s posthumous classic Art & Agency, and encourages a closer examination of the genesis of Gell’s own ideas. The profusion of interest in anthropological ontology, in combination with the dilemmas of contemporary curating, provides dual motivation for a closer reading of early Gell, as well as the careful historicisation of his ideas.

This is the second lecture Adam Jaspers is giving about Alfred Gell. First took place in December 2013 at Corner College.


Posted by Stefan Wagner

Diskussion / Hackteria
Re-designing Nature
Christoph Kueffer, Jill Scott
 

Klimawandel, Urbanisierung, invasive Arten, oder Eutrophierung verändern Ökosysteme fundamental. Zunehmend gehen Ökologen davon aus, dass Ökosysteme durch gezielte Neu-Gestaltung an diese anthropogene Veränderungen angepasst werden müssen. Konzepte wie ‚ecological design’, ‚intervention ecology’, ‚re-wilding’, ‚resurrection ecology’, ‚assisted migration’ oder ‚reconciliation ecology’ propagieren verschiedene Formen des Re-designs der Natur zur Erhaltung von Biodiversität und Ökosystemdienstleistungen. Gemeinsam mit einer Professorin für interaktive Kunst und Wissenschaftskommunikation analysieren wir diese neuen Vorstellung der Beziehung vom Menschen zur Natur, vergleichen diese mit aktuellen Arbeiten von Künstlern zum Thema, und diskutieren Fragen wie: Welche Natur wollen wir in Zukunft? Welche Kommunikationsformen sind geeignet, um als Wissenschaftler gemeinsam mit der Bevölkerung Zukunftsvisionen der Naturgestaltung zu verhandeln?


...


Climate change, urbanization, invasive species, or ecosystems eutrophication are causing fundamental anthropogenic changes. Increasingly ecologists are assuming that ecosystems need to be adjusted through targeted new design concepts to deal with these changes. Concepts such as ecological design, intervention ecology, re-wilding, resurrection ecology or assisted migration, reconciliation ecology are new terms that propagate interests in various forms of re-designing nature. Artists main aim is still to conserve biodiversity and ecosystem services but do other aims also exist?. How are artists and designers representing the changing relationships between humans and “nature” today? What is the definition of "nature" in the future and what do scientists need to know about design and communication to cause more post reflection or share definitions about the future of "nature" with the general public?

The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Der Abend wird moderiert von Boris Magrini.

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

Mandarin 101 - Tiān Rén Hé Yī


...


During this Practical Fridays session, artist and part-time Mandarin teacher Pei will introduce Mandarin characters and pronunciation.

During the workshop, we will begin with one of the simplest Mandarin characters - 人 Rén (human, person). The goal is to familiarize the participants with the basic components of the Mandarin characters; from the strokes, to the units and finally, the assembly.

We will collectively learn how the characters are formed to depict the pictorial into a meaningful interpretation. To conclude, we will practice groups of initial, final and medial of phoneme with a "four-tone" system, so everyone will then be able to read "PinYing" (the alphabetical spelling of Mandarin). 

The workshop is free, open to the public and will be held in English. No prior experience with Mandarin is necessary.

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

"Creating God (Playing the Metaphor)" with Habib Ahmed Afsar


...


During this Practical Fridays session, Habib Ahmed Afsar will lead a workshop focusing on making art while exploring the god metaphor from a personal perspective. The only skills required are a sharpened sensitivity to materials, objects and people. The planned outcome is to have fun. Who knows what gods will visit during this session?

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this final Theory Tuesdays session at Corner College, Philip Matesic, the founder and coordinator of the discussion group, and Daniel Morgenthaler will perform a unique reading performance highlighting the past 133 Theory Tuesdays sessions. Please join in on this special occasion to remember the past 5 years of Theory Tuesdays at Corner College.

Theory Tuesdays Blog: http://theorytuesdays.blogspot.ch

Theory Tuesdays will be hosted by Counter Space (http://www.counterspace.ch/) starting in January of 2015.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Anke Schorr will screen “Profondo Rosso” (Deep Red, 1975, Dario Argento) – which is considered to be one of the most classic movies of the “Giallo” film genre. This film can be viewed in dialogue with Antonioni’s “Blow Up” (1966), pondering the profound yet slippery correspondence between the plot and a banana peel (which will be represented by Anke being dressed up as one).

References:
http://sensesofcinema.com/2013/uncategorized/dario-argento-giallo-and-profondo-rosso-deep-red/
http://www.imdb.com/title/tt0073582/?ref_=nv_sr_1

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Daniel Morgenthaler will be presenting excerpts from "PRESENT SHOCK: When Everything Happens Now" (2013), by Douglas Rushkoff.

“Rushkoff argues that the future is now and we’re contending with a fundamentally new challenge. Whereas Toffler said we were disoriented by a future that was careening toward us, Rushkoff argues that we no longer have a sense of a future, of goals, of direction at all. We have a completely new relationship to time; we live in an always-on “now,” where the priorities of this moment seem to be everything.” (rushkoff.com/present-shock/)

The text and discussion will be held in English. It's encouraged that you read the excerpts beforehand, to participate in the discussion.

> Present Shock excerpts

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Rémi Jaccard will be presenting excerpts from «DEVORATION» by FUZI-UVTPK.

«In the mid-1990s, French artist FUZI-UVTPK pioneered a form of graffiti known as Ignorant Style. In 2005, he took his Ignorant Style-art to people's skins, and has since developed an international following. In 2013 alone, he has tattooed clients such as Os Gemeos, Diplo, Justice, Kavinsky, and Scarlett Johansson. In DEVORATION he talks about radicalism, graffiti, art and violence.» 

The text and session will be held in English. It’s encouraged that you read the text excerpts beforehand to participate in the discussion.

> FUZI-Devoration

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Lawrence Weiner, "Removal to the lathing or support wall of plaster or wallboard from a wall" (1968)


During this Theory Tuesdays session, Nadine Helm and Barbara Preisig will present Benjamin H.D. Buchloh's seminal text, “Conceptual Art 1962-1969: From the Aesthetics of Administration to the Critique of Institutions” from the publication October, Vol. 55 (Winter, 1990), pp. 105-143.

It’s encouraged that you read the text beforehand to participate in the discussion. Below is a .pdf of the essay.

> Buchloh - Conceptual Art

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Leila Peacock will present excerpts from the book "ABC of Reading" by Ezra Pound.

One of the patron saints of literary modernism, Ezra Pound was pivotal in the careers of James Joyce and T.S. Eliot. An avant-gardist and a fascist, a poet, critic and multi-lingual American nomad. He pioneered the poetic movement "Imagism" which propounded the precision and economy of language, inspired by classical Chinese and Japanese poetry. T.S. Eliot declared that Pound was ‘more responsible for the 20th century revolution in poetry than is any other individual’.

The "ABC of Reading" is his guide to appreciating good poetry. This work has all the bombast and fatal flaws of high modernism, in it Pound presents himself as an unforgiving guide who barks at his unworthy reader. This work is a strange kind of text book in which Pound offers his erudite and dogmatic vision of poetic language.

It's encouraged that you read the excerpts beforehand, to participate in the discussion. The text and session will be held in English.

> ABC of Reading Excerpts

Posted by Stefan Wagner

Hackteria / Präsentation
Postapocalyptic Water Design
Marc Böhlen
 


Waterbar


Artist Marc Böhlen will present recent projects in experimental resource management that combine technical and urban interventions. In particular the care of recreational and essential water resources will be addressed through a discussion of WaterBar, a system that creates mineralized water in response to bad water news and WaterBank, a water analysis and fresh water distribution system designed for the Terban district of Yogyakarta, Indonesia.

Der Künstler Marc Böhlen präsentiert zwei neue Projekte zum Thema Ressourcen Design, Urbanität und Biosensorik. Bei WaterBar geht es darum, zukünftige Szenarien von öffentlichem Trinkwasserangeboten zu erproben. Bei WaterBank hingegen geht es darum, mittels Biosensorik Wasserverseuchung frühzeitig zu erkennen und zugleich alternative Trinkquellen anzubieten. Eine erste Version von WaterBank wurde kürzlich in Terban, Yogyakarta, Indonesien gebaut.

The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Posted by Stefan Wagner

Buchvernissage
Epitomes
Eric Andersen, Martin Robinson
 


...


Fifty years in the writing and two years in the making, we are pleased to announce the appearance of “Epitomes”. It is both an anachorism and an anachronism. It is a combined production of words and images, of printing and design.

Martin Robinson, the English wordmonger, is as yet unknown and can remain un-introduced for the time being, not out of any false modesty, but as a bow to his belief that the words are not his but common property. As he writes:


.


Eric Andersen, the designer, is a twice Swiss Design Award holder and known for his decorative alterations to Zurich’s walls and hoardings. In labouring on “Epitomes”, for both those who know him and those who don’t he has undoubtedly expanded his oeuvre by yet another exciting facet.

Either part of this project has its own intrinsic interest, but married they resonate just that little bit more.

You are therefore very cordially welcome to join both men and see the pages of the project at Corner College from 17.00 onwards on Saturday 23 August 2014 with host Stefan Wagner and editor Thomas Robinson and a bar – to read, look, ponder, discuss, enjoy or dismiss or even acquire.

----

Programme

5pm Opening Doors and Hot Dog Mobile

7pm Speech Martin Robinson

You are cordially invited to this evening of words, prints, drinks and hot dogs.

Posted by Stefan Wagner

Radio
Kulturwoche - Journalismus
Yonis Hassan Musse (Somalia)

LoRa
 


...


Vom Montag 4. bis Sonntag 10. August findet auf Radio LoRa - über FM 97.5MHz oder www.lora.ch und abends an sieben Kulturorten der Stadt Zürich die LoRa Kulturwoche statt. Dieses Jahr steht sie unter dem Titel „Stimmen aus dem Exil“: Flüchtlinge berichten über ihr Kulturschaffen, Kultur und Politik in ihren Heimatländern und in der Schweiz.

Sie kommen aus ganz unterschiedlichen Kulturkreisen, aus irakisch Kurdistan, Palästina, Mexiko, Guinea, dem Sudan, der Türkei und Somalia. Doch ein Schicksal ist ihnen gemein: Sie mussten wegen ihres politischen Engagements und Kulturschaffen aus ihren Ländern fliehen und setzen ihre Tätigkeit auch an ihren neuen Wohnorten fort. Und sie alle werden in sieben Veranstaltungen ihre kulturelle und politische Tätigkeit in der alten Heimat und in der Schweiz vorstellen. Weitere Kulturschaffende tragen tagsüber auf Radio LoRa im Rahmen der LoRa Kulturwoche Sendungen zum Thema „Stimmen aus dem Exil“ bei. Sie sind in allen Kultursparten zuhause – in der Poesie, der Literatur, in Film, Theater, Musik und Journalismus.

Am Sonntag 10. August von ab 19 bis 22 Uhr gestaltet Yonis Hassan Musse aus Somalia einen Abend im Corner College.

Posted by Stefan Wagner

Ausstellung
A4
Tom Menzi
 

Die mit "A4" überschriebene Ausstellung von Tom Menzi zeigt seine neusten Werkgruppen. Menzi beschäftigt sich intensiv mit Sprache und Kommunikationstechniken im Kunstbetrieb. Er verwendet werkrelevante Entscheidungen verschiedenster Künstlerinnen und Künstler. Er komprimiert diese Sätze und legt so eine eigene erzählerische und sprachliche Dimension vor. Oder aber er verdichtet durch Repetition Sprachsequenzen verschiedener Kunstinstitutionen, die oft in schwurbeligem und zumeist gestelztem Deutsch verfasst sind. Die repetitiv präsentierten Sätze winden sich zu anschmiegsamen Slogans und geben einen Kunstbegriff vor, der zwischen den unvereinbaren Versprechungen nach Autonomie und Gesellschaftsrelevanz hin und her schwankt.


Aus: Geister dürfen höher bieten (Tanzfigur), Tom Menzi,2014


Menzi treibt seine Suche nach Bedeutungsschärfe in einem bildgebenden Verfahren weiter und bedient sich einem der medizinisch und gesellschaftlich hochdotiertesten Untersuchungstechniken, dem der Magnetresonanztomographie-Untersuchung. Er liess seine Hirnaktivität im Labor aufzeichnen während ihm ein unbekannter Text zu seiner eigenen Ausstellung vorgelesen wurde. Durchaus ist hier eine Ironie auszumachen, mit der Künstler den allgegenwärtigen Wahrhaftigkeitsansprüchen die an Kunst gestellt werden, karikiert.

Die Ausstellung A4 entwirft ein fragiles Bezugsnetz an Anspielungen aus dem Kunstbetrieb. Das wird auch an den an konkrete Malerei erinnernden farbigen Collagen deutlich, die auf Museums- und Galerieinseraten basieren. Auch hier drückt eine humorvolle Geste durch, indem Menzi mit ernsthafter Geste mit der allzu oft drögen Ernsthaftigkeit des Kunstbetriebs Achterbahn fährt.

- - -

Programm Eröffnung Montag, 29. September

19 Uhr Türöffnung und Corner Cuisine mit Andrés Curries
20 Uhr Die Schauspielerin Meret Hottinger liest aus "Er ersetzt (Varoius Plots)"

Öffnungszeiten: Mittwoch/Donnerstag 17-19 Uhr, Samstag/Sonntag 14-17 Uhr

---

Mit freundlicher Unterstützung des Institut für Neuroradiologie, Universitätsspital Zürich, Dr. phil. L. Michels.


Posted by Stefan Wagner

Diskussion
Die Yasuní-Initiative: Zu visionär, um wahr zu sein?
Rechte indigener Völker und Biodiversität vs. Erdölförderung in Ecuador - Warum kam es zum Scheitern der Yasuní-Initiative und welche Verantwortung trägt die internationale Gemeinschaft?

Incomindios
 


...


2007 hat die ecuadorianische Regierung vorgeschlagen, die Erdölförderung im Yasuní Nationalpark zu unterlassen, um die einzigartige biologische Vielfalt zu erhalten und nicht kontaktierte indigene Völker zu schützen. Als Gegenleistung verlangte die Regierung von der internationalen Gemeinschaft einen solidarischen Ausgleichsbetrag, der mindestens 50% des entgangenen Umsatzes abdecken soll. 2013 verkündete Ecuadors Präsident Rafael Correa das Scheitern der Yasuní-Initiative aufgrund fehlender internationaler Unterstützung. Der Yasuní Nationalpark wurde für Ölbohrungen freigegeben. An der Podiumsdiskussion wollen wir mit engagierten Fachpersonen diskutieren, warum es zum Scheitern der Yasuní-Initiative kam und welche Verantwortung die internationale Gemeinschaft trägt.

Es diskutieren

- Dr. Armin Heitzer, Leiter Treibstoffe und Umwelt bei der Erdöl-Vereinigung Schweiz
- Christoph Hüsser, Vize-Präsident von Pro Indígena
- Christoph Wiedmer, Geschäftsleiter Gesellschaft für bedrohte Völker

Anschliessend Apéro.

Organisiert von Incomindios.

-

In 2007, the Ecuadorian government proposed to forego oil drilling within the Yasuní National Park in order to protect the vast biodiversity and uncontacted indigenous cultures. In return, the government demanded a financial compensation of half of the lost revenue from the international community. In 2013, Ecuadorian President Rafael Correa announced the failure of the initiative due to the lack of international support. Oil drilling has now been allowed in the Yasuní Park. In this panel discussion, we want to discuss why the Yasuní initiative has failed and analyze the role of the international community.

-

En 2007, el gobierno ecuatoriano propuso la no extracción de petróleo en el Parque Nacional Yasuní, con el fin de preservar la extraordinaria biodiversidad y proteger a los pueblos indígenas no contactados. A cambio, el gobierno pidió a la comunidad internacional una cantidad monetaria como compensación solidaria para cubrir al menos el 50% de los ingresos dejados de percibir. En 2013, el presidente de Ecuador, Rafael Correa, anunció el fracaso de la iniciativa Yasuní debido a la falta de apoyo internacional. El Parque Nacional Yasuní quedo abierto a la extracción de petróleo. En el coloquio, queremos discutir con profesionales comprometidos las razones del fracaso de la Iniciativa Yasuní y la responsabilidad que la comunidad internacional tiene al respecto.

Posted by Stefan Wagner

Lecture
Dans 2.0
Mårten Spångberg
 


...


'the address will be dance and choreography and the moving museum - a genealogy - the time of movement is now - it's fun and not only at all for dance people it's more to understand why choreography now and how it is located in contemporary contexts. ' Mårten (ref. email from Mårten)

(Following recent talks elsewhere;) Mårten Spångberg may articulate a genealogy of hijacking, and uses the notion as a conceptual path to understand contemporary phenomena and identify tendencies within the current neoliberal regime. “What if Derrida decided for hijacking instead of friendship. What if Barthes was in to the poetics of hijacking instead of a lover’s discourse. What if Badiou was into hijacking instead of anything else... It’s a dark activity—only at it’s darkest can it relieve us from the suffering".

The evening is organized by Magnhild Fossum.


Posted by Stefan Wagner

Workshop
Art + Feminism Wikipedia Edit-A-Thon
AutorINen bearbeiten und publizieren einen Nachmittag lang Artikel zum Themenbereich Kunst + Feminismus

Wir alle nutzen Wikipedia. Und theoretisch können wir alle daran mitschreiben. Doch zwischen den Autoren des meistbenutzten Online-Nachschlagewerks klafft eine Geschlechterlücke, die niemand so richtig erklären kann. Der Anteil weiblicher Autoren stagniert seit Jahren bei unter 10%. Wikipedia gehört zu den wichtigsten Quellen von Wissen. Dass dieses Wissen immer männlicher wird, zeigt sich an den Inhalten der freien Enzyklopädie, an der Setzung der Schwerpunkte, aber auch in der Art, wie diese Schwerpunkte ausgeführt werden. Dem wollen wir etwas entgegenhalten.



Vergangenen Februar fand eine Reihe Wikipedia Edit-A-Thons zum Themenbereich Kunst + Feminismus im englischsprachigen Raum statt. Im Corner College knöpfen wir uns die deutschsprachige Wikipedia vor (ArtAndFeminism). Edit-A-Thons leisten Starthilfe, um neue Autoren für Wikipedia zu gewinnen. Auf den ersten Blick scheint der Einstieg kompliziert, es gibt viele Regeln, die Ansprüche an neue Artikel sind hoch, die Benutzeroberfläche ist unübersichtlich. Ich lade Euch deshalb ein, Inhalte zum vorgeschlagenen Themenbereich einzubringen, um sie im Rahmen des Edit-A-Thons weiter zu bearbeiten und zu veröffentlichen. Mitglieder von Wikimedia Schweiz führen uns in die technischen Einzelheiten ein.

Samstag, 6. September, 14-19 Uhr. Laptop oder Tablet mitbringen und möglichst schon vor der Veranstaltung ein eigenes Wikipedia Konto erstellen.

"Art + Feminism Wikipedia Edit-A-Thon" wird organisiert von Caroline Palla.

- -

Join us for a wikipedia edit-a-thon on the subject of art + feminism and help promote diversity among the online encyclopedia's community. You're invited to bring material you want to edit and publish on wikipedia. Or just come on in and collaborate with others. Members of Wikimedia Switzerland will introduce us to the technicalities.

Saturday, September 6, 2-7 pm. Bring your own laptop or tablet. Also, please create a Wikipedia account before the event.


"Art + Feminism Wikipedia Edit-A-Thon" is organised by Caroline Palla.



Posted by Stefan Wagner

Dance/Music
Sounding bodies – moving sounds II
a music / dance intercultural and interaction project

Lionel Dentan (Dasaz), Namrata Pamnani, Jan Schacher (Jasch), Angela Stoecklin
 

In performance in the collision of body and movement, electronic sounds and gestures, the domains of music and dance fuse into an expression of an intricate and densely woven web of meaning. Links and dependencies, analogies, similarities and a common movement and sound language are being explored and transformed artistically to create an instant composition. The ultimate state and expression of this union reveals itself as one of intense presence, flow and fusion between the media and art forms.


...


Jan Schacher (electronic music, interaction technologies), Lionel Dentan (electronic music), Angela Stoecklin (contemporary dance) and Namrata Pamnani (Kathak and cotemporary dance) are searching for a linkage between the non-verbal art forms dance and music, where the body can take on the role of a musical instrument and the electronic music obtains a physical form and expresses motion pattern. They are interested in finding a crossing point where the two art forms become like one. The group works in the field of improvisation, as this is the most direct form of communication and aims for dialogue and equal positioning more than music accompanying dance or dance following the music. Sharing this process and the show with one musician and one dancer from the local context of Delhi, we add the aspects of a culturally informed approach to non-verbal artistic communication.

The show is the continuation of a process which began in November 2013 in Delhi during a residency of Jan Schacher and Angela Stoecklin, during which the four artists met, collaborated and performed together at the Sound Reasons Festival at Alliance Française.

Posted by Stefan Wagner

- - -
Demonstration
Wem gehört Zürich?


...


Corner College unterstützt die zweite Ausgabe der Demonstration Wem gehört Zürich?

Die Forderungen der Demonstration sind:

– Bezahlbarer und sicherer Wohnraum für alle
– Bezahlbarer Raum für Gewerbe und Kultur
– Für Freiräume und Selbstverwaltung
– Gegen Verdrängung und eine Stadt der Kapitalinteressen

Besammlung um 14 Uhr auf der Rathausbrücke Zürich, die Schlusskundgebung wird um 16:30 auf dem Helvetiaplatz sein. Das Abendprogramm mit Vokü und Konzerten wird in der Labitzke-Areal stattfinden.

Wir laden euch herzlich ein, euch zu beteiligen! Unterzeichnet die Unterstützer_innenliste und/oder verschickt den Demo-Flyer.

Informationen zur Geschichte und dem aktuellen Stand der Wohnungsnot und Gentrifizierung in Zürich sind im Wem gehört Zürich Magazin zu finden (überarbeitetet 2. Auflage).

Posted by Stefan Wagner

Buchvernissage
I'm just passing through
I don't live here

Arienne und Pascale Birchler
 


...


Die Künstlerinnen Arienne und Pascale Birchler laden zur Heftvernissage ein. Die fünfte Ausgabe der Kunstzeitschrift Prisma, welche die Künstlerinnen mit Bilder und Texten gestalteten, eröffnet einen neuen Zyklus, einen rauschenden Blätterbund, der fast verträumt die Frage stellt: Wo sind die Orte, die es möglich machen, aus der Zeit zu fallen – für einen Moment zu verschwinden?

Die Zusammenarbeit der Zwilingsschwestern Arienne und Pascale Birchler begann im Winter 2011. Eigentlich bestand sie bereits seit deren Kindheit. In den Jahren, in denen sie aufgrund von Ausbildungen und verschiedenen Interessen getrennt in anderen Ländern lebten, hielten sie mit Briefen, stundenlangen Telefonaten und längeren Aufenthalten ein intensiver Austauch aufrecht. Hierdurch entwickelte sich ein für die beiden Schwestern spezifische Arbeitsweise. Erst der Blick der Anderen vermag vermeintliche Lücken des Eigenen zu schliessen, Fragen also, die sie erst im Dialog beantworten können. Es sind solche gemeinsame Entwicklungen, manchmal auch ein Begleiten, die die Dinge zum zusammenwachsen bringen.

Durch das Schreiben, das Zeichnen in Skizzenbüchern und dem Forschen mittels Collagen suchen sie nach der Dringlichkeit für ihrer künstlerischen Zusammenarbeit. Die Umsetzung findet ihre Form in Bild, Skulptur und Raum. In diesen räumlichen Inszenierungen thematisieren sie die Verwundbarkeit des Menschen. Eingriffe, die von der Gewohnheit abweichen werden deutlich und lassen die Werke ins Surreale kippen.

"Aber ist es niemals Traum, was wir sehen, sondern vielmehr eine eigene Wirklichkeit, die biographische Züge trägt, Verborgenes sichtbar macht und dem Betrachter entweder vertraut oder fremd erscheint. Das Unaussprechliche findet ihre Sprache in neuen Bilder, die manchmal sogar in bühnenbildhaften Szenerien enden.", schreiben die beiden Künstlerinnen.

Arienne und Pascale Birchler werden für die Heftvernissage eine Installation im Corner Collge aufbauen.

Programm

18 Uhr
Türöffnung

19 Uhr
Künstlergespräch mit Heinz Stahlhut (Museumskonservator Kunstmuseum Luzern)

anschliessend Apéro mit Essen



Posted by Stefan Wagner

Buchvernissage
Legend Of The Things
Vreni Spieser
 


...


Ein Jahr lang war die Künstlerin Vreni Spieser unterwegs, vor allem in Argentinien und auf den Philippinen. Während dieser Zeit schickte sie Dinge in die Schweiz. Gegenstände, die sie sammelte, kaufte, suchte, fand, selbst machte. Adressaten waren die Bewohnerinnen und Bewohner eines Altersheims in Zug. Dort wurden die Dinge in einer von ihr entworfenen und eigens angefertigten Vitrine ausgestellt. Dabei interessierte die Künstlerin in erster Linie, ob es wohl möglich ist, mittels Gegenständen ihre Eindrücke und Erlebnisse vermitteln zu können. Oder ob es nicht viel mehr so ist, dass sie mit ihren Objekten beim Betrachter eigene Erinnerungen und Bilder wachrufe und sich bei ihnen neue Assoziationsräume öffnen, die nichts mehr mit den Geschichten der Künstlerin zu tun haben?

Bevor Vreni Spieser ihre Objekte verpackte und in die Schweiz verschickte, hatte sie diese zu Dokumentationszwecken fotografiert. Mit der Publikation "The Legend of the Things" versammelt sie nun sämtliche dieser Bilder die von ihren persönlichen Kommentaren begleitet werden. Das ganze sollte aber kein intimes Tagebuch werden, vielmehr ist es ein Archiv der Vitrine ergänzt mit Geschichten, Gedanken und Erinnerungen und Beiträgen von Mariana Lerner und Alexis Dedieu. Mariana Lerner stammt aus Buenos Aires und schrieb ihre Kommentare in Spanisch. Alexis Dedieu ist Franzose, der sich so oft wie möglich in Buenos Aires aufhält. Er schrieb in Französisch.
Vreni Spieser verfasste ihre Kommentare in Deutsch.

Programm:

14 Uhr
Turöffnung
Vreni Spieser erklärt allen Interessierten ihr Buch und das Kunstprojekt

19:30 Uhr
Gespräch
Vreni Spieser unterhält sich mit der Kunsthistorikerin Nadja Baldini über ihre Arbeit

Es gibt Kuchen und Suppe.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this Theory Tuesdays session, Daniel Morgenthaler will be presenting "Fighting Total Surveillance with the Laws of Man" from the book "Cypherpunks: Freedom and the Future of the Internet" by Julian Assange et al. alongside the chapter "»Bioterror«, weapons of mass destruction und der Irak-Krieg. Eine Signifikantenkopplung" from the book "»Anthrax« Bioterror als Phantasma" by Philipp Sarasin.

The session will be held in GERMAN and it's encouraged that you read the excerpts (one in German, one in English) beforehand, to participate in the discussion.

> Bioterror
> Cypherpunks

Posted by Philip Matesic

Hackteria / Lecture
A critical perspective on bio-art between tactical media and artistic playground
Boris Magrini
 


Jalila Essaïdi, 2.6g 329m/s


Since many tools and wetware products to create bio-labs have become affordable, artists have experimented with bio-technologies. Hence, bio-art has established itself as the latest trend in the field of media art. However, this artistic production is extremely heterogeneous, encompassing the spectacular works of Eduardo Kac and SymbioticA, the thought-provoking ones of Paul Vanouse and the Critical Art Ensemble, or again the participative and performative activities of Hackteria, for instance. How have these
practices been described and examined by critics and historians? How were they presented in institutions, museums and festivals? Furthermore, what are the future challenges for the artists engaging in biotechnologies? Through the discussion of a selection of works, exhibitions and essays, I will attempt to answer these questions and offer a possible, critical perspective on bio-art and its reception.

The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Posted by Stefan Wagner

Hackteria / Präsentation
Hybrid Ecology
Erich Berger, Yashas Shetty
 


Erich Berger and Martin Howse in The Curie’s Children [glow boys, radon daughters] workshop (Foto Liisa Louhela)


We are living in a technologically informed world. Our life takes place in hybrid space merging the physical and virtual. As we continue to develop and use technologies which now also include the manipulation of the living we are challenged to rethink our concepts and relations to the environment we inhabit.

Erich Berger and Yashas Shetty will give two lectures about their current work. Wawies Wisnu Wisdianto from Lifepatch (Indonesia) will also be present and briefly introduce their activities in Yogyakarta, as they have already been discussed at the last edition of HSC#1. Lifepatch has just received the Honorary Mention from Prix Ars Electronica,

Finde more infos here

We are looking forward to seeing you.

The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Posted by Stefan Wagner

Hackteria
Hackteria | Open Source Biological Art
The case study and review of HackteriaLab 2014 Yogyakarta

Marc Dusseiller
 


Participants HackteriaLab 2014 in Yogyakarta, Indonesia


Researcher and artist Marc Dusseiller, formerly know as Pak Marcjono, will give a presentation of the most recent HackteriaLab taking place in Yogyakarta (Indonesia) from 13. – 25. April 2014, a collaboration of Hackteria and their long term partner, lifepatch – citizen initiative in art, science and technology, together with diverse local partners. The two week collaborative and interdisciplinary practice of HLab14 was defined by three ongoing Ecological Research Nodes within the practice of the local Indonesian facilitators. The topics are tightly related to the daily life of Yogyakarta. They are: 1. Biorecovery of Volcanic Soil, 2. Environmental Monitoring of the Rivers, 3. Biodiversity conservation in Wonosadi Forest, together with the focus on Open Source Hardware and DIY & Low-Cost Laboratory Infrastructure.

HLab14 brought together a large group of international and regional participants, of makers, artists, scientists, hackers, educators to investigate and foster the concept of DIWO (do-it-with-others), bio art and citizen science. HLab 14 had a strong focus on workshopology, sharing and collaboration, field-trips and musical experimentation, and was additionally presented in an exhibition format at LAF, Yogyakarta from 25 April – 2. May.


...


Hackteria is a community platform encouraging the collaboration of scientists, hackers and artists to combine their experitise to develop access to practical knowledge in the artistic engagement with the life sciences. The web platform servers to share simple instructions to work with life science technologies and the network cooperates on the organization of workshops, temporary labs, hack-sprints and meetings. To create public discussions hackteria invites international artists, tinkerers and scientists for critical and theoretical discourse. Since 2010 the network met regularly and gathered for the first editions of HackteriaLab in Switzerland in 2010 & 2011, where the Asia-European collaborations have intensified, including co-organisation and active participation at HackteriaLab2013 – Bangalore (IN) and now for HLab14 in Yogyakarta. Hands-on workshop within this network have been held in more than 20 countries since 2009.

The presentation is part of a series on the topic of Bioart organized by Hackteria Society and Corner College.

Posted by Stefan Wagner

Präsentation
What is Contemporary Art in the Gulf?
Mariam Haji
 


"HANDLUNGSBEREITSCHAFT" MARIAM HAJI & ALESSANDRO RAUSCHMANN, KINGDOM OF BAHRAIN, 2010


The presentation will give an insight in the cultural art practices in Bahrain, United Arab Emirates and Qatar. It includes examples from emerged and immerging artists within these regions and discuss their culturally driven motives for visual expression and their artistic processes.

The presentation also focuses on comparing the differences in education and inspiration between artists from the Gulf and from Europe, while shortly discussing a segment on the hyper economically driven Art Market within the Gulf.

Posted by Stefan Wagner

Präsentation
Immediations – Urban Fabric, Infrastructure, Ecology
- - -
 


...


Immediations is an international transdiciplinary research network. From April 26-29 the EU-participants of the Partnership Research Grant Immediations: Art, Media, Event will experiment collaboratively investigating the notion of the urban fabric along questions of emergence, infrastructure, metamodelization, and ecology.

For the participants the urban fabric is a loose term pertaining to the interstices between infrastructures, materialities, cultural practices and their relation to artistic, architectural, design, and philosophical concerns. Coming from different backgrounds and sharing a strong interest in transversal and collaborative practices, they will engage in interventions, readings, cooking, living, meandering, writing and diagramming with the aim to articulate what we understand as urban fabric in the immediacy of emergent experience.

On April 28nd you are cordially invited to share our preliminary impressions, ideas, and insights. We consider our research as emergent and our structure as open – come and play with us! There will be presentations, discussions followed by an apéro.


Participants of the workshop are Jamie Allen (Copenhagen Institute of Interaction Design), Amélie Brisson-Darveau (IFCAR, ZHdK), Christoph Brunner (IFCAR, ZHdK), Nicole deBrabandere (IFCAR, ZHdK), Sher Doruff (Rietveld Academy, Amsterdam School of the Arts), Gerko Egert (Freie Universität Berlin), Jonas Fritsch (CAVI, PIT, Aarhus University), Victoria Gray (Chelsea College of Art and Design, University of the Arts, London), Thomas Markussen (Danish Centre for Design Research, Kolding School of Design), Stamatia Portanova (Naples, independent scholar), Bodil-Marie Stavning-Thomsen, (Department of Aesthetics and Communication, Aarhus University), Annette Svaneklink Jakobsen (Aarhus School of Architecture), Evelyn Wan (Utrecht University), Verena Ziegler (IAD, ZHdK).



Posted by Stefan Wagner

Diskussion / Präsentation
Holidays after the Fall. Seaside Architecture and Urbanism in Bulgaria and Croatia
Elke Beyer, Anne Kockelkorn, Michael Zingangel
 


Haludovo Malinska

Die sonnigen Küsten Bulgariens und Kroatiens verwandeln sich in der Sommersaison in intensiv genutzte, hochverdichtete Landschaften der Tourismusindustrie. Dieses Buch verfolgt die unterschiedlichen räumlichen und architektonischen Strategien, mit denen die großmaßstäblichen Ferienarchitekturen in den 1950er Jahren entstanden und bis in die Gegenwart weiterentwickelt wurden. Es zeigt (spät-)moderne Ferienarchitekturen und Resorts von beeindruckender Qualität und typologischer Vielfalt, die gleichzeitig als sozialistische Freizeiträume und marktfähige Produkte bestehen konnten. Vor allem aber untersucht es die Vielfalt ökonomischer und physischer Umgestaltungen, die dem Wechsel der Regime und der Privatisierung der Betriebe folgten: von ungenutzten Ruinen über behutsame Renovierungen bis hin zu exzessiven Überbauungen, an denen sich bis heute massiver öffentlicher Protest entzündet.


Haludovo Malinska

Each summer season, the sun-drenched coasts of Bulgaria and Croatia turn into densely inhabited, intensively exploited tourism industry hot spots. This book traces the various architectural and urban planning strategies that have been pursued there since the mid 1950s—first in order to create, and then to further develop, modern holiday destinations. It portrays (late) modern resorts of remarkable architectural quality and typological diversity that have lasted for decades: as anchors of the socialist states’ ‘social tourism’, as playground for domestic publics in search of recreation and as a viable product on the international holidays market. It shows how–after the fall of state socialism–individual resorts and outstanding buildings have been restructured both economically and physically and traces the present-day conflicts triggered by coastal development in the name of tourism.


Ruin of Yugoslav People’s Army children holiday resort at Krvavica, Dalmatia Photo © Wolfgang Thaler 2009


More information about the publication "Holidays after the Fall. Seaside Architecture and Urbanism in Bulgaria and Croatia" here.

Posted by Stefan Wagner

Lesung
Morgen werde ich Idiot - Kybernetik und Kontrollgesellschaft
Hans-Christian Dany
 


...


Hans-Christian Dany kommt wieder und liest dieses mal. Sein neustes Buch hat er mit "Morgen werde ich Idiot - Kybernetik und Kontrollgesellschaft" betitelt. Brandaktuell ist das Thema ja, wenn wir uns ständig vermessen. Im Klappentext heisst es weiter: "Ein heiter ätzender Spaziergang durch das Innere, die Entwicklungsgeschichte und die Albträume einer von Selbstoptimierung besessenen Gesellschaft, die ihre Kontrolle nicht mehr durch Macht, sondern durch Rückkopplung und Selbstregulation ausübt.

Dany zeigt, wie aus der Kybernetik als Modell für selbstregulierende Systeme eine Matrix der ständigen Optimierung eines jeden und der Gesellschaft geworden ist: Von der kybernetisch inspirierten Sozialpsychologie der fünfziger Jahre wanderte die Feedback-Theorie Wieners und Lewins in die Selbsterfahrungsgruppen, die sie in die WG-Küchen weiter trugen. Parallel flossen die Methoden als Social Engineering in das Management ein und später in die sozialen Netzwerke, wo das Kommunikations-Panoptikum nochmals in neuer Form zu sich fand. Jeder ist nun Beobachter aller anderen und ein von allen anderen Beobachteter. Kontrolle bedeutet nicht länger, die Kontrollierten auf einen Sollwert zu bringen, sondern einen andauernden Prozess permanenter Selbstoptimierung in Gang zu setzen. Heute formen Feedback und Transparenz zentrale Werkzeuge für Kindergarten, Schule, Konsum und Unternehmen.

Die einzige Möglichkeit, dem zu entkommen, scheint, sich der verordneten Kommunikation zu verweigern. Sich durch Sprachlosigkeit der Regulation zu entziehen, um auf der spiegelglatten Oberfläche der Transparenz ein Dickicht undurchsichtiger Inseln wuchern zu lassen…"

Bestimmt gibt es auch Bücher zu kaufen. Ansonsten kann sein Buch auch bei einem der sympathischsten Verlage bestellt werden.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Christoph Brunner will be presenting the second chapter of "24/7: Late Capitalism and the End of Sleep" by Jonathan Crary.

The session will be held in English and it's encouraged that you read the chapter (in English) beforehand, to participate in the discussion.

> Crary - Chapter 2

Posted by Philip Matesic

Buchvernissage
Stadt selber Machen - ein Handbuch
Laura Burns
 




"Stadt selber Machen - ein Handbuch" von Laura Bruns. Einführung von Sabeth Tödtli - für zURBS, sozial-artistisches Stadtlabor.

Posted by Philip Matesic

Präsentation
www.corner-college.com
Delphine Chapuis Schmitz
 


...

Posted by Stefan Wagner

Präsentation
The Knowledge Museum
Lia Perjovschi
 


...


Lia Perjovschi will discuss a few of her previous projects in context, the evolution of her practice and the changes it underwent as a result of various personal, social and political events, and how she ultimately reached the Knowledge Museum. The Knowledge Museum is a project in which Lia recycles all her other artistic projects including elements of her Contemporary Art Archive (CAA), the first archive of its kind in Romania. Like an architect, she presents a model - on a table, on the walls, or in a space - using diagrams from her interdisciplinary research. This research comes from books, reviews, the internet, and objects mainly in museum stores from around the globe (collected from 1999 until today and used for educational purposes). The Knowledge Museum comprises 7 departments: Earth, Body, Art, Culture, Knowledge, Science, and Universe. It is not 'The Museum', but rather a basic starting point. Knowledge is Surviving (doing the best you can out of what you have).

Lia Perjovschis presentation is coming along with the exhibition DRAWING PROTEST of her husband Dan Perjovschi at Shedhalle Zürich opening at May 8th organized by Olga Stefan.

Posted by Stefan Wagner

Ausstellung / Buchvernissage / Diskussion
Book Machine
Beat Huber
 


...


Bilderfluten, Bilderberge: Schier überwältigt von den Dimensionen einer scheinbar masslosen Bildproduktion schaffen wir uns metaphorische Landschaften, durch die wir als blinde Schwimmer und rastlose Wanderer ziehen. Aber wer oder was hindert uns eigentlich daran, innezuhalten, Rast zu machen und mitten im Malstrom, an den Endmoränen des Gletschers Bilder zu suchen, zu finden und neu zu betrachten?

Anhand von den drei Buch-Publikationen "Vue par...", "Rast & Tank" und "Quality Control" unternimmt der Künstler Beat Huber Exkursionen, die uns über den Tellerrand hinaus in Spielfelder der Stadtentwicklung und schliessliche in sein eigenes Fotoarchiv führen. Als flanierender Beobachter hält er gesellschaftliche und städtebauliche Entwicklungen fest und produziert mit seinen Aufnahmen Bildreihen, die zugleich öffentlich und privat sind und über das Dokumentarische hinausweisen.

Anlässlich der Buchvernissage findet im Weiteren ein Gespräch über Archive als Energiefelder mit Verena Kuni, Medien- und Kunstwissenschaftlerin, Veronika Spierenburg, Künstlerin und Beat Huber, moderiert von Daniel Morgenthaler, Kurator Helmhaus Zürich, statt. Die Bücher werden anschliessend von Freitag bis Samstag ausgestellt und können erworben werden.

- -

PROGRAMM

Donnerstag 6. März

18 Uhr
Türöffnung

19 Uhr
Gespräch mit Verena Kuni, Medien- und Kunstwissenschaftlerin und Veronika Spierenburg, Künstlerin und Beat Huber, Künstler, moderiert von Daniel Morgenthaler, Kurator Helmhaus Zürich, über Archive und Energiefelder.

Freitag 7. März

Ausstellung offen 15 bis 19 Uhr

Samstag 8. März

Ausstellung offen 14 bis 18 Uhr

- -

Die 3er-Edition ist 2013 anlässlich des BOOK MACHINE PRESS - - BOOK MACHINE (Paris) und Le Nouveau festival du Centre Pompidou in Paris entstanden.

Die Buchvernissage und Ausstellung wird finanziell unterstützt von Netcetera.


Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Ian Wooldridge presents the work of Jeff Keen.




Jeff Keen (1923–2012) was a pioneer of experimental film whose rapid-fire animations, multiple screen projections and raucous performances redefined multimedia art in Britain.

Keen’s films and performances emerged from the 1960s counterculture and echo the climate of literary happenings and ‘bomb culture’ at Bob Cobbing’s Better Books in Charing Cross as well as Gustav Metzger’s 1966 Destruction in Art Symposium. Recalling American underground films by Jack Smith, Ken Jacobs and Kenneth Anger, his work also resonates with Happenings, Fluxus and Viennese Actionism. Nothing stands still in his work, it is a constant process in which images and sounds evolve in quick succession through what Keen called ‘violently disconnected and overlapping patterns’ of destruction, creation and accumulation.

Screening Schedule:
Marvo Movie
1967, 5 mins, color, sound, 16mm

Mad Love
1972 – 1978, 42 mins, color, sound, 16mm

Family Star (The Mutt & Jeff Icecream Sundae + Mothman)
1968 -69, 31mins, color, twin-screen, 8mm

The screening will be held in English, is free and open to the public. There is also supplementary reading, the essay "Cult Hero: Jeff Keen" by Jack Sergeant, to accompany the films. Please reference the following .pdf.

> Cult Hero: Jeff Keen - by Jack Sergeant

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, Philip Matesic will present the following three essays from the book “Searching for Art’s New Publics” (2010) edited by Jeni Walwin.

“Don’t Look Now! Art after the Viewer and Beyond Participation” by Dave Beech

“Who Speaks? Who Listens? Het Reservaat and Critical Friends” by Sophie Hope

“Tell Me Your Story: An Interview with Artist Harrell Fletcher” by Marisa Sanchez

It’s encouraged that you read the essays (in English) beforehand to participate in the discussion.

The session will be held in English.

> Searching For Arts New Publics

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, "Contigency and Complicity" and "The Labor of the
Inhuman, Part I: Human" from speculative philosopher Reza Negarestani will be presented and discussed by Lucie Tuma and Stefan Wagner. You are cordially invited to join the contoverse discussion of the two texts and read the papers beforehand.

> Contingency and Complicity
> The Labor of the Inhuman, Part I: Human

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...

During this Theory Tuesdays session, Pablo Müller will give a brief introduction to the essay „Cultural Logic of Criticality“ by Marina Vishmidt and we will collectively discuss the main arguments.

In "The Cultural Logic of Criticality", Marina Vishmidt is concerned with charting the emergence of ‚criticality’ as a technology of legitimation and power in contemporary art institutions and proximate discourses. ‚Criticality’ is examined as a ‚cultural logic’ and compared to different philosophical iterations of critique. Cybernetic theory provides her a model for analyzing how critique becomes functional to the maintenance of existing states of affairs. Finally, other potential avenues for critique as rhetorical stance and praxis are evaluated through case studies.

The session will be held in English and it's encouraged that you read the essay (in English) beforehand, to participate in the discussion.

> The Cultural Logic of Criticality

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

OnCurating / Issue 21 / (New) Institution(alism) 


...


During this Theory Tuesdays session, OnCurating / Issue 21 / (New) Institution(alism) will be presented and discussed.

This issue of OnCurating centers on New Institutionalism as a self-reflexive artistic-curatorial practice in institutions, whose conditions, structures and implications resonate in the contemporary organization of art.

Through the contributions assembled here, guest editors Lucie Kolb and Gabriel Flückiger focus on the critical approaches to thinking and speaking about the institutional organization of art that are at the root of New Institutionalism, and not least ask fundamental questions about the social potential of contemporary art institutions. The issue is an output resulting from the thematic focus ‘institutional studies’ at the Competence Center Art and Public Spheres at the Lucerne University of Applied Sciences and Arts, School of Art and Design.

> ONCURATING Issue21 Excerpts

Posted by Philip Matesic

Each One, Teach One
Practical Fridays
Philip Matesic
 

Monotypes Workshop




During this Practical Fridays session, Lubomira will teach the printmaking method of "Monotyping."
 
Monotyping produces a unique print, or monotype. Stencils, watercolour, solvents, brushes, and other tools are often used to embellish a monotype print. Monotypes can be spontaneously executed and with no previous sketch. This technique is easy to learn, no previous skills are required.

The workshop will be held in English, is free and open to the public.

Posted by Philip Matesic

Ausstellung
www.corner-college.com
Delphine Chapuis Schmitz
 

Als Delphine Chapuis Schmitz im Herbst 2013 in einem Gespräch über eine mögliche Ausstellung vorschlug, den Hintereingang des Corner College als Haupteingang zu benutzen, hatte sie eine räumliche Konfiguration von dem angeboten, was sie mit ihrer Ausstellung „www.corner-college.com“ nun realisiert. Geht man davon aus, dass es auch heute noch möglich sein sollte, eine institutionskritische Perspektive zur Befragung des Kunstbetriebes einzunehmen, dann sind räumliche Operationen charmant zu bedenken, im Kern aber treffen diese Konfigurationen wohl kaum mehr die relevanten Fragestellungen, die den Kunstbetrieb und deren Institutionen betreffen. In der gegenwärtigen Ökonomie – von Kapitalismus zu sprechen würde eine unerwünschte Ideologiekritik nach sich ziehen und das Interesse auf eine andere Ebene lenken – ist jede Option, die sich anbietet, aus einer Mehrwertperspektive zu denken. Kritik, das andere Mögliche zu entwerfen, wird sofort verschlungen, das Bestehende gestärkt anstatt verändert.

Kunst ist entgegen jeder romantischen Vorstellung zum Konsumgut geworden, dem Blockbuster in den von den Unterhaltungsindustrie kontrollierten Cinemakomplexen ähnlich. Das wiederum ist weder eine neue Erkenntnis von dem was bereits Theodor Adorno mit dem Begriff Kulturindustrie beschrieben hat, noch entwirft Delphine Chapuis Schmitz das „Neue“, eine Aufbruchstimmung, die im Gewand der Avantgarde-Bewegung gerne als nächster Hype verkauft wird. Eher schon thematisiert sie damit geschickt wie Kunst im kognitiven Kapitalismus positioniert ist. Damit wiederum animiert sie darüber nachzudenken, wie kulturelle und intellektuelle Arbeit vermessen wird. Wie und wer schöpft die ökonomischen Gewinne aus der symbolischen Mehrwertproduktion ab?

Mit der „Neumodellierung“ der Corner College-Website schneidet Delphine Chapuis Schmitz dieses komplexe Thema von einer ersten Seite an. Nicht demonstrativ, sondern auf den ersten Blick eher spielerisch, das Webseitenpublikum dazu animierend, die Lesart des Bestehenden neu zu organisieren. Während zweieinhalb Wochen vom 20.3. bis zum 5.4.2014 werden die Inhalte der Website nicht mehr so zu sehen sein, wie üblich. Die Worte und Sätze sind im weissen Rauschen des Hintergrunds verschwunden und tauchen nur dann auf, wenn man mit dem Cursor über den Textbereich streicht. Der Webseitengebrauch wird dadurch zu einem scheinbar willkürlichen Leseakt, die Cursorsteuerung zum inhaltgenerierenden Fakt.



...


Alors que nous discutions, à l'automne 2013, de la possibilité d'une exposition, Delphine Chapuis Schmitz évoquait l'idée de déplacer l'entrée du Corner College à l'arrière du bâtiment, suggérant ainsi une configuration spatiale de ce qu'elle réalise maintenant avec l'exposition "www.corner-college.com". En supposant qu'il soit encore possible, à l'heure actuelle, d'adopter une perspective de critique institutionnelle pour mettre en question le fonctionnement de l'art, les interventions spatiales ont certes un certain charme, mais elles ne parviennent plus vraiment à toucher le coeur des problèmes importants que soulèvent le fonctionnement de l'art et de ses institutions. Du point de vue de l'économie actuelle – parler ici de capitalisme impliquerait une critique idéologique qui n'a pas sa place ici et conduirait à un autre débat – toute option qui se présente doit être pensée à partir de la question de la valeur ajoutée. La critique, de même que l'esquisse d'alternatives, est aussitôt récupérée, et le système en place se voit renforcé plutôt que modifié.

Contre toute représentation romantique, l'art est aujourd'hui devenu bien de consommation, il est comparable en cela aux blockbusters que l'on trouve dans les cinémas multiplex de l'industrie du divertissement. Ce n'est là rien de nouveau, Theodor Adorno avait déjà décrit ce phénomène avec son concept d'industrie de la culture. Et Delphine Chapuis Schmitz ne fait rien de "nouveau", ni ne propose un "renouveau" qui pourrait se vendre sous les atours d'un mouvement d'avant-garde comme "hype" à venir. Au contraire, elle thématise avec habileté le positionnement de l'art dans le champ du capitalisme cognitifet, de la sorte, donne à réfléchir à la manière dont travail culturel et intellectuel sont aujourd'hui évalués. À qui profitent les gains économiques générés par la production de valeur ajoutée symbolique, et de quelle manière?

Delphine Chapuis Schmitz aborde un premier aspect de ce thème complexe en remodelant le site internet du Corner College. De façon non pas démonstrative mais ludique au premier abord, elle invite le public du site internet à réorganiser son mode de lecture. Pendant 2 semaines et demie, du 20 mars au 5 avril, le contenu du site ne sera plus visible comme il l‘est d‘habitude. Les mots et les phrases disparaitront dans le bruit blanc de la page pour ne réapparaitre que furtivement, lorsque le curseur les effleure. L‘usage du site internet devient ainsi un véritable acte de lecture, en apparence seulement arbitraire, et la manipulation du curseur un fait générateur de contenu.

- - -

Am Samstag 22. März 2014 um 11 Uhr macht Delphine Chapuis Schmitz im Corner College eine Führung durch ihre Ausstellung "www.corner-college.com".

Vom 27. Februar bis zum 7. September 2014 wird sie im Haus Konstruktiv eine Audioarbeit zeigen.


Samedi 22 mars 2014 à 11h, Delphine Chapuis Schmitz fera une visite de son exposition à Corner College.

Du 27 février au 7 septembre 2014 elle présente un travail audio au Museum Haus Konstruktiv.

Posted by Stefan Wagner

Lesung
entgegen gegenteiliger Angaben
Karin Sarah Ley, Gianna Molinari, Werner Rohner
 


...


Die Autorinnen Karin Sarah Ley, Gianna Molinari und Werner Rohner lesen aus Staatsschutzakten verschiedener Personen. Ein Abend an dem die Sprache der Überwacher im Zentrum steht, ein Abend an dem Absurdes auf Erschreckendes trifft.

Die Lesung ist Teil der Ausstellung "Beobachten und Übewachen".

As a part of the exhibition "Observing and Surveillance" writers Karin Sarah Ley, Gianna Molinari and Werner Rohner will read state security files from different Swiss citizens. The Swiss government was accurately observing specific citizens during the cold war period. Reason for the observations could have been simply meeting a person or playing in a theatre - but also for political actions. In which the citizen would be criticizing the repressive and military obsessed swiss state/society. Many of these files provide an insight onto the 80-riots in Zurich, whose aftermath changed the city into a more open and culturally diverse city. The readings will bring up the language of the observing officers but also the absurdities and rather scary notes. The reading will be held in German.

Posted by Stefan Wagner

Präsentation
Sozial-, Aufwertungs- und Stadtmanagement - Urbane Sicherheitsarchitektur im 21. Jahrhundert
Walter Angst
 


...


Im Rahmen von Miklós Klaus Rózsas Ausstellung "Beobachtung und Überwachung" präsentiert Walter Angst die neusten Überwachungstechnologien, die sich derzeit auf dem Markt befinden. Mit ihnen wird Sozial-, Aufwertungs- und Stadtmanagement ermöglicht und die Polizei für ihre neuen Aufgaben fit gemacht. Praxisbeispiele aus der Limmatmetropole Zürich lassen die die urbane Sicherheitsarchitektur des 21. Jahrhunderts, die Teil der Stadtentwicklung ist, deutlich werden. Walter Angst, Gemeinderatsmitglied der Stadt Zürich, nimmt damit den Faden seiner Präsentation Crash Kurs Marxismus von 2012 wieder auf und erzählt die Geschichte weiter.

Walter Angst will present the latest surveillance technologies available on the market. With these technological tools contemporary city management, which includes the development of neighborhoods and social surveillance, can be realized through the use of tactical police forces. Angst will show examples of this security management, using specific examples in Zurich. The presentation is part of the exhibition "Observing and Surveillance", exhibiting the dynamic shifts in surveillance techniques and technologies.

Posted by Stefan Wagner

Diskussion
Round about Metal
Markus Edelmann, Pascal Häusermann, Martin Stricker
 

Heavy Metal entstand in einem gesellschaftlichen Kontext, in dem Zensur und althergebrachte Autoritätsmodelle im Elternhaus, wie auch in den Bildungsinstituten noch ihre Gültigkeiten hatten. Das England Margret Thatchers und die USA in der Zeit des „National Parent / Teacher Association“ mit der Initiantin Tipper Gore bildeten im anglo-saxischen Raum den Nährboden für die Szene.


...


Im Gespräch mit Martin Stricker und Marky Edelmann wird es darum gehen, in was für einem Klima der Teenager der späten 70er und 80er Jahre in Zürich und Region aufgewachsen ist und um was für eine Art Revolte es bei der Metal-Szene eigentlich ging. Als Intermezzi werden alte Aufnahmen der beiden Musiker abgespielt.



Heavy Metal arose mostly in societies dominated by censorship and still existing authority structures at the parental homes and the educational institutes. Margret Thatchers politics in Great Britain and Tipper Gores „National Parent / Teacher Association“ in the US exemplify the socio-political context in the anglo-saxon countries. Martin Stricker and Marky Edelmann will tell about what is was like to grow up Zurich in the 70ies and 80ies and what kind of revolt Metal actually was about. In the interludes they are going to play unpublished recordings.

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

How to open a closed door
How to close an open door
and a bit about the Vast Threshold




Using two doors installed in the space as central models we will examine methods of opening, closing and communicating with doors. We will explore door histories, types and problematics, practice door uses and cultural door etiquette. A few work stations for different door and lock exercises will be available for learning how to deal with doors and feel with doors, how to enclose yourself and others.

Annatina Caprez & Garrett Nelson

Posted by Philip Matesic

Konzert
archiv auslesen II
Eine Auswahl von Radiostücken

Alexander Tuchaček
 

Am 17. Januar wird Alexander Tuchaceks "archiv(aus)lesen" im Bayrischen Rundfunk br2 gesendet. Aus diesem Grund lädt Corner College und Alexander Tuchacek zu einem gemeinsamen Radioabend, moderiert von Romy Rüegger.


...


Alexander Tuchacek bearbeitet live das Musikstück "Red Flag Prelude" des Komponisten Cornelius Cardew live in micro-Zeitlupe, Verlangsamungen, Wiederholungen, Stillstand. Mit Hilfe von selbstentwickelter Audio-Archiv Software wird er so das Piano Stück Cardews in seinen tonalen Micro-Strukturen untersuchen und neu interpretieren. "Red Flag Prelude" basiert ursprünglich auf dem gleichnamigen Gedicht (1889) des Iren Jim Connell, das von den Martyrien der Arbeiterbewegung handelt. In England wurde es traditionell bei Labour Party Kundgebungen gesungen, zu einer Melodie die auch als Weihnachtslied "Oh Tannenbaum" bekannt ist. Cornelius Cardews verfasste Red Flag Prelude in einem romantischen Prelude und hielt es in seiner Tonalität bewusst einfach. Als klassischer Komponist prägte Cardew eine kritische Auseinandersetzung mit der Arbeit Stockhausens und Cages und verband dies auch mit einer politischen Haltung.

Anschliessend an das Live-Stück "Red Flag Prelude" werden wir "archiv(aus)lesen" hören, welches das aktuelle Verhältnis von Radio, Beteiligung, Autorschaft und Publikum befragt. "archiv(aus)lesen" ist Teil einer Audio-Installation, für die das Hörspielmanuskript "Hören Sie mich?" von Otto Höschle (SRF 1981) aus dem Archiv des Bayrischen Rundfunks einer Re-Lektüre unterzogen wurde. Es konstituiert sich durch eine einzige Sprecherstimme, die immerwährend versucht, das Verhältnis zu einem fiktiven Publikum zu definieren. In der partizipativen Audio-Installation liess der Künstler nun das Manuskript Wort für Wort durch die BesucherInnen neu einlesen. So entstand ein kollektives, neues Hörstück, das dem Publikum aus seiner Sprachlosigkeit nun eine vielstimmige Sprachermächtigung ermöglicht und dadurch aktuelle Fragen nach Autorenschaft, Öffentlichkeit und Mitbestimmung evoziert.

-

PROGRAMM

20:30 Uhr Türöffnung
21 Uhr "Red Flag Prelude" live interpretiert von Alexander Tuchacek
ca. 22 Uhr "archiv(aus)lesen" live über Radio Bayrischer Rundfunk 2 hör!spiel!art.mix

Die Corner Cuisine bereitet einen kleinen Snack für den Abend zu.

Der Abend wird live über einen Fm-Transmitter ausgestrahlt. Zur Tonverstärkung ist das Mitbringen von tragbaren Radios erwünscht.


Posted by Stefan Wagner

Diskussion
Skein. Ein verknäueltes Gespräch über das Fleisch der Kulturpolitik, Unabhängigkeit und Wissen in Kristallen
Stefanie Knobel
 


...


Stefanie Knobel arbeitet zurzeit an einer choreographischen Recherche, die sie mit „Skein“ überschrieben hat. Skein ist ein Stück Garn, ein Wollstrang, der für die Weiterverfertigung bereit steht. Gleichzeitig ist Skein etwas Suggestives, eine inkohärente Sukzession von Wörtern, aber auch eine Herde Gänse, die sich zum Flug auf einer Reihe aufgestellt haben. In der Mathematik bezeichnet man damit einen Algorithmus oder eine verwickelte und komplexe Materialmasse.

Stefanie Knobel und Stefan Wagner debattieren in Anlehnung an minimalistisch/konzeptuelle Bestrebungen im Tanz, wie sie beispielsweise Yvonne Rainer 1968 in A Quasi Survey of Some „Minimalist“ Tendencies in the Quantitatively Minimal Dance Activity Midst the Plethora, or an Analysis of Trio A “formulierte, die umstrittene Frage der Unabhängigkeit. Der Präsentation des Rechercheergebnisses wird dabei das erlebte Wissen in Kristallen aufzuspüren gegenübergestellt. Wie stark normalisierend können die (minimalistisch-)modernistischen Bestrebungen von „Neutralität“, Einheit und Autonomie der Form auf die Wahrnehmung und den Umgang mit Körper, Energiefluss der Bewegung und Distribution von Raum und Zeit wirken? Welche Bilder von Souveränität bilden sich und welchen Einfluss haben diese auf die gegenwärtige Kulturpolitik? “Skein” versucht eine dichte Beschreibung, in der sich das Problem der Selbstreferentialität im Tanz mit Fragen der Kulturpolitik sowie mit Praktiken des Kristallsuchens verstricken und Abhängigkeit somit ins Zentrum der Diskussion stellen.

Vielen Dank an Jasmin Wiesli und Irina Müller. Die Recherche wird von Kultur Stadt Zürich unterstützt

Posted by Stefan Wagner

Ausstellung / Buchvernissage
Beobachtung und Überwachung
Christof Nüssli, Christoph Oeschger, Miklós Klaus Rózsa
 


...


Die Ausstellung "Beobachtung und Überwachung" basiert einerseits auf Fotografien von Miklós Klaus Rózsa (*1954) und anderseits auf die über ihn in jahrelanger Überwachung (1971–1989) erstellten Staatsschutzakten der Bundespolizei, Kantonspolizei und Stadtpolizei Zürich. Das verwendete Material stammt vollumfänglich aus dem persönlichen Archiv von Rózsa, bewusst wurde auf die Verwendung von Bildern und Staatsschutzakten aus anderen Quellen verzichtet. Christof Nüssli und Christoph Oeschger, welche die Ausstellung organisieren und dazu ein Buch herausgeben, wollen am Beispiel einer Einzelperson die Tragweite der gesamten Bewegung und Gegenbewegung fassbar machen.

Dies war in dieser Form nur mit dem Archiv von Klaus Rózsa möglich, das seine Fotografien und die ihn betreffenden Staatsschutzakten beinhaltet. Diese Doppelperspektive, ist faszinierend, die Tatsache, dass beide Seiten von demselben Ereignis berichten, aber dieses jeweils anders schildern. Basierend auf der Idee der autonomen Berichterstattung, erstellte der Fotograf und politische Aktivist Rózsa ein umfangreiches Bildarchiv, welches in verschiedensten Szenepublikationen, Flugblättern und in der Presse Verwendung fand. Neben dem dokumentarischen Gehalt der Bilder war für Rózsa das Fotografieren immer auch ein politischer Akt. Rózsa schoss mit der Kamera zurück, versuchte Spitzel zu enttarnen und hielt die Brutalität der Polizei fest. Aus den Akten ist herauszulesen, wie empfindlich die Polizei auf diese Rückbespitzelung Rózsas reagierte. Seine Sicht auf die Ereignisse formuliert Rózsa außerdem in einem für die vorliegende Publikation entstandenen Erlebnisbericht. Die Staatsschutzakten bilden das Gegenstück zu den Fotografien. Sie enthalten Karteikarten, schweizerisch „Fichen“ und Dossiers. Diese bestehen aus Polizeirapporten, Mitschriften von abgehörten Telefonaten, Fotografien, Zeitungsausschnitten, Flugblättern und Filmaufnahmen. Das Collagieren der beiden Quellen ergibt neue Bilder, die die Geschichte einer bewegten Zeit aus zwei Perspektiven erzählen.


...


The exhibtion "Observing and Surveillance" with comes along with a book consists photographs of political activist Miklós Klaus Rózsa (born 1954) from 1971 to 1989 as well as state security files on Rózsa, as reported by the Federal Police, the Cantonal Police, and the Zurich Police Department. The use of pictures and state security files from other sources has been intentionally excluded as the curators Christof Nüssli and Christoph Oeschger intent is to make the scope of the whole movement and counter movement tangible through one exemplary individual. This single-sourced form was only to be made possible through the comprehensive archive of Klaus Rózsa. The duality is fascinating, the fact that both sides subjectively report about the same event, but in quite different ways.

Motivated by autonomous reporting, Rózsa assembled an extensive picture library which was used for all kinds of publications in the scene, for leaflets, and press materials. Besides the inherent documentary value of the images, Rózsa considered his photography to be a political act. Rózsa “shot back” with his camera, trying to uncover informants and to capture police brutality. The files reveal the sensitive ways in which the police reacted to Rózsa’s counter-spying. Rózsa also formulated his view of the events in a personal essay specifically written for this publication.

-

Eröffnung und Buchvernissage / Opening and book launch:

Freitag 14. Februar, 19 Uhr
Friday February 14th, 7pm

-

Öffnungszeiten Ausstellung / Opening hours exhibition

Do-So 14-19 Uhr
Th-Su 2-7pm

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Weitere Veranstaltungen / Events during the exhibtion

19.2.14
Lesung "entgegen gegenteiliger Angaben"
mit Karin Sarah Ley, Gianna Molinari, Werner Rohner

20.2.14.
Präsentation "Sozial-, Aufwertungs- und Stadtmanagement - Urbane Sicherheitsarchitektur im 21. Jahrhundert"
mit Walter Angst

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Weitere Informationen zur Publikation über Miklós Klaus Rózsa sind im Verlag von Christof Nüssli und Christoph Oeschger zu finden.

Find more details about the publication of Miklós Klaus Rózsa on Christof Nüssli and Christoph Oeschgers press.

http://www.cpress.ch

Posted by Stefan Wagner

Lecture
Alfred Gell on Art
Adam Jasper
 


...


Writing rapidly, in the last year of his life, and conscious of a terminal illness, the distinguished anthropologist Alfred Gell developed a highly original approach to the anthropology of art. The topic had been neglected for over a century, in spite of the fashion for primitivism within the art world, as anthropology had focused its attention on questions such as kinship systems. What Gell suggested was an approach called "methodological philistinism", by which art is treated not so much as an expression of genius or cultivated taste, but rather as a field of animism and ritual. His approach, as laid out in the posthumous "Art and Agency" (1998) has sweeping implications for questions of the role of aesthetics, the marginality of ornament, and cross-cultural theories of art. A resurgence of interest in Gell's work is currently to be seen in anthropology, and his work is increasingly being applied in other fields. This lecture will introduce "methodological philistinism", abduction, agency, and ornament, with the aid of pictures, explain their importance, and show how Gell's theory might be used to resolve or aggravate some contemporary controversies in the fine arts.


...

Posted by Stefan Wagner

Ausstellung
Trouble Boy
Archives and Collections of

Markus Edelmann, Steven Shearer, Martin Stricker, Supernaught
 


...


Gesellschaftliche Randständigkeit und Gewaltphantasien gehörten zur Pose und Lebenshaltung der kulturellen Szene rund um den Heavy Metal, der sich in den späten 70er Jahren formiert hat. Diese Bewegung, die die kleinbürgerlich christlichen Werte zu erschüttern versuchte, stellte sich in einer spielerischen Inszenierung mit archaisch-kriegerischen Outfits und Gesten dar, in einer Zeit, in der Zensur das politische Klima in Ländern wie England und den USA prägte.

Das Männerbild in dieser Counter-Culture zeichnete sich im Vergleich zu dem der vorgängigen Hippiebewegung durch Aggressivität, Kraftdemonstration und Autodestruktion aus.
Gerade durch diese Eigenschaften stellten sich die Männer dieser Szene wieder mit geschlechterspezifischen Attributen dar und rückten sich in Abgrenzung zur Frau in den Mittelpunkt. Dass dabei der „Misfit“ zum Idol gemacht wurde, dockt an die heutigen gesellschaftlichen Debatten und Identitätsfragen rund um den jungen Mann an und bietet Gelegenheit, männliche Aggression und Obession in der bildlichen Darstellung zu thematisieren.



„Trouble Boy“ ist eine Ausstellung über Archivmaterial und Sammlungen, die das Männerbild im Dunstkreis der Heavy-Metal-Szene auslotet. Zwei Schweizer Musiker aus dem Genre, Martin Stricker alias Martin Eric Ain, Bassist der Deathmetal-Ikone Celtic Frost und Marky Edelmann, alias Marquis Marky, Schlagzeuger der eben wiedervereinigten Schweizer Thrashmetalband Coroner, treffen auf den international agierenden, kanadischen und der Metalszene verpflichteten Künstler Steven Shearer. Diese drei sich persönlich honorierenden Bekannten breiten nun zusammen ihre Archive aus und treffen sich dabei nicht nur in der Leidenschaft zum Heavy Metal, sondern auch in ihrer Affinität zum Ansammeln von Erinnerungsstücken und Insignien ihrer Szene.



Phantasies of violence and marginality belong to the attitude of the Heavy Metal scene which was founded in the late '70s. This movement broke with the rules and morals of the christian middle class in their reenactment of archaic-warrior representations and gestures at a time when censorship started to have a political impact especially in the UK and the US. In opposition to the male role model of the hippies, Heavy Metal staged aggression, destruction and demonstration of power.

Thereby men could once again distiguish themselves from women by referring to gender-related attributes. This worship of the „misfit“ adopted in today's debates about male identity offers the opportunity to bring up subjects associated with male aggression and obsession in visual culture. "Trouble Boy" is contextualized in the socio-cultural milieu of gender and Metal through the display of archives and memorabilia of artists and musicians.

Two Swiss musicians from the genre, Martin Stricker aka Martin Eric Ain, a bassist for the iconic Death Metal band Celtic Frost, and Marky Edelmann, aka Marquis Marky, a drummer for the newly reunited Swiss thrash metal band Coroner, met Steven Shearer, the internationally active Canadian artist committed to the metal scene. These three individually accomplished acquaintances are now developing their archive together and are connected not only by the passion for heavy metal, but also in their affinity for accumulating memorabilia and insignia from this scene.

-

Programm Eröffnung/Opening

18 Uhr Türöffnung/Door opens
20 Uhr Reading Poems from Steven Shearer by Martin Stricker

oder ausserhalb der Öffnungszeiten nach Vereinbarung unter +41 78 722 36 31
-

Öffnungszeiten/Opening hours

Do-Fr/Th-Fr 16 - 19 Uhr
Sa 14 - 18 Uhr

or outside opening hours by appointment contact +41 78 722 36 31
-

"Trouble Boy" ist ein Ausstellungsprojekt von Pascal Häusermann in Unterstützung von Corner College. "Trouble Boy" is an exhibtion project from Pascal Häusermann with support from Corner College.


Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


During this Theory Tuesdays session, "Radical Museology, or, What's Contemporary in Museums of Contemporary Art?" by Claire Bishop will be presented and discussed.

"In Radical Museology, New York-based art historian Claire Bishop argues that the incommensurability of fiscal and cultural temporality--one fast, the other slower--points to an alternative world of values in which museums (and by extension, culture, education and democracy in general) are not subject to the banalities of a spreadsheet, but enable us to access a rich and diverse history, to question the present and to realize a different future. She discusses creative solutions implemented at the Van Abbemuseum in Eindhoven, the Museo Nacional de Reina Sofía in Madrid and MSUM in Ljubljana. This book is a manifesto for the importance of a politicized representation of the contemporary in today's art." -Book Cover

It's encouraged that you read the (short) book beforehand, to participate in the discussion.

The discussion will be held in English.

Posted by Philip Matesic

Exkursion
Geld spielt keine Rolle
Maria Guggenbichler, Rosalie Schweiker
 


Posted by Stefan Wagner

Buchvernissage / Diskussion / Lecture
Future History
Eiko Grimberg
 

In den 1930er Jahre entstanden in Italien Bauwerke, die dem Razionalismo, also etwas vereinfacht gesprochen der italienischen Variante des Internationalen Stils zuzuordnen sind. Heute sind diese Gebäude ihrer ideologischen Bedeutung enthoben, nicht aber ihrer funktionalen. Sie sind weiterhin Postämter, Bahnhöfe, Kindergärten oder Ministerien. Wohin verschwinden die alten politischen Konnotationen in der postfaschistischen Gesellschaft? Sind die Zeichen noch die gleichen, bedeuten nur etwas anderes oder sind sie leer und wieder arbiträr geworden? Aber willkürlich waren sie doch schon immer. Eiko Grimbergs Buch "Future History" (Kodoji Press, 2013) spricht über Architektur, die den ideologisch-politischen Rahmen, dessen Produkt sie einst war, überlebt hat. Eine Untersuchung der Form und ihres politischen Gebrauchs.


...


Anschliessend an die Präsentation findet ein Gespräch zwischen Eiko Grimberg und Stefan Wagner (Corner College) statt. Unsere Bar steht mit kleinen Häppchen später offen.

Wir freuen uns auf Ihren Besuch!

Eiko Grimberg, Winfried Heininger (Kodoji Press), Corner College-Team



Posted by Stefan Wagner

Diskussion / Lecture
Record Sales & Digital Scales
A conversation about American rap music and how commerce, technology and classism is changing its face

Andrew "Noz" Nosnitsky
 


Gunplay


Though hip hop music and culture was first born on the poverty stricken streets of the Bronx, it's spread across demographics in the four decades since. Mostly this has been to the betterment of the culture, though recent shifts in the media and music industries have resulted in a widening of the gap between rap's haves and its have nots. Join us for a conversation about American rap music and how commerce, technology and classism is changing its face.

Posted by Stefan Wagner

Vortrag
Wem gehören die Plakatwände?
Whose Billboards?

Christian Hänggi
 


Plakatwand in São Paulo


Wer im öffentlichen Raum legal etwas kundtun möchte, ist auf Plakatwände angewiesen. Doch wem gehören die Plakatwände? Und wem gehören diejenigen, denen die Plakatwände gehören? Woher kommt das Geld und in wessen Taschen fliesst es? Wie viel fällt für das Gemeinwesen ab? Wie viel Steuern bezahlen die Plakatgesellschaften in der Stadt Zürich? Welche Gesetze regeln Plakatwerbung? Wie steht die Stadt dazu? Und welche neuen Werbeformen werden auf uns zukommen?

Zum Geschäft mit der Aussenwerbung herrschen oft diffuse oder gar romantische Vorstellungen. Dieser Vortrag präsentiert Fakten, die der Allgemeinheit wenig bekannt sind, und will so die Diskussion um die Aufgaben und Rolle der Aussenwerbung anregen und auf eine sachliche Grundlage stellen. Christian Hänggi schöpft dabei aus dem Wissen, das die IG Plakat | Raum | Gesellschaft in den letzten sieben Jahren angesammelt hat.

ACHTUNG: AUFGRUND EINER TERMINKOLLISION WIRD DIE
VERANSTALTUNG IM GEMEINSCHAFTSRAUM KANZLEISTRASSE AN DER SEEBAHNSTRASSE 201 DURCHGEFÜHRT.

- - -

To legally spread a message in public space, one has to take recourse to billboards. But who owns the billboards? And who owns the owners of the billboards? Where does the money come from and in whose pockets does it end up? How much goes to the community? How much tax do the outdoor advertising companies pay in Zurich? Which laws regulate outdoor advertising? What is the administration’s position? And which new forms of advertising are we going to face in the future?

Often, when it comes to the outdoor advertising business, vague or even romantic ideas prevail. This talk will present facts little known to the general public and aims at kindling the discussion around outdoor advertising as well as putting it on a firm footing. Christian Hänggi will draw from the knowledge accumulated throughout the seven years the anti-billboard group IG Plakat | Raum | Gesellschaft has been in existence.

PLEASE NOTE: DUE A DATE COLLISION THE EVENING TAKES PLACE AT GEMEINSCHAFTSRAUM KANZLEISTRASSE AT SEEBAHNSTRASSE 201.

-

Diese Veranstaltung findet im Rahmen von Wem gehört Zürich? statt. Alle Interessierten sind herzlich eingeladen auch mit ihren Fragen teilzunehmen.



Posted by Stefan Wagner

Diskussion
Destination Kultur
Peter Spillmann, Andrea Thal, Stefan Wagner
 


http://jensorensen.com


Bald wird in Zürich das 100-Jahre-Dada-Jubiläum gefeiert und man wünscht sich nichts sehnlicher von der künstlerischen Leitung der kommenden Manifesta 11, als dass sie der Zwinglistadt endlich mal auf den Zahn fühlt. Was aber soll man davon halten, wenn der globale Kunsttross in Zürich halt macht? Was verbirgt sich hinter dem Brand „Kunststadt Zürich“? Wie werden die Rollen im Global Art Game verteilt und wer legt bei diesem Spiel (zu)meist oben drauf? Und was hat das überhaupt mit Zürich Altstetten und der sogenannten Aufwertung zu tun?
Es interessieren folglich mehr Fragen als Antworten. Die Veranstaltung findet im Rahmen von Wem gehört Zürich? statt. Alle Interessierten sind herzlich eingeladen auch mit ihren Fragen teilzunehmen.

In 2016, the 100-year anniversary of Dada will be celebrated in Zurich. Many are in high hopes that the artistic direction of Manifesta 11 – which is also taking place in 2016 – will critically examine and challenge the „Zwinglistadt“. What should one think when the circulating carousel of global art community makes a stop in Zürich? What lurks in the shadows when a city, such as Zürich, is branded an „Art City”? On this occasion how will the pieces of the Global Art Game be locally distributed? Who will come out on top? Finally, what does this celebration have to do with the upcoming increases in property and culture “value” in the Altstetten quarter of Zürich?
These questions and many more are part of a discussion titled Wem gehört Zürich? – a cooperation of different organizations based in Zürich discussing urban changes. You are cordially invited to join us on this evening to participate in the discussion. The conversation will be held in German.

Posted by Stefan Wagner

Präsentation
under my skin… under your skin
Baptist Coelho
 


Screening Ladakh Arts and Media Organisation (LAMO), Leh-India


Indian artist Baptist Coehlo will present several videos out of the selection "under my skin... under your skin" (compiled by Lina Vincent Sunish). The selection will give a deeper insight in Coehlo's interests and art practice that is based on personal research with collaborations from various cultures, geographies and histories. These works begin to take on the form of human-shaped media-landscapes and often contend with conflict, emotion, culture, gender, history and the environment.

Corner College will open the kitchen at 7pm, screening starts at 7:30pm followed by a talk with Stefan Wagner. Please feel free to join us for a insight and chat with Baptist Coehlo. Talk in English language.

Posted by Stefan Wagner

- - -
Demonstration WEM GEHÖRT ZÜRICH?
Wem gehört Zürich?
 




Corner College unterstützt "Wem gehört Zürich?", einem Zusammenschluss verschiedener Organisationen, die sich für bezahlbaren Wohnraum für alle, wirksamen Mieterschutz, bezahlbaren Raum für Gewerbe und Kultur, Freiräume und Selbstverwaltung einsetzt und sich gegen Verdrängung und eine Stadt der Kapitalinterssen engagiert. Kommen Sie an die Demonstration am Samstag 26.10.2013. Start um 14 Uhr bei der Gemüsebrücke beim Rathaus. Mehr Infos sind hier Wem gehört Zürich? zu finden.

Am Montag 18.11.13 führt Corner College im Rahmen von Wem gehört Zürich? ein Gespräch mit dem Künstler/
Kunstwissenschaftler Peter Spillmann, Andrea Thal von *Les Complices und Stefan Wagner von Corner College unter dem Titel Destination Kultur durch.

Posted by Stefan Wagner

Performance
Introduction to Interstellar Travel: Corner-College
Zoe McCloskey
 


...


"We are entering a new era, limited mostly by our imaginations."
Dr. Craig Venter (creator of the first synthetic genome)

In "Introduction to Interstellar Travel: Corner-College" the audience is invited to engage with scientific primacy in a pedagogical fantasy. Both audience and artist assume the role of synthetic beings of the future, built entirely from digital codes. The artist, Zoe McCloskey, takes the role of an anthropology professor and digital historian, teaching a class (the corner college audience) to travel interstellarly in the archaic form of a computer screensaver. The premise being, that in order to learn about ourselves as digital beings “now,” we travel (as interstellar screensavers) to worlds that are in a similar state of digital infancy as organic earth "was," circa the early 2000's.

While the amalgam of the lecture's contents maintain a fanciful illusion, all information relayed to the "class" is a direct appropriation of peer reviewed science studies featured in contemporary science anthologies, including "Neuroscience of Creativity" (MIT Press: 2013) and "From Groups to Individuals: Evolution and Emerging Individuality" (MIT Press: 2013) and/or is derived from current writings and lectures by notable living scientists and science scholars; specifically, geneticist Craig Venter, historian George Dyson, physicist Karen Barad, theorist Elizabeth Grosz, meme scholar Susan Blackmore, cognitive psychologist Eleanor E Rosch, and computer scientist Paul S Rosenblum.

Recurring themes in "Introduction to Interstellar Travel: Corner-College" highlight the potential roles for individual autonomy, genetic manipulation, and creative individuality in the biological and digital future.

In-character participation is encouraged!

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

"Ambiguity: Do Something Not To See Anything" Workshop




During this Practical Fridays session, Christina Zimmermann will perform a collective experiment in "ambiguity perception." Ambiguity presents a perfect test case for the investigation of the self-organizing processes in the brain.

Departing from experimental practices in Gestalt psychology and Cognitive Science, participants will be asked to react to Rorschach inkblot images, which are commonly used in personality tests: "Do something not to see anything."

Please dress suitably for this workshop, as we will be working with a variety of paints.

Posted by Philip Matesic

Lesung
Schaum
Joanna-Yulia Kluge
 


...


Bei dem Debütroman "Schaum" von Joanna-Yulia Kluge handelt es sich um die Geschichte der Isabelle Frey, die mit XY Chromosomen auf die Welt gekommen ist. Das Buch beruht auf wahren Begebenheiten und zeigt authentisch und gefühlvoll den Weg einer Methamorphose auf, um Liebe und Freiheit zu erfahren. - Letztlich aber beruht der Roman auf der Figur des gebrochen Herzens der Protagonistin, was wiederum eine Anlehnung an Hans Christian Andersen Märchen Die Kleine Meerjungfrau ist. Der Roman offenbart also zeitgleich die Grenzen einer Metamorphose und hinterfragt subtil, ob die Identitätssuche im falschen Körper sich wirklich auf Geschlechterrollen bezieht und damit die Frage: "bin ich Mann oder Frau?". Oder ob diese Frage wegfällt, gar nicht besteht, weil das Bewusstsein von Geburt an weiblich ist, einfach das biologische XY ein lebenslängliches Gefängnis, eine "Behinderung" bildet, die es mit Hilfe der Medizin zu verringern gilt, um freier, uneingeschränkter Leben zu können.

Die Autorin Joanna-Yulia Kluge wird aus ihrem eben erschienen Roman lesen und anschliessend Fragen beantworten.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Torrent – Source Material, Artist Contributions, Conversations




The new art bulletin "Torrent" will be the matter in hand for this Theory Tuesdays session. Launched in May 2013, Torrent is published by the Burger Collection and edited by Daniel Kurjakovic and Linda Jensen.

Co-editor Linda Jensen will give an hour-long polyphonous and juxtaposing glance into the editorial content of Torrent No. 1. The multimedia presentation will section in on five to six features. In the mix will be behind-the-scenes documentation (with unpublished sound files, scripts and photos), as well as screened excerpts of video/filmic works, by artists featured in Torrent.

The presentation will be held in English.

For more information check here: http://ithinkitrains.org/2013/07/24/torrent/

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


ODEM, The Stylism Alphabet, 1996


During this Theory Tuesdays session, Rémi Jaccard will be presenting the essay "Stylewriting" by Scum, Cheech H and Techno 169.

Stylewriting is a thorough analysis of the alphabet and its use by graffiti writers. Characterising every letter as well as different forms of putting them together from tag to wildstyle this text gives a very structured overview of American graffiti. The authors – all writers themselves – try to explain the esthetics of style and their approach to it. In a culture usually distrusting theoretical debates, this 1996 essay is a rare exception.

It's encouraged that you read the essay beforehand and the session will be held (mostly) in German.

> Stylewriting - Deutsch

Posted by Philip Matesic

Performance
The Art of not Knowing
Pawel Kruk
 


...


I am arriving in San Francisco on Sunday, October 20, 2013. Feel free to meet me at the San Francisco International Airport. I am scheduled to arrive at 16.15 on a direct flight #LX 38 from Zurich operated by Swiss.

Will you come? I don't want to know. I want the insecurity of not knowing. This is what performers feel before a performance.

Please scribe my name on a piece of paper so I can find you in the crowd.

Posted by Stefan Wagner

Performance
The Art of not Knowing
Pawel Kruk
 


...


I am arriving in Zurich on Thursday, October 17, 2013. Feel free to meet me at the Zurich Airport. I am scheduled to arrive at 8.25 on a direct flight #LX 737 from Amsterdam operated by Swiss.

Will you come? I don't want to know. I want the insecurity of not knowing. This
is what performers feel before a performance.

Please scribe my name on a piece of paper so I can find you in the crowd.

Posted by Stefan Wagner

Performance
The Art of not Knowing
Pawel Kruk
 


...


I am arriving in Amsterdam on Monday, October 7, 2013. Feel free to meet me at the Schiphol Airport. I am scheduled to arrive at 19.10 on a direct flight #LX 734 from Zurich operated by Swiss.

Will you come? I don't want to know. I want the insecurity of not knowing. This is what performers feel before a performance.

Please scribe my name on a piece of paper so I can find you in the crowd.

Posted by Stefan Wagner

/ Personal Collections
Der Quartierfotograf
Eugen Dahinden
 

Ein Diavortrag.

Eugen Dahinden (Jahrgang 1920) hat über 60 Jahre hinweg Veränderungen in den Luzerner Quartieren Seeburg, Würzenbach und Büttenen fotografisch festgehalten. Bereits seit Beginn der 1950-er Jahre im Quartier wohnhaft, begann er 1977 damit, die Umgebung systematisch zu dokumentieren. Ergänzend hat er aus privaten Fotoalben, Archiven oder aus Büchern Bildmaterial über die Quartiere gesucht und seinen eigenen Aufnahmen gegenübergestellt.
Daraus ist eine Sammlung entstanden die bildlich zeigt, wie aus einer ländlichen Gegend allmählich ein städtisches Aussenquartier entstanden ist.


Blick vom Balkon der Familie Dahinden, 1958 und 1990

Posted by Corner College Collective

Performance
The art of not Knowing
, Pawel Kruk
 




I am arriving in Zurich on Monday, September 30, 2013. Feel free to meet me at the Zurich Airport. I am scheduled to arrive at 15.40 on a direct flight #LX 39 from San Francisco operated by Swiss.

Will you come? I don't want to know. I want the insecurity of not knowing. This is what performers feel before a performance.

Please scribe my name on a piece of paper so I can find you in the crowd.

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 


...


“Civilization begins with distillation.” -William Faulkner

During this Practical Fridays workshop Philip Matesic will demonstrate how to mix three unique drinks, along with a series of bartending tricks that one can use at home or in a party situation. After the demonstration, it's encouraged that everyone participates in bottle flipping, drink mixing, orange flaming and cocktail tasting.

The workshop will be held in English and is strictly limited to 15 participants. There will also be a 20 CHF workshop fee, per person, to cover the cost of alcohol and supplies.

! ! ! ! ! ! ! THE WORKSHOP IS CURRENTLY BOOKED ! ! ! ! ! ! !

PLEASE SEND A MAIL TO: theorytuesdays@gmail.com IF YOU WOULD LIKE TO BE PUT ON A WAITING LIST.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Still from “The Beauty of My Island – Shooting Klaus Lutz”


During this Theory Tuesdays session, Ian Rodney Wooldridge will be screening the documentary film “The Beauty of My Island – Shooting Klaus Lutz” directed by Frank Matter.

In August 1999, Klaus Lutz collaborated with filmmaker Frank Matter on a documentary about his work. For ten days, they locked themselves up in Lutz’s apartment in New York’s East Village to create the film. Klaus Lutz is a unique filmmaker who creates a visual universe completely his own.

«The Beauty of My Island – Shooting Klaus Lutz» is a silent examination of an artist’s unique working process, a playful, charming, and in its own way often funny reflection on illusion and perception, movement and speed, light and darkness, shape and color, film and video.

Duration: 33 minutes
Production: Switzerland/USA (1999)
Language: English​

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this Theory Tuesdays session, Christoph Brunner will be presenting the essay "Collective Desire and the Pathology of the Individual" by Jodi Dean from the book "The Psychopathologies of Cognitive Capitalism: Part One" edited by Arne De Boever and Warren Neidich.

In her essay, Dean investigates the relation between what she calls the pathological conception of the individual as form (similar to the commodity as form) and the potential for emergent collective desires. For Dean, collective desire should become a want for dissensual collectivity and differential activity, beyond the pathology of the individual.

It's encouraged that you read the essay beforehand.

> Collective Desire and the Pathology of the Individual

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

"Print-Renaissance"-Renaissance




„Print-Renaissance“: Der Begriff, der den Umgang der amerikanischen Avantgarde der 1960er mit „Print“ bezeichnet, scheint heute wieder von höchster Aktualität zu sein.

So wie damals durch einzelne künstlerische Positionen (Jasper Johns oder Andy Warhol) und Druckwerkstätte („Tamarinde Workshop“ oder „Gemini Ltd.“) das Medium der Druckgraphik in Bewegung kam – in der (erweiterten) Schweiz stehen hierfür mit geringer zeitlicher Verzögerung Dieter Roth oder Urs Lüthi und Druckwerkstätte wie die von Urban Stoob oder Peter Kneubühler –, so lässt sich heute in der Schweiz und international beobachten, wie vielfältig und höchst innovativ wieder mit dem Medium gearbeitet wird. 

Mara Züst wird an diesem Abend eine Übersicht der Themen liefern, welche sie im Rahmen einer Arbeit zum Thema begleiten. Gleichzeitig möchte sie mit den Teilnehmenden mögliche Formen einer "Print-Renaissance"-Renaissance diskutieren.

In deutscher Sprache.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this Theory Tuesdays session, Daniel Morgenthaler will be screening and leading discussion about the film "The Pervert’s Guide to Cinema.“

SYNOPSIS: "The Pervert’s Guide to Cinema“ takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, acclaimed philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humor.

The screening will begin promptly at 8pm. The film will be in English with German subtitles.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this Theory Tuesdays session,​ Stefan Wagner will be presenting the chapter "The Creation of the Urban Commons"​ from the book ​"​Rebel Cities: From the Right to the City to the Urban Revolution“ by David Harvey.

​"Rebel Cities places the city at the heart of both capital and class struggles, looking at locations ranging from Johannesburg to Mumbai, from New York City to São Paulo. Drawing on the Paris Commune as well as Occupy Wall Street and the London Riots, Harvey asks how cities might be reorganized in more socially just and ecologically sane ways—and how they can become the focus for anti-capitalist resistance." -Book Cover

It's encouraged that you read the chapter beforehand and the session will be held in English.

> REBEL CITIES - David Harvey

Posted by Philip Matesic

Each One, Teach One
Practical Fridays
Philip Matesic
 




During this Practical Fridays session, Dan Krusi will teach us "How To Land An Aircraft In An Emergency". This session will take place in Dan's attic, where he has built a fully featured two-seat cockpit and flight simulator.

There will be a short introduction to flight theory, followed by a practical landing attempt by everyone who dares to climb into the cockpit.

IMPORTANT! We will meet at Nussbaumstrasse 8, 8003 Zürich at 8pm.

If you would like to participate in this Practical Fridays session, please send an RSVP to dan.krusi@nerves.ch.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Theory Tuesdays


During this Theory Tuesdays session, Matthias Neumann and Philip Matesic will be coordinating a long-distance Skype discussion between Zürich and Grand Rapids, Michigan.

The occasion is the "The People's Library at the Public Museum", a project by Matthias Neumann, hosted by Site:Lab as part of their ArtPrize exhibition “The Not Yet” that recently opened in Grand Rapids. The exhibition displays the evolving library that was part of the Occupy Wall Street movement. We will be reading one text that relates to the exhibition title and one text from this library itself, and then having a long-distance discussion together.

This session will be held in English and will start promptly at 7pm.

> Text Stuart Leonard
> Text Duration

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Occupy Everything


To kick-off the Fall season of Theory Tuesdays, Philip Matesic will briefly present and lead discussion around the text "Open Call: Art, Democracy and the Culture of Consensus" by David Geers.

G​eers defines a​ "c​ulture of ​consensus" as ​"A culture predicated on interactivity that promotes an atmosphere of democracy while it, in fact, subdues us with the illusion of choice and collective agreement."

His essay addresses how an interactive society presents itself within and influences social movements, politics, pop culture and art. Geers's essay appeared in issue number 17 of Fillip, a Vancouver-based publication on art and culture.

This session will be held in English and it's encouraged that you read the essay beforehand.

> Open Call - David Geers

Posted by Philip Matesic

Ausstellung
Allergy to Feathers & Cream
Ian Rodney Wooldridge
 


...


Allergy to Feathers & Cream is the concluding chapter of a larger body of work by artist Ian Rodney Wooldridge. This concluding chapter reflects on camp superfluous intuition and human physiology.

The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity.

Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

Posted by Stefan Wagner

Ausstellung
Lady Boy Snooker Match
Ian Rodney Wooldridge
 




Lady Boy Snooker Match is the third of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge. The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening. This third chapter plays with gender, material fetishism and game strategies.

Following the third chapter:

Allergy to Feathers & Cream 16.11.13

Posted by Stefan Wagner

Ausstellung
Sexual Orchid & the Marimo Foot Bounce
Ian Rodney Wooldridge
 


...


Sexual Orchid & the Marimo Foot Bounce is the second of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge. The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity. Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

This second chapter thematically derives from subtle erotic bouncing rhythms in nature.

Following chapter two are:

Lady Boy Snooker Match 06.09.13
Allergy to Feathers & Cream 16.11.13



Posted by Stefan Wagner

Workshop
Performing Surfaces: notating the extremities of intensity
Nicole De Brabandere
 


...


Using techniques of pencil drawing in conjunction with the 'Universal Pain Assessment Scale' and clay modeling, this workshop will engage in notating the sensations of everyday surfaces. The sensory registers of tactility, weight and felt resistance and the specific surface character of the surfaces being notated will morph into a hybrid sensory representations of the body. This approach to drawing and modeling is dramatically different from typical figurative representations that reduce the body to impermeable outlines. Moreover, these sensation techniques lend a great deal of complexity and multiplicity to how sensations can be described and felt as compared to conventional analytic parameters that only measure sensation according to a linear scale of intensity. The sensory notation techniques that we will explore and develop in the workshop will instead instigate a complex, generative and relational approach to conceptualizing embodied experience.

Workshop starts at 2pm and takes 3 1/2 hrs. Please wear clothes that can get dirty (or bring a skirt).

A detailed examination of De Brabandere's research processes can be found on the Research Catalogue and on her website.

Posted by Stefan Wagner

Symposium
INTERVENTIONS (II)
A philosophical symposium with work and work in progress by international scholars and thinkers

Cara Judea Alhadeff, John Calvelli, Balz Isler, Deneige Nadeau, Peter Price, Dennis Schep
 


...


Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Interventions thrives on the unexpected juxtapositions and clashes that result from addressing a wide range of philosophical and political issues such as autonomy, economy, finitude, aporias, capitalism, and many more. Interventions does not limit itself to a specific discipline and welcomes all intriguing papers from Switzerland and abroad.

- - -

SCHEDULE

Time

14:30 TBA. Peter Price

15:15 first person view: overserving. imitating. implying. imagining. Balz Isler

16:00 A Bibliography of Emotions. Deneige Nadeau

16:45 Hard Eyes, Myopic Eyes and Weeping Eyes: Cixous and Derrida. Dennis Schep

17:30 Vulnerability as Quotidian Intervention. Cara Judea Alhadeff

18:15 Preparing for the Bottleneck: Wall-E and the Management of Human Finitude. John Calvelli

19:00 and onward: barbecue at Corner College

For detailed program see below.

- - -

After the first INTERVENTIONS at end of May this will be the second edition organized by Christian Hänggi at Corner College.

> Program

Posted by Stefan Wagner

Buchvernissage / Konzert
Every Day a Drawing / A Day A Beat
, Julian Sartorius, Paula Troxler
 

Paula Troxler zeigt Tafelbilder aus ihrem Tageskalender.
Julian Sartorius spielt live aus seinem Beat Diary.

Ab 16 Uhr Vernissage
Every Day a Drawing
Daily Calendar Part 2 / 2013
Paula Troxler

17 Uhr Konzert
A Day A Beat
Julian Sartorius (dr)

Dazu wird gegrillt!




Every Day a Drawing von Paula Troxler ist ein fortlaufendes Projekt. Die einzelnen Kalenderblätter von 2013 zeigen Zeichnungen, welche 2012 am exakt gleichen Tag entstanden sind. Manche Zeichnungen nehmen Bezug auf das Tagesgeschehen, manche auf persönliche Erlebnisse und andere sind kleine bizarre Ideen des Tages. Der Tageskalender gibt Paula Troxler im Halbjahresrhythmus im Eigenverlag heraus.

A Day A Beat war ein tägliches Projekt von Julian Sartorius. Jeden Tag nahm er einen Beat auf, egal wo er sich befand – im Zug, zu Hause, hinter der Bühne – und nutzte dabei die täglich neuen Situationen und Möglichkeiten. Seine Richtlinien waren: Keine Loops, keine Effekte. Nur er selbst, seine Umgebung, sein Schlagzeug und ein Aufnahmegerät. 365 seiner Beats sind in der Sammelbox The Beat Diary Box-Set auf insgesamt 12 LPs festgehalten.




Posted by Sarah Infanger

Each One, Teach One
Theory Tuesdays & Practical Fridays
Philip Matesic
 

Planning Session / Fall 2014

Theory Tuesdays and Practical Fridays are organized around an „Each One, Teach One“ pedagogical philosophy. During each session, a different person initiates discussion about a specific text, film or leads an instructional workshop.




If you would like to lead a session, please bring a concrete idea about a text, a film or a practical workshop with you to the planning session. During the session, everyone will briefly present their ideas and we will collectively fill in a calendar with the suggestions. Below are a list of requirements to consider.

TEXT - The texts presented and discussed are usually about art, architecture, design, critical and literary theory.

FILM - The films screened are usually about specific artists, art & design movements, avant-garde cinema or documentaries.

WORKSHOP – Past Practical Fridays sessions have included „A Viking Way of Knitting“, „Vocal Training“, „Bouquet Making“ and "How to Correctly Compost". Please keep in mind that a workshop should be no longer than two hours and everyone should be able to participate.

AUF DEUTSCH – Theory Tuesdays and Practical Fridays are not exclusively held in English. Please don't hesitate to make suggestions that are in German.

Posted by Philip Matesic

Performance
Myriorama
Vianney Fivel, Ceel Mogami de Haas
 


...


“Sometimes I don’t know where this dirty road is taking me; sometimes I can’t even see the reason why.”

Townes van Zandt

One could read Martin Heidegger in Townes van Zand’s infamous lines, but also Robert Walser, Paul Celan, Aby Warburg or Mad Max. Myriorama is substantially a paranoiac-critical method, that in the words of Salvador Dali is “a spontaneous method of irrational knowledge based on the critical and systematic objectivity of the associations and interpretations of delirious phenomena». Une affaire de montage, Myriorama reassembles heterogeneous ready-made element and fabricated artefacts, thus proposing an intertwined understanding of the common and the personal as complementary agents. Myriorama leads to no final conclusion; rather, it eventually presents a constant movement of composition and decomposition of the collected material that like the eponymous game offers infinite combinations of the same image. Open to interpretation Myriorama never substitutes experience with commentary.


...


If the cap fits, come and wear it!

Posted by Stefan Wagner

Ausstellung
Brothers Milk in Umber, Schwarz & Ultra-violet
Ian Rodney Wooldridge
 


...


Brothers Milk in Umber, Schwarz & Ultra-violet, is the first of four chapters from a larger body of work: Allergy to Feathers & Cream by artist Ian Rodney Wooldridge.

This first chapter focuses on male portraiture and questionable masculine structures that are developed from metabolic architecture, modernist patterns and digital pixilation.

Each chapter will take the form of a mixed media installation within the corner college gallery space for a single evening.

Following chapter one are:

Sexual Orchid & the Marimo Foot Bounce 16.08.13
Lady Boy Snooker Match 06.09.13
Allergy to Feathers & Cream 16.11.13

The four events will happen throughout 2013 and are interwoven by strategies of colour coding, numeric compositioning and non-linear narrative continuations that create a camp hyper-fluidity.

Posted by Stefan Wagner

Heftvernissage
On-Curating
Issue 17: Design Exhibited

- - -
 

Mit einem Gespräch zwischen Urs Lehni, Burkhard Meltzer, Tido von Oppeln, Sarah Owens, Stefan Wagner


...


Design auszustellen, ist heute kein Ausnahmefall mehr. Vielmehr begegnen wir Ausstellungsszenarien nicht nur in spezialisierten Museen, Galerien oder Messen, sondern darüber hinaus auch in vielen Alltagssituationen. Situationen, in denen Design weder im Gebrauch noch primär als Produkt erscheint. Design im Sinne industrieller Herstellung hat sich in eine Disziplin des Ausstellens gewandelt. Dabei ist auch das Herstellen zum favorisierten Ausstellungsthema geworden. In Ausstellungssituationen werden jedoch nicht nur alternative Produktionsmöglichkeiten für Produkt- und Grafikdesign erprobt, sondern viele Designentwürfe entstehen auch ausschliesslich dafür. KünstlerInnen wie Mamiko Otsubo oder Tobias Madison setzen sich in ihren Arbeiten mit einem Designverständnis auseinander, das vor allem über Ausstellungssituationen etwas herstellt. Die von Burkhard Meltzer, Tido von Oppeln und Sarah Owens konzipierte Ausgabe führt verschiedene Perspektiven aus kuratorischer Praxis, Design, Kunst und Theorie zusammen. Ein Gespräch, das die HerausgeberInnen während der Produktion geführt haben, begleitet Interviews und visuelle Beiträge.

Beiträge von Jan Boelen, Konstantin Grcic, Urs Lehni, Tobias Madison, Burkhard Meltzer, Tido von Oppeln, Sarah Owens sowie einer künstlerischen Intervention von Mamiko Otsubo.

Anschliessend Grill.

Posted by Stefan Wagner

Performative Reading
I’m that angel
Tyler Coburn
 


...


Tyler Coburn’s I’m that angel explores the conditions of how we work on and against the computer, narrated from the perspective of a “content farmer”: an emergent type of online journalist contracted to generate articles based on words peaking in Google Trends.

As a text, I’m that angel takes shape as a stony stone, a cut in the stream—a book. Its format shores up the paraliterary, confessional, and epistolary precedents for our virtual vernaculars. Designed by Eric Nylund, the pages concretize found quotes, trending language, anecdotes, notes and rants; call it inattentionality as method.


...


If the book sustains a material limit that belies the diffuse shape of the cloud, then its readings attempt similar concretions by having reader and audience occupy the sites that compose the physical form of the Internet. On other occasions, readings pair with documentation shot on server floors, thus temporarily constructing the data center within the art institution. Each scenario discloses securitized spaces in which reader and audience already reside, for we encounter the material doubles of our virtual subjectivities as data stored in server form.

Rather than concede to the seeming intractability of cognitive capitalism, these readings potentiate novel, critical operations through shared access, listening and discussion. Across its parts, I’m that angel argues for a renewed consideration of the immanent horizons of subjectivity, sociability and creativity.

PLEASE NOTE:

The reading-performance will take place at Google Zurich and is booked out. No seats available anymore.

Thanks to Google for supporting and hosting "I'm that angel".

- - -

In May and June, Coburn is performing at data centres and institutions throughout Europe, including Objectif Exhibitions, Antwerp; CAC Vilnius; Grazer Kunstverein; the Pionen Data Center, Stockholm; EvoSwitch, Amsterdam, in collaboration with San Serriffe; e-shelter, Berlin, in collaboration with Archive Kabinett; Volta, London, in collaboration with South London Gallery; and Museo d'Arte Contemporanea di Villa Croce, in collaboration with Peep-Hole. Copies of I’m that angel are available at bookstores and institutions worldwide.

Posted by Stefan Wagner

Forum KK
Die Hasena, seit 1981
Peter Trachsel
 


Aktion des Komponisten Hans-Joachim Hespos in der Reihe "Kunst die Wissen schafft" der Hasena, Dalvazza 2006


Anlässlich der Aufarbeitung des Archivs der Hasena, welches kürzlich einen erstem Stopp in der Ausstellung "serge stauffer – kunst als forschung" im Helmhaus Zürich hatte, sprechen die Teilnehmenden über "die Hasena". Dieses Institut, gegründet 1981 von Peter Trachsel, ist ein unabhängiger Kunstraum, ein Salon, ein offenes Gästehaus, ein interdisziplinäres Experimentierlabor, seit 1987 situiert im Prättigau (Graubünden). Die Hasena manifestiert sich in den Worten von Kathrin Gantenbein in "unterschiedlichsten Topographien als öffentlicher Raum, in dem Frei- und QuerdenkerInnen jeglicher Couleur ihre Feldforschungsresultate, Versuchsanordnungen, Visionen und Utopien zur Diskussion stellen."

Ein Gespräch mit Elisabeth Blum, Julie Harboe, Birgit Kempker und Stephan Kunz. Moderation Michael Hiltbrunner. Mit einer Einführung in das Archiv der Hasena von Birgit Kempker.

Posted by Stefan Wagner

Ausstellung
CAS/MAS Bilden – Künste – Gesellschaft
«Künstlerische Bildung im Gespräch»

Philip Matesic
 


...


Wie lehrt die Kunst? Studierende des Studiengangs „Bilden-Künste-Gesellschaft“ der Zürcher Hochschule der Künste gehen der Frage nach, wie und wo sich das Künstlerische in Bildungsprojekten manifestiert und was es bewirken kann. Sie haben hierzu eine räumliche Inszenierung entworfen, welche die Form eines Schaukastens besitzt. Die Ausstellung kann also nur von aussen eingesehen werden. Diskussionsgrundlage bildeten die thematischen Schwerpunkte „Ziviler Ungehorsam“, „Jugendrepräsentation“ und „Tragik der Allmende“. Die Ausstellung sowie das Gespräch wurde in Zusammenarbeit mit dem Künstler Philip Matesic erarbeitet.

Vernissage: Dienstag, den 4. Juni 2013, 19 h.
Ausstellungsgespräch: Dienstag, den 4. Juni 2013, 20 h.

Posted by Stefan Wagner

Buchvernissage
1946, 1947, 1947: Die vergessenen Jahre der schönsten Schweizer Bücher


...


Vor genau 70 Jahren hatte Jan Tschichold vorgeschlagen die schönsten Schweizer Bücher auszuzeichnen. Nun, 7 Jahrzehnte teilweise hitziges Debattieren um 'Was ist ein schönes Buch?' später, lassen wir Revue passieren und präsentieren die Publikation, mit der wir auf die fehlenden 3 Jahre in der Geschichte des Wettbewerbs aufmerksam machen.

Im Buch erklären Fachleute wie Jost und Ursula Hochuli, François Rappo, Christoph Schifferli sowie viele andere ihre Vorschläge für eine Auswahl an «schönsten Schweizer Büchern» der fehlenden 3 Jahre, 1946–1948. Es entstanden Essays zur Buchgestaltung, aber auch Texte über ihr persönliches Interesse und ihre Faszination für Bücher. Des Weiteren haben Robin Kinross, Yann Chateigné Tytelman, Severin Rüegg, Philipp Messner, Ulrike Meyer Stump, Noah Stolz und Patrick Gosatti Texte zu Aspekten der Buchproduktion und -gestaltung verfasst, die das ganze in Kontext setzen.
Die Publikation ist somit ein zeitgemässer Kommentar dazu, was beim Büchermachen damals und heute entscheidend war und ist – und bespricht, weshalb wir heute gerne über Bücher und Geschichte publizieren, vielleicht eben da Bücher für unsere kulturelle Identität nicht unwichtig sind.


Ab 17.30 Uhr bis 22.30 Uhr – Mit Grill und Getränken

Um 18.30 – Präsentation des Buches, mit Gästen

- - -

Die vergessenen Jahre der schönsten Schweizer Bücher
Herausgegeben von Roland Früh und Corina Neuenschwander
168 Seiten, 22,5 × 32 cm, amerikanische Broschur
Mit Texten in Deutsch, Englisch, Französisch, Italienisch
CHF 42.–, Euro 34.–

Erschienen bei Niggli Verlag

Posted by Stefan Wagner

Lecture
Between Here and There
Contemporary Art In Romania

Olga Stefan
 


Lia Perjovschi, The Universe, 2007


As this year's Romanian Pavilion is the talk of the town and has made the "Best Pavilions" list of numerous critics, while several major artists and galleries from Romania are on view at Art Basel, the perception might be that the Romanian art scene is strong and thriving. But major challenges and obstacles are more the reality. Olga Stefan will present the political and cultural context in Romania, selections of work by practicing artists and initiatives, as well as the current debates and issues affecting the art scene.



Posted by Stefan Wagner

Symposium
INTERVENTIONS
A philosophical symposium with work and work in progress by international scholars and thinkers

Christian Hänggi, Julia Hölzl, Luce deLire / benedikt wahner, Daniel Marti, Jacob Miller, Saman Anabel Sarabi, Gian Trepp
 


Intervention 2012


Interventions is an informal and open symposium that allows scholars and thinkers to present their recently finished work and their work in progress. Interventions thrives on the unexpected juxtapositions and clashes that result from addressing a wide range of philosophical and political issues such as autonomy, economy, finitude, aporias, capitalism, and many more. Interventions does not limit itself to a specific discipline and welcomes all intriguing papers from Switzerland and abroad.

SCHEDULE

14:00 Methods of tricksters in Húsavík, or: how to find new forms of intervening. Anabel Sarabi

14:45 Remembering Mnemosyne. Jacob Miller

15:30 On Thinking. Julia Hölzl

16:15 Appropriation: Ich und […] die Frage der Aneignung. Daniel Marti

17:00 Perhaps this time we have gone too far. Luce deLire / benedikt wahner

17:45 “When the Forms of Musick change, ’tis a Promise of civil Disorder.” Christian Hänggi

18:30 Geo-strategic vectors influencing the crossing of the Central Alps in the High Middle Ages. Gian Trepp

19:30 Barbecue

For full program see PDF below.

Interventions is organized by Christian Hänggi.

> Programm Interventions

Posted by Stefan Wagner

Performance
THIS BOOK (2)
Veronika Spierenburg
 


...


Die Künstlerin Veronika Spierenburg wird die Skype-Event-Reihe "This Book", die sie im Oktober 2012 begann, mit neuen internationalen Gästen fortsetzen, um sich mit ihnen über deren Buchprojekte zu unterhalten. Auf eigenwillige Art und Weise wird sie über Skype ausgewählten Gästen Fragen stellen, um so hinter die "Kulisse" von Büchern zu blicken.

Diese investigative Form der Gesprächsführung will Fragen klären wieso das Buch entstand, woher die Idee dazu stammt, was der Reiz des Buches ist, inwiefern ein Buch eine Ausstellung ist, wie das Verhältnis von Buch und Lesenden beschaffen ist etc. Angesichts der explosionsartig gestiegenen Buchproduktion in der Kunst, die zuweilen den Eindruck erweckt, dass man um der Produktion Willen Bücher produziert, leistet "This Book" einen reflexiven Beitrag zum derzeitigen Bücherboom.

Guests:

Mariana Castillo Deball
Banu Cennetoglu
Rafael Rozendaal
Manuel Raeder
Fabrice Stroun
San Seriffe

Talks in English.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

I, An Actress...
Drag in Artist’s Moving Image.




For this Theory Tueday session, Ian Wooldridge has put together a selection of artists’ films and videos whereby male performers take on a drag persona.

1: I, An Actress, George Kuchar (1977) 8min
2: Mario Banana No1, Andy Warhol (1964) 3min
3: Excerpt from: Hail The New Puritan, Charles Atlas (1986) 6 min
4: Excerpt from: The Laziest Girl in Town, Mark Morrisroe (1981) 3 min
5: Keys to Our Heart, Kalup Linzy (2008) 24min
6: K-CorealNC.K (section a), Ryan Trecartin (2009) 33 min

Posted by Philip Matesic

Workshop
Out of Control
Der performative Spielraum in Kunst und Kybernetik

Daniel Bisig, Andreas Broeckmann, shusha Niederberger, Sebastian Vehlken, Birk Weiberg, Carolin Wiedemann, Renate Wieser, Olsen Wolf
 

Die kybernetische Wende in den 1950er Jahren hat unsere Technologien und unser Denken nachhaltig verändert und bringt neue Formen der Organisation, des Handelns und des Wissens hervor. Auch wenn Künstler sich immer wieder mit diesem kulturtechnischen Umbruch auseinandergesetzt haben, so ist doch erst mit den von den Sozialwissenschaften ausgehenden Diskursen um Wissenschaft und Technik ein theoretischer Zugang zu den Effekten der Kybernetik geschaffen worden.


Interactive Swarm Space STOCOS


Aus einem gemeinsamen Interesse für die performativen Möglichkeiten von Medientechnologien heraus haben die medialen Künste und die Musik ein praxisbasiertes Wissen geschaffen. Dabei haben die Konzepte von Emergenz und Performativität eine neue Perspektive auf die Frage nach Handlungsmacht jenseits von Steuerung und Regelung ermöglicht, die sowohl für die Künste als auch für die Wissenschaften interessant ist.

Ziel des Workshops ist es, die Diskurse der Sozial- und Medienwissenschaften mit dem Wissen und den Erfahrungen der Künste in einen Dialog treten zu lassen.

- - -

PROGRAMM


FREITAG, 19. APRIL 2013

14:30 Uhr Begrüssung
14:45 Uhr Andreas Broeckmann (Lüneburg): Kunst und algorithmische Maschine
15:30 Uhr Oliver ‹Olsen› Wolf (Zürich): Teleonomies

- Pause -

16:30 Uhr Sebastian Vehlken (Lüneburg): Zootechnologien – Swarm Intelligence als Kulturtechnik
17:15 Uhr Daniel Bisig (Zürich): Die Bühne als Ort der Überlagerung von physischer und virtueller Präsenz
18:30 Uhr Renate Wieser (Paderborn): Von der informationstechnischen Fortsetzung der Ästhetik


SAMSTAG, 20. APRIL 2013

10 Uhr Birk Weiberg (Zürich): Das Kunstwerk als technisches Individuum
10:45 Uhr shusha Niederberger (Zürich): Zur Performativität und Medialität von Code
11:30 Uhr Carolin Wiedemann (Hamburg): Anonymous und die Ambivalenz neuer Kollektivität in kybernetischen Kontrollgesellschaften

- Pause -

12:30 Uhr Abschlussdiskussion

Das detaillierte und aktuellste Programm für die beiden Tage ist zu finden unter Out of Control.

- - -

Out of Control wird organisiert von Daniel Bisig, shusha Niederberger, Birk Weiberg und Olson Wolf.

Posted by Stefan Wagner

Präsentation
enmedio
Anja Steidinger
 

In der Gruppe "enmedio" (Barcelona) engagieren sich Künstler_innen, Grafiker_innen, Filmemacher_innen, Professor_innen u.a.
Sie diskutieren gemeinsam über die Funktion politischer Kunst, machen Veranstaltungen und politische Interventionen.

Anja Steidinger, selbst Mitglied von enmedio, stellt die Idee im Rahmen der Reihe "Praktiken der künstlerischen Intervention" der ZHdK vor.



"Videostill aus Fiesta en el INEM, enmedio 2009, Feier auf dem Arbeitsamt"

Das spanische Wort enmedio bedeutet «inmitten» und genau dort verortet sich die Gruppe: «inmitten». Inmitten der Kunst, inmitten des sozial-politischen Aktivismus, inmitten der Medien.
Vor 5 Jahren begannen sie mit Veranstaltungen, um gemeinsam über die politische Funktion von Kunst nachzudenken.
Und dann kam die Krise. Erst tauchte sie in Form einer allgemeinen Gemütsverfassung auf, und sie beschlossen auf diese Spezie von sozialer Traurigkeit mit einer Party zu antworten. Als Ort der Party wählten sie das Arbeitsamt, in ihm fanden sie alle Traurigkeit und soziale Angst vereint. Einige Zeit später verbreitete sich eine allgemeine Stimmung der Empörung (Indignación) im Land, die Zeit der besetzten Plätze und der 15M-Bewegung. Verschiedene Interventionen von enmedio folgten, eine aktuelle Kollaboration bilden die gemeinsamen Aktionen mit PAH (Plataforma de los Afectados por la Hipoteca).



Posted by Jeannette Polin

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this session, Daniel Morgenthaler will present text excerpts from the Sternberg publication "Solution 196–213: United States of Palestine-Israel" edited by Joshua Simon.

"Solution 196–213: United States of Palestine-Israel" is an anthology of texts proposing a doable solution for the region. With contributors based in Ramallah and Tel Aviv-Jaffa, Beirut and Jerusalem, New York and Bethlehem, Nazareth and Warsaw, the book offers solutions that will make life better, and proposes ways to do it." (Book cover)

A discussion will follow in English and it's encouraged that you read the text excerpts beforehand.

> Solution 196-213 excerpts

Posted by Philip Matesic

Performance
THIS BOOK (1)
Veronika Spierenburg
 


...


Die Künstlerin Veronika Spierenburg wird die Skype-Event-Reihe "This Book", die sie im Oktober 2012 begann, mit neuen internationalen Gästen fortsetzen, um sich mit ihnen über deren Buchprojekte zu unterhalten. Auf eigenwillige Art und Weise wird sie über Skype ausgewählten Gästen Fragen stellen, um so hinter die "Kulisse" von Büchern zu blicken.
Diese investigative Form der Gesprächsführung will Fragen klären wieso das Buch entstand, woher die Idee dazu stammt, was der Reiz des Buches ist, inwiefern ein Buch eine Ausstellung ist, wie das Verhältnis von Buch und Lesenden beschaffen ist etc. Angesichts der explosionsartig gestiegenen Buchproduktion in der Kunst, die zuweilen den Eindruck erweckt, dass man um der Produktion Willen Bücher produziert, leistet "This Book" einen reflexiven Beitrag zum derzeitigen Bücherboom.

Guests:

Loraine Furter
Thijs groot Wassink / WassinkLundgren
Matthew Vollgraff
Haemmerli
Ari Marcopoulos
Michael Günzburger

Talks in English.

Posted by Stefan Wagner

Diskussion
Austerity? "ORA BOLAS!"
Notes from Lisbon’s cultural scene

Ana Bigotte Vieira, Sandra Lang
 


...


The words austerity and debt imply or signify a lack of something. These two words are part of the vocabulary used in mainstream media to describe the current economic situation in Portugal.

In an open discussion Sandra Lang and Ana Bigotte Vieira will talk about “ORA BOLAS. WE HAVE THE SPACE, SO LET’S USE IT!”, an initiative that took place in Lisbon at Galleria da Boavista, from the 23rd of November to the 29th of December 2012. Taking place in the midst of intense social struggles, the event began shortly after the November 14th European General Strike, a protest marked by police brutality and severe repression in Lisbon. Following two years of budget cuts in the arts funding (in 2012 “apoios pontuais” were 100% cut), this initiative overlapped with the re-opening of state funds for the arts; a reopening in a new, more competitive fashion. By criticizing the status quo (“Ora Bolas”) while at the same time emphasizing collective action and potency (“we have space, so lets use it”), “ORA BOLAS” ended up creating community and being an experiment on collective organization and resistance. Performances, concerts, and discussions were the response to the open call to use the gallery space. ORA BOLAS made visible the plenitude and excess of potential which characterizes the cultural scene in Lisbon today.



More Informations about current political struggels in Portugal:

Lisbon Calling: November 14th in Portugal
General Strike
Youths in Shorts and Flip-Flops Throwing Rocks at Cops: Update from Lisbon
Never Has a Winter Been So Long: On “Scenes from the Class Struggle in Portugal”
New Scenes from the Class Struggle in Portugal
Police brutality and tension among demonstraters marked general strike in Portugal

"Austerity? "ORA BOLAS!" Notes from Lisbon’s cultural scene" is organized by Sandra Lang within a series of lectures at Freie Uni Zürich.




Posted by Stefan Wagner

Buchvernissage
de/tour
ekw 14,90, Roman Blumenthal, Christoph Franz, Petra Elena Köhle, Michael Meier, Silvia Mussmann, Romy Rüegger, Riikka Tauriainen, Nicolas Vermot Petit-Outhenin
 




Entkoppelung in willkürlich ausgeloster Rotation: 7 (Subjektive) Thematiken wechseln ihre Urheber_innen, wechseln hin zur (aneignenden) Umleitung, hin zur differenten Praktik einer anderen Position (die hier zur Produzentin wird). So potenzieren sich 7 Positionen um die Sicht- und Handlungsweise einer jeweils anderen.
Exzerpieren, reduzieren, de/re/kontextualisieren, sprengen und re/kombinieren, interpretieren, hybridisieren und was sich sonst noch machen lässt: potenzierung des blicks, wer spricht hier worüber? Und was haben wir davon? Was haben die Ergebnisse mit ihren stiftenden Autor_innen gemein? Worin verweisen sie (noch) auf diese? Umgekehrt: Inwieweit zeugen die Ergebnisse tatsächlich von der Handschrift ihrer ausführenden Produzent_innen? Wo verorten wir uns hier zu welchen gunsten und warum sollen wir dies überhaupt in erwägung ziehen?

de/tour

Herausgegeben von:
Silvia Mussmann, Michael Meier, Christoph Franz

Beteiligte: 
Roman Blumenthal, ekw 14,90, Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Michael Meier & Christoph Franz, Silvia Mussmann, Romy Ruegger, Riikka Tauriainen

Grösse: 32 x 22,6 cm

Seiten: 112

Einleger in 2 Formaten: 7

Druck: Pöge Druck, Leipzig

Bindung: Mönch OHG, Leipzig

Auflage: 350 Stück

Unterstützt von: Stadt Zürich Kultur, BMUKK (Bundesministerium für Unterricht, Kunst und Kultur)

Posted by Irene Grillo

Kino / Performance
Kino Raum (1)
Jann Clavadetscher, Rouzbeh Rashidi
 




Kino Raum (1) is the first in a series of collaborative exhibition events by Jann Clavadetscher and Rouzbeh Rashidi. The practice of both artists is rooted in experimental cinema, and Kino Raum will explore and dissect the concept of the cinema-space, both physical and mental. Using the gallery as a laboratory of ‘cinemas’, it will encompass not only traditional projection and gallery installation, but will also address the material and dematerialisation of the filmic image, inviting spectators to consider the history of film from its celluloid origins to its current digital state.

Appropriately, Kino Raum (1) will open with a projection of Clavadetscher and Rashidi’s collaborative feature film Jean Speck (1860-1933) (2011), named in honour of the man who opened Zurich’s first cinema. The material origins of cinema will be evoked by Clavadetscher’s expanded cinema performance Atlantik Film, which will involve the exposure of camera-less film in front of the audience. And a selection of works from Rashidi’s ongoing personal digital cinema project Homo Sapiens Project will stand as one artist’s probing look at where the ever-pressing question ‘what is cinema?’ has arrived today.

Schedule:

Wednesday May 15th:

6pm screening films
7:30pm performance

Thursday May 16th:

7pm screening of the film made in the perfomance the day before




Short synopsis of the shown films:

Jean Speck (1860-1933):
Little is known of Jean Speck (1860-1933) beyond the fact that he opened Zurich’s first cinema. Rouzbeh Rashidi and Jann Clavadetscher consider the flittering black and white ghosts and shadows that he left in his wake in their phantasmagorical experimental feature film. This journey through a cinematic night probes the very essence of the cinematic image.

Atlantik Film (Jann Clavadetscher):
Atlantik Film started off as a project called Die Belichtung (‘The Exposure’) where an audience in absolute darkness attempted to shine light onto part of an unexposed film roll. A match was struck and for this short moment audience and cinema became one. Kino Raum (1) will be the continuation of this Exposure Project. This event will take place in two parts: Day one, the film is exposed to light. Day two, the film will return from the Laboratory and be projected.

Homo Sapiens Project (Rouzbeh Rashidi):
Homo Sapiens Project are highly experimental works, part cryptic film diaries and part impressionistic portraits of places and people, and often suffused with an eerie sense of mystery reminiscent of horror cinema. From highly composed and distantly framed meditations to frenetically flickering plunges into the textural substance of moving images, the restless creativity of this vision of life as a cinematic laboratory is never short of surprising. Encompassing everything from documentary monologues to found footage, Rashidi constantly strives to expand his filmmaking palette while putting his unmistakable stamp on whatever footage passes through his hands.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




During this session, Philip Matesic will present the following two essays from the book "Everything is in Everything: Jacques Rancière between Intellectual Emancipation and Aesthetic Education" edited by Jason Smith and Annette Weisser.

"Communist Education" by Jan Voelker
"The Master In His Place: Jacques Rancière And The Politics Of The Will" by Jason E. Smith

The essays collected in this book represent versions of papers presented at a 2011 symposium held at the Art Center College of Design in Pasadena, California. The symposium considered Rancière's work in relation to aesthetics, politics, and education.

It's encouraged that you read the essays beforehand. The discussion will be held in English.

> Everything Is In Everything

Posted by Philip Matesic

Vortrag
Die Macht der Schrift
Andreas Koop
 


...


Schrift ist mehr als ein ästhetisches Phänomen – sie ist zugleich Aussage. Sie kann programmatisch sein, revolutionär, restaurativ. Faszinierend und unerwartet ist dabei, wie stark Traditionsstränge wirksam werden. Dies zeigen die historischen Herrscher eindrucksvoll. Analytisch, komparativ und experimentell wird die Rhetorik der Schrift und das Zeremoniell der Typografie untersucht, aber auch das Bild des Staates heute und die Gegensätze zu Macht.

Andreas Koop veröffentlichte Ende letzten Jahres sein neustes Buch Die Macht der Schrift - Eine angewandte Designforschung, in dem er das Verhältnis von Typografie und Macht untersuchte.

Posted by Stefan Wagner

Corner Cuisine / Konzert
Drastic Dislocations
Luigi Archetti, Mario Marchisella, Barry Wallenstein
 




Der Poet Barry Wallenstein aus New York spielt zum ersten mal ein Konzert in der Schweiz und zum ersten mal mit den beiden Multiinstrumentalisten Luigi Archetti und Mario Marchisella.

Der emeritierte Professor für Literatur und Creative Writing Wallenstein schreibt schon seit den 60-er Jahren Gedichte, die in zahlreichen Sammelbänden und Magazinen publiziert werden (Ploughshares, The Nation, Centennial Review und American Poetry Review).

Seit den 70-er Jahren performt er seine Gedichte zusammen mit Musikern in wechselnder Besetzung, welche vorwiegend aus dem Jazz Bereich stammen. Zu erwähnen wären da etwa: Charles Tyler, John Hicks, Vincent Chancey und Adam Birnbaum. Barry hatte in seiner Karriere immer wieder sehr spezielle, durch Zufall geprägte Begegnungen wie mit Charles Mingus oder mit Fela Kuti. Seine erste dieser Art fand bereits 1959 während des Studiums statt, als ihn sein Professor in einen Club namens „The Showplace“ in Greenwich Village schickte, um endlich seine geschriebenen Gedichte auch einmal einem Publikum vorzustellen: Da wartete niemand geringerer als Charles Mingus, der die Studenten auf seinem Kontrabass begleitete. „I was a little bit in shock and very nervous. I surely don’t recall what I recited or how it went, but I will never forget this large man’s kindness to us kids and the feeling of just being in his company.“

Barrys Stil ist wohl am ehesten mit einer Frühform des Spoken Word beschreibbar. Eine musikalische, stark rhythmisierte Art des Rezitierens, welche zwischen Singen und Sprechen changiert. Inhaltlich nimmt einem Barry in seinen Gedichten auf kleine, grosse Reisen mit, surreale Begegnungen mit dem Nachbarn, einem Hasen oder dem Zorn...
www.barrywallenstein.com

Auszug aus dem Gedicht: Anger

When anger falls on the plate like food
limp -- something you wouldn't
want to eat-- don't force yourself
I tell myself
let it go
the feeling of being pissed off
having been ripped off on the run
taken for a fool
some no count lame ass crier
couldn't put a shoe in a basket on a bet
or control his own best leads
a shame to his hours
sucking on anger.

Alicia Ostriker beschreibt Barry’s Stil wie folgt:
“Barry Wallenstein’s voice is unique in American poetry: magic, seductive, cryptic, a little demonic, definitely sexy, as if some perfume from Les Fleurs du Mal clung to its overtones.”

Archetti und Marchisella spielten bereits in verschiedenen Konstellationen zusammen.

19:00 Corner Cuisine
20:00 Konzert

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

During this Practical Fridays session, Amélie Brisson-Darveau, Christoph Brunner and Jacqueline Poloni will explore different kinds of diagrams, in artistic, performance and philosophical practices. Diagrams are strange devices and techniques which attempt to make relations tangible and at the same time evade straight formats of representation. They are expression in physical as much as in immaterial ways.


Ian Kerr - Diagram


The goal of the session is to familiarize ourselves with diagrammatic practices as means for tracing and enabling movement. Not dividing between movement in space and movement of thought, we want to foreground and experiment with techniques of non-representational expression and relational movement. The material exposure will be complemented with collectively developed techniques and propositions for diagrammatic practices.

To Bring:
Whatever material you consider relevant to what a diagram is and what it can do/become. We aim for collaborative and experimental processes with the 'stuff' at hand!

Resource for inspiration:
http://diagramworkshop.wordpress.com

Posted by Philip Matesic

Each One, Teach One
Practical Fridays
Philip Matesic
 

During this Practical Fridays session, Daniel Morgenthaler will conduct a composting workshop, on-site*, in his Schrebergarten.




What goes into a compost, and what should not? How do you build a compost? What exactly happens inside it? And how many worms should you ideally find in a handful of compost?

This workshop will provide answers to these and other questions on compost, also known as the «gold of every biological garden». Please bring along with you what you think makes for good compost.

*WE WILL MEET AT CORNER COLLEGE AT 19 UHR and then go to the Schrebergarten together. PLEASE DON'T BE LATE!

Posted by Philip Matesic

Each One, Teach One
Practical Fridays
Philip Matesic
 




Learn how to assemble a hand-held bouquet and wrap it in a professional manner! Two types of bouquet making will be taught, the forward facing and the rounded bunch, which are very popular in Switzerland.

Please bring a bunch of flowers with you and be prepared for them to be man-handled by the group. You will of course get to take home your own bouquet at the end of the class. There will also be a short introduction to caring for various flowers and a look at some traditional/seasonal mixes.

The workshop will be conducted in English, with German explanations on hand.

PLEASE BRING THE FOLLOWING:
A bunch of flowers.
A SHARP pair of scissors.

Your florist team,
Alice McCabe and Linda Furrer

Posted by Philip Matesic

Each One, Teach One
Practical Fridays
Philip Matesic
 

Ingrid & Sigrid's introduction to the "Viking Way of Knitting"




During Ingrid's recent artist residency in Iceland, she was taught the "viking way" of knitting. After her return to Switzerland, Ingrid taught Sigrid 'needle-binding', or 'Nadelbinden', which is a term to best describe this unique, "viking way" of knitting.

Both Ingrid and Sigrid would love to share this old knitting technique with you!

IMPORTANT! If you would like to participate in this workshop, please bring the following:

1 ball of thick, sheep wool in the color of your choice.

The language of the workshop doesn't matter: let's just knit together in the viking way!

Posted by Philip Matesic

Heftvernissage / Temporary Bookshop / Vortrag
Release STRAPAZIN Nr. 110: Kollision
Julia Marti, Milva Stutz
 

Lange und intensiv wurde an der STRAPAZIN–Ausgabe Nr.110: Kollision gearbeitet und diese wird nun im Corner College präsentiert und gefeiert!




Um es gleich vorwegzunehmen: Diese STRAPAZIN-­Ausgabe beinhaltet keine Comics. Bildergeschichten werden dennoch erzählt. «Kollision» bildet in dieser Ausgabe nicht nur die thematische Klammer, ­Kollisionen finden tatsächlich statt. In diesem Heft wird die sonst übliche Heftstruktur – Beitrag folgt auf Beitrag – aufgehoben. Die Redaktion – Julia Marti und Milva Stutz – liessen die einzelnen Beiträge miteinander kollidieren und ordneten die Fragmente zu neuen Geschichten. Ist das möglich? Lassen sich so Geschichten erzählen? Neun Zeichnerinnen und Zeichner haben sich auf dieses Experiment ein­gelassen. Das Heft zeigt Arbeiten von: Anna Albisetti, Cécile Hummel, Julia Marti, Milva Stutz, Patric Sandri, Patrick Graf, Peter Radelfinger, Tudi Deligne und Yves Noyau.

Programm

Freitag, 15. März 2013

ab 18 Uhr
Heft-Vernissage STRAPAZIN Nr. 110: Kollision

19 Uhr
Vortrag: «Kollision mit Jesko Stubbe»
Fakten und Halbwahrheiten zum Thema «Kollision»

20:30
Konzert: LIUN & RRR (Voice & Beats)


Samstag, 16. März 2013

14–18 Uhr
Temporary Bookshop:
Publikationen der beteiligten Künstlerinnen und Künstler zum Blättern und Kaufen.

15.00 Uhr
Pop-Up-Vernissage Charity Basar
von Anna Albisetti
106 Seiten, 10 x 14.5 cm, sw, Laser, 150 Ex.

15:30
Ping-Pong-Turnier:
Bring your rackets!

Posted by Irene Grillo

Lecture-Performance
‘Driving the Blues Away’
A Monologue by Olof Olsson

Olof Olsson
 


...


Do you know the origin of Coca-Cola? Or the secret powers of Swiss triangular milk chocolate Toblerone? Why do we call a company that makes computers ‘Apple‘ and not ‘Jobs‘ and Windows ‘Windows‘ and not ‘Gates‘? And what has sanitary porcelain to do with all this? There is only one way to find out.



Please join us for the Swiss premiere of ‘Driving the Blues Away’


...

Posted by Stefan Wagner

Lecture-Performance
Von Lücken, Leerstellen und Zeugen
Nicole Biermaier, Françoise Caraco
 




Ausgehend von zwei Fotografien aus dem jeweiligen Archiv der Künstlerinnen, werfen die beiden Fragen nach Wahrheitsgehalt, Herkunft und Symbol des jeweiligen Dokumentes auf.

Nicole Biermaier und Françoise Caraco versuchen die Bedeutungen von diesen zwei fotografischen Dokumenten zu interpretieren. Sie geben einen Einblick in ihre Auseinandersetzung mit der Erinnerung oder der produzierten Vergangenheit aus intimer Perspektive.

Posted by Irene Grillo

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




"Ziviler Ungehorsam ist ein fundamentaler Bestandteil jeder Demokratie, gerade weil er reagiert auf die Brüche zwischen Rechtspraxis und Gerechtigkeit, Freiheit und Staat, Politik und Menschlichkeit, Selbstdarstellung und Korruption der politischen Klasse, Verantwortung und Macht, auf die Selbstwidersprüchlichkeit des Systems. Es ist die Form, in der sich politisches Handeln aus moralischen Gründen äussert: Der Beschluss der Bürgerinnen, auf dem Weig in eine unmenschliche Gesellschaft nicht mehr mitzugehen und stattdessen die drei grossen Werte einer menschlichen Gesellschaft wieder einzufordern: Freiheit, Gerechtigkeit, Solidarität.
"Bürger erhebt euch" begründet das Recht auf Kritik, Dissidenz, Einspruch, Widerstand und zivilen Ungehorsam in einer Gesellschaft, in der postdemokratisches Regieren und neoliberales Wirtschaften Bürger- und Menschenrechte bedroht, fragt nach Formen und Zielen des "bürgerlichen Aufstands" und formuliert die politische Kultur einer postheroischen und postdogmatischen sozialen Bewegung. Diese neue soziale Bewegung ist mit dem Occupy-Impuls noch nicht zu Ende, sie hat gerade erst angefangen!" (Klappentext).

Diese Sitzung von Theory Tuesday wird in deutscher Sprache abgehalten. Es sind alle herzlich eingeladen, die sich gerne an einem Streitgespräch beteiligen wollen! Bitte vorab den Text lesen. Merci. Danke. Grazie. Thanks.



Lyrics RIOT

Die Rebellion des Citoyens - Vorabdruck aus Bürger erhebt euch von Markus Metz/Georg Seesslen auf taz.de

Feuilletonsoziologische Pirouetten von Rudolf Walther auf derStandard.at

> Auszug Bürger erhebt euch

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Manon de Boer


By now, art is probably seen more on Facebook walls than real-life ones. Why is it that the growing importance of the digital does not have a similar impact on the contents of works of art, as it has on the way they are presented?

Claire Bishop, professor at City University of New York and well known for her critical reactions to Nicolas Bourriauds thoughts on Relational Aesthetics, deals with this question in "Digital Divide", an essay written for the September 2012 issue of Artforum.

After a short introduction and a brief summary of the text (and some responses to it), the discussion could evolve around the following questions: Why do we separate media arts and digital arts from more conventional media, even exhibiting them in specialized institutions? Will art eventually be left behind by the fast developments within the digital realm? Or can it rather be a tool to counter the predominance of the digital?

This session has been proposed by Daniel Morgenthaler and will be held in English.

> Digital Divide - Claire Bishop
> Digital Divide - Response 1
> Digital Divide - Response 2

Posted by Philip Matesic

Ausstellung / Diskussion / Exkursion
Aufgesockelt
Eine Veranstaltung zum Thema Denkmal

Com&Com, Tobias Hotz, Georg Kreis, Kunstbibliothek im Sitterwerk, Jonas Oehrli
 

Was ist ein Denkmal? Seit den Hochkulturen des Vorderen Orients werden Denkmäler als Stätten der Erinnerung errichtet. Das Denkmal kann dabei sakrale, kultische oder politische Ansprüche bedienen. Entscheidend für unser heutiges Verständnis ist das bürgerliche Denkmal des 19. Jahrhunderts. Das politische immer einflussreichere Bürgertum löste einen regelrechten Boom des Persönlichkeitsdenkmals aus. In Konkurrenz zum dynastischen Denkmal, das den Wert von Geburt und Stand pries, demonstrierte das bürgerliche Denkmal vor allem den Wert persönlicher Leistung. 

Ist das Denkmal auch heute noch eine angemessene Form des öffentlichen Erinnerns?

Der Künstler Horst Hoheisel schlug für ein angemessenes Holocaust-Denkmal vor, tausend Jahre lang Holocaust-Denkmal Wettbewerbe abzuhalten, anstatt eine finale Lösung zu finden – eine anhaltende Diskussion anstelle eines statischen Denkmals. Angesichts des rasenden Medienzeitalters kann man sich auch fragen, ob öffentliches Erinnern gar nicht mehr anzustreben ist? Wird das individuelle Erinnern wichtiger? Und was bedeutet das für den öffentlichen Raum? Inwieweit soll die öffentlich Meinung in den Errichtungs-Prozess eines Denkmals eingreifen? 

An welche Ereignisse, Werte und Ideologien sollen sich zukünftige Generationen noch erinnern?

Sowohl das Denkmal im engeren Sinn wie auch das Baudenkmal dienen der Erinnerung. Ersteres wurde aber genau zu diesem Zweck errichtet, letzterem werde dieser Zweck erst im Laufe der Zeit auferlegt. Gerade in den vergangenen Jahren wurden in Zürich viele Gebäude unter Denkmalschutz gestellt. Dies hat Folgen. War das unter Denkmalschutz stehende Haus in den 60er und 70er Jahren ein progressives Instrument zur Steuerung der Stadtentwicklung, wird es heute mehr und mehr zum Verkaufsargument. Erinnerungskultur hat Hochkonjunktur und so muss man sich fragen, welche Formen von Denkmalschutz in Zukunft sinnvoll sind. Vielleicht sollte neu, nebst Industrie- oder Landwirtschaftszonen, auch Kulturzonen geschaffen werden.


...


Wer und welche Kriterien entscheiden über die Erhaltung und Zerstörung von Denkmälern? Das Denkmal als politisches Instrument untersteht dem Wandel der gesellschaftlichen Gegebenheiten. Im Zuge eines Machtwechsels müssen oft auch die damit verbundenen öffentliche Zeichen weichen. Als Symbol der herrschenden Macht dient das Denkmal in Zeiten der Rebellion als Angriffspunkt, wird attackiert und beschädigt. In gleicher Weise wird das Entfernen oder Zerstören von Denkmälern als ein symbolischer Akt gesehen, mit einem Kapitel der Geschichte abzuschliessen. Doch reicht dies zur Vergangenheitsbewältigung? Immer wieder finden sich Überbleibsel vergangener Tage. Was passiert mit leeren Denkmalsockeln? Haben Denkmalsockel ohne Denkmal überhaupt eine Funktion? 
Diesen und anderen Fragen versuchen wir mit Hilfe von Experten aus den Bereichen Kunst, Wissenschaft und der Denkmalpflege nachzugehen.

Im Rahmen der Veranstaltung Aufgesockelt wird der Zine-Sezession-Eiswürfel, ein Denkmal zu Ehren der 3. Zürcher Zine Sezession, aufgesockelt und feierlich eingeweiht.

 Am Samstag 16.  Februar 2013  von 13:00 – 24:00 finden Vorträge, Diskussionen und eine Stadt-Führung mit Johannes M. Hedinger (Com & Com, Künstlerkollektiv), Tobias Hotz (Konservator-Restaurator, Steinbildhauermeister), Prof. Dr. Georg Kreis (Historiker), Tatiana Lori (Denkmalpflege Stadt Zürich), Kunstbibliothek Sitterwerk, Stefan Wagner (Kunsthistoriker, Kurator) statt. Anschliessend Party mit Ton-Bild-Mix von Jonohr (Grafiker)

-

Programm:

Samstag, 16.2.2013

13 Uhr
Visueller und gedanklicher Spaziergang durch die schweizerische Denkmallandschaft.
Publikumsdiskussion mit Prof. Dr. Georg Kreis (Historiker)

14:30
Das St. Jakobs-Denkmal (1872): Verwitterungsprozesse, Untersuchungsmethoden, Restaurierung.
Vortrag von Tobias Hotz (Konservator-Restaurator, Steinbildhauermeister)

15:30
Denkmalpflege rund ums Corner College 
Stadtführung: Tatiana Lori (Denkmalpflege Stadt Zürich).
Anschliessend Diskussion mit Stefan Wagner (Kunsthistoriker, Kurator)

17:30
Mocmoc, das ungeliebte Denkmal
Screenings und Diskussion mit  Johannes M. Hedinger, Com&Com (Künstlerduo)

19 Uhr
Aufsockeln
Feierliche Eingeweihung des Zine-Sezession-Eiswürfel, ein Denkmal zu Ehren der «Last Zürich Zine Sezession»

ab 19:30
Apéro und Party
Monumentaler Ton-Bild-Mix von Jonohr

-

Sonntag, 17.2.2013

14 - 19 Uhr
Ausstellung Lesedenkmal u.a. mit Büchern aus der Sitterwerk Bibliothek zugänglich.


Aufgesockelt wird organisiert von Anna Haas und Annett Höland
. Für Frühjahr/Sommer 2013 ist die Publikation "Aufgesockelt" mit weiteren Beiträgen geplant.



Posted by Stefan Wagner

Buchvernissage
Ma biće bolje
Goran Galić, Gian-Reto Gredig
 


...


Die sechsteilige Publikation Ma biće bolje (Dt.: Wird schon wieder) basiert auf der gleichnamigen installativen Arbeit, welche aus mehreren Reisen der beiden Künstler Goran Galić und Gian-Reto Gredig zwischen 2001 und 2005 in Bosnien-Herzegowina hervorgegangen ist. Fotografien, Videos und Texte fügten sich darin als Fragmente zu einer offenen Erzählstruktur über die damalige Nachkriegsituation. Die Überführung dieser Arbeit zwischen Bericht, Kritik und Fragestellung in die Form einer Publikation gelingt, indem deren verschiedene Bestandteile auf einzelne Objekte aufgesplittet werden – die Fotografien in ein Buch, die Texte in Hefte, die Videos auf eine DVD mit eigener Hülle – und nicht zuletzt indem neues Material wie z. B. eine Karte der in Bosnien-Herzegowina zurückgelegten Wege ergänzt wird. Alle diese Elemente sind in einem zweiflügligen Schuber untergebracht und vermitteln dem Betrachter unterschiedliche Facetten derselben Geschichten.

Die Publikation, die von Winfried Heininger und Simone Koller gestaltet wurde und bei Kodoji Press erschienen ist, sowie eine Special Edition sind an der Vernissage zum Vorzugspreis erhältlich. Wir verlosen am Abend einige Ausgaben der Special Edition. Für passende Verpflegung und Šljivovica wird gesorgt. Buchvernissage also nicht verpassen!



Programm:

Barbetrieb, Suppe und Buchverkauf
Begrüssung
Verlosung der Special Edition

> Press release (D/E)

Posted by Stefan Wagner

/ Artist Talk / Kino
Printemps Érable
Studentenproteste in Québec

Érik Bordeleau
 

The strength of Printemps érable-protests is rooted in anonymity. The movement allows the common to flow through dispersal, reaching into the solitude of each protester. Each one recognizes her situation in that of the others; affective resonance is transmuted to a point of fusion. Repression can only break up linear collectivities; here, at every turn, at every corner, the common returns in a swarm.


Still from Printemps Érable


In the wake of the Quebec student movement against tuition hikes an entire public mobilization has lead to a resurgence and insurgence of active political engagement of Quebec's population in spring 2012. The protests tie together not only problems of a culture of indebted men but also environmental and social issues throughout all strata of society. Insurgence is an expression, a movement of thought becoming a movement of felt sensation. Based on struggles against social isolation for the last decades Printemps Érable underlines contemporary transversal modes of activism beyond ideological boundaries making the complexity of relation felt in their emergence(y). Writer, theorist and activist Érik Bordeleau will show the film "Insurgence" followed by a discussion with the audience.

> Synopsis Insurgence

Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

“Practical Fridays” ist eine neue Veranstaltungsreihe und Erweiterung der “Each One, Teach One”-Philosophie, auf der auch “Theory Tuesdays” basiert.

An diesem “Practical Friday” wird Annette Rempp einen Workshop zum Thema “Sehen - neu sehen lernen” leiten.



Anhand von optischen Gläsern und euren mitgebrachten Kameras, Dias, Bildern, werden Sehgeschichten in Form von Zerstreuung (Minuslinse), Konzentration (Pluslinse) und Verzerrung (zylindrische Linse) erzählt.

Im Vordergrund des Workshops stehen die Fragen:

1. Was sehen wir?
2. Wie bewerten, benennen wir das, was wir sehen?
3. Sieht mein Gegenüber dasselbe?
4. Wie verhält sich dazu unserer Sprachgebrauch?

MITBRINGEN: Kamera oder Handy mit Kamera

SPRACHE: Deutsch (mit Unterstützung in Englisch)

Die Veranstaltung ist kostenlos und erfordert keine Anmeldung.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


...


"There are many reasons to be conscious of how the conditions for production and distribution of contemporary art are changing. One reason is that complex and thought-provoking art is having a harder time than ever, not only to come about but also to circulate beyond an already converted audience. Another reason is that entertaining and easily digestible art is becoming more and more prevalent - in the public eye, almost synonymous with "art" itself. Both developments are connected with new power dynamics in the wake globalization, neoliberal policies of deregulation and financialization, and the boom of the commercial art market."

Maria Lind, Editior of "contemporary art and its commercial markets - a report on current conditions and future scenarios" (SternbergPress 2012) in the preface.

In this TT-session Stefan Wagner suggests the essay "tainted love: art's ethos and capitalization" by Suhail Malik and Andrea Philips who both work at Goldsmith College in London. The text out of "contemporary art and its commercial markets ..." describes the change and forms of funding structures and its impact on contemporary art nowadays. We will discuss the text and see if we are agreeing with that concept.


Text: tainted love: art's ethos and capitalization by suhail malik/andrea philips

> Text Suhalik/Philips

Posted by Stefan Wagner

Ausstellung
FFF - Fergangenheit, Fake, Fiktion
Nicole Biermaier, Françoise Caraco
 




Nicole Biermaier und Françoise Caraco setzen sich in ihren neu für die Ausstellung im Corner College realisierten Arbeiten mit den Lebensgeschichten ihrer Grossväter auseinander. In der Arbeit «Ein Bild vom Wegsehen» nutzt Biermaier einen Teil ihrer Familienbiografie – und zwar die Erinnerung an die Geschichte ihres Grossvaters - um sich mit den historischen Ereignissen des Nationalsozialismus auseinanderzusetzen. Ausgehend von Familienfotos und Informationsbruchstücken aus Briefen, die ihr Grossvater, Sohn eines sefardisch-jüdischen Einwanderers aus Istanbul, aufbewahrt hatte, erstellt Françoise Caraco in der Arbeit «Familienfotos» eine Versuchsanordnung, um sich mit den Grenzziehungen der familiären und gesellschaftlichen Zugehörigkeit auseinander zu setzen. Die zwei Künstlerinnen greifen somit mittels «Fake Documentary» und Archivarbeit aktiv in die aktuelle Debatte der Verknüpfung zwischen Kunst, Geschichte und Fiktion ein.




Eröffnung: Donnerstag, 31. Januar 2013, ab 19 Uhr
Lecture-Performance von Nicole Biermaier und Françoise Caraco: Donnerstag, 7. Februar 2013, 20 Uhr

Öffnungszeiten: von 15 bis 20 Uhr
Montag und Dienstag geschlossen


«FFF - Fergangenheit, Fake, Fiktion» wird ermöglicht durch die finanzielle Unterstützung von Ernst Göhner Stiftung und Georges und Jenny Bloch Stiftung.

Posted by Irene Grillo

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Post-Critical Thought Session




During this session, Bruno Latour's text "Why Has Critique Run out of Steam?" will provide the basis for a re-thinking of critique as a human-centred practice in relation to art. Drawing the attention toward the multiplicity of processes and things generative of situations of critique, Latour proposes to move from "matters of fact" to "matters of concern" and from "Realpolitik" to "Dingpolitik." In other words, he underlines a mode of thinking inclusive of more-than-human factors relevant for critique and its undoing.

This session has been organized by Christoph Brunner and will be held in English.

> Latour_Critique (E)
> Latour_Kritik (D)

Posted by Philip Matesic

Ausstellung / Buchvernissage / Kino
Tsunami Architecture
Christoph Draeger, Heidrun Holzfeind
 


...


To celebrate the End of the World, Corner College is pleased to announce the book launch of Tsunami Architecture, a new book by Heidrun Holzfeind and Christoph Draeger. At this occasion, the 60-minute documentary "Tsunami Architecture" will be shown at 7PM, followed by a Q+A session and drinks.
The 280-pages book is the final result of a longterm research project, which was presented as an multi-media exhibition at the OK Centrum for Contemporary Art (which commissioned the project) in Linz, Austria in early 2012.


...


The 2004 Indian Ocean Tsunami was one of the worst natural catastrophes in history. While international attention has faded, post-tsunami challenges continue to have an impact on affected communities. Six years later and just weeks before Fukushima, Christoph Draeger and Heidrun Holzfeind looked at what has been achieved, what went wrong and what challenges remain. On a three month trip from December 2010 to February 2011 to the five countries most affected – Thailand, Aceh/Indonesia, Sri Lanka, Maldives and India – the artists investigated the current state of architecture built or reconstructed in the aftermath of the Tsunami. Using video and photography, they documented the long-term effects of the disaster through conversations with survivors, eyewitnesses, aid workers and rescue personnel. They also established a collection of footage of the disaster and the reconstruction efforts.

Additionally, Corner College will be exhibiting two related slide projections in the windows. The site-specific installations will be running over Christmas time including December 26, the 8th anniversary of the Indian Ocean Boxing Day tsunami.

- ¨
Schedule Friday, 21st December

7pm Opening

7:30pm Film Screening Tsunami Architecture
Video, HDV, 60 min, 2012

8:30pm Drinks and Food

Later DJ Strawberry Soda Pop
http://www.eastvillageradio.com/shows/theholyshitsoundsystem

Come and clebrate the End of the World with us!

-

Exhibition:

22. - 26. December

Slide and film projections

Always Nighttimes
Always Outside




Posted by Stefan Wagner

Each One, Teach One
Practical Fridays
Philip Matesic
 

Practical Fridays is a new series of activities extending the "Each One, Teach One" philosophy of Theory Tuesdays. During one Friday evening each month at Corner College, a volunteer will workshop a practical skill.

During this Practical Fridays session, Julia Schwartz will conduct a two-hour workshop where she will teach the basic physical principles of spoken voice use. She will get people's bodies active in order to be able to apply the voice, and then get practical and use it.




Each participant, working on a short poem or aphorism and with Julia coaching him/her, will end up speaking the written work in an understandable, clear form. Everyone will benefit from hearing the others' spoken work.

The workshop is free and will be held in English.

No registration required!

Please bring your bring your house shoes or thick socks with you.

Julia's Website: http://www.juliaschwartz.ch/

Posted by Philip Matesic

Buchvernissage
DIE ANDERE BEZIEHUNG
POLYAMORIE UND PHILOSOPHISCHE PRAXIS

Imre Hofmann
 

Dominique Zimmermann und Imre Hofmann haben darüber nachgedacht, was wohl dabei herauskommt, wenn man ein wenig Abstand nimmt von den gängigen Vorstellungen zur romantischen Paarbeziehung. Nach reiflicher Überlegung sind sie zu dem Schluss gelangt, dass es wohl ein Buch sein wird.
Nun denn, das Buch ist mittlerweile tatsächlich herausgekommen, ganz hübsch noch dazu. Daher freuen sich die beiden AutorInnen, es dem interessierten Publikum nun vorstellen zu können.


...


Und weil man mit dem Nachdenken über Liebesbeziehungen im Allgemeinen und alternative Beziehung im Besonderen nicht einfach aufhören kann, bloss weil man einmal ein Buch dazu geschrieben hat, werden die beiden AutorInnen ihr Baby nicht nur stolz herumzeigen, sondern auch gleich noch Gelegenheit für das rege gemeinsame Gespräch bieten.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Production, Capital and Language (Part II of II)




These two sessions* propose a transversal reading of three texts on the topic of relations between production, capital and language. Together the texts form a rhizome as a map of shared knowledge between practice and theory, rather than contrasting theses to be juxtaposed, and build on the intersection between two major discourses linked to economic theories: Marx's critique of political economy and Freud's psychoanalysis.

During this second session, we will examine the final three texts written in different time periods, from 1975 until 2012. Félix Guattari and Franco Bifo Berardi collaborated starting in the 1970s and draw on schizoanalytic theory while operating a paradigm shift towards an economy of desires and micro-politics or molecular revolution.

*Both sessions are proposed by Dimitrina Sevova.

Text 1 & 2:
Félix Guattari
"20: Molecular Revolutions"
(Guattari's improvised address to the Schizo-Culture Conference organized by Semiotext(e) at Columbia University in New York in 1975)

"21: Desire is Power, Power is Desire (Answers to the Schizo-Culture Conference),"
in id., Chaosophy: Texts and Interviews 1972–1977, Semiotext(e) / Foreign Agents, 2008, pp. 282-290.

Text 3:
Bifo - Franco Berardi
"No. 094: transverse," in Carolyn Christov-Bakargiev (ed.), Documenta 13: Catalog 1/3, The Book of Books | 100 Notes - 100 Thoughts, 2012, pp. 611-617.

> Text 1 & 2
> Text 3

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Production, Capital and Language (Part I of II)




These two sessions* propose a transversal reading of three texts on the topic of relations between production, capital and language. Together the texts form a rhizome as a map of shared knowledge between practice and theory, rather than contrasting theses to be juxtaposed, and build on the intersection between two major discourses linked to economic theories: Marx's critique of political economy and Freud's psychoanalysis.

During this first session we will examine Christian Marazzi and his scientific analyses of capital and it's affects.

*Both sessions are proposed by Dimitrina Sevova.

Text:
Christian Marazzi
"Starting from Work," in id., Capital and Affects: The Politics of the Language Economy, Semiotext(e) / Foreign Agents, 2011, pp. 17-66.

> Marazzi Text

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Christmas Special




During this session, Agnes Thöni will be briefly present and screen the film "Calder's Circus". Shot in 1961 by Carlos Vilardebó, the film shows Alexander Calder's fascinating early work: his miniature circus. Sword swallowers, lions, contortionists and acrobats made of wire were manipulated by the artist, re-creating delicate little circus acts. The stage was designed to fit inside suitcases to be portable.

Calder used to give regular performances of his circus in Paris and New York through the mid-thirties. Avant-garde artists like Piet Mondrian, Jean Cocteau, Le Corbusier, Man Ray or Joan Miró attended in Calder’s studio to see it. The live shows, provided with an intermission, lasted up to two hours. As critic James Johnson Sweeney describes, Calder’s Circus was `a laboratory in which some of the most original features of his later work were to be developed.’

Total running time: 26 minutes, Language: French

Following the film and discussion, we will ring in the holiday season with homemade Glühwein and a special set by DJ Sammy Klaus.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Paul Sharits Film Night



Paul Sharits (1943 - 1993)

American avant-garde/experimental filmmaker, artist, and professor of media studies, Paul Sharits is widely known for his structural films, the use of multiple projectors, infinite film loops, experimental soundtracks, and interventions at the level of the filmstrip in order to realize his elemental mode of cinematic presentation. In in mid to late 60's Sharits made a number of "flicker" films which will be the focus of the evening.

1) Piece Mandala/End War, a film by Paul Sharits (1966) 5 min.

'Piece Mandala is not narrative drama; instead it is meant to provide a short but intense meditative experience. “Meditative” implies suspension of linear time and spatial direction; circularity and simultaneity are basic characteristics of mandalas, the most effective tools for turning perception inward. In this temporal mandala, blank color frequencies space out and optically feed into black and white images of one love-making gesture which is seen simultaneously from both sides of its space and both ends of its time. Color structure is linear-directional but implies a largely infinite cycle; light-energy and image frequencies induce rhythms related to the psychophysical experience of the creative act of cunnilingus. Conflict and tension are natural in a yin/yang universe but atomic structure, yab/yum and other dynamic equilibrium systems make more cosmic sense as conflict models than do the destructive orgasms the United States is presently having in Vietnam.'

2) Paul Sharits Television Interview with Paul O Grady (1976) 28 min.

This interview includes excerpts of Paul Sharits films.

3)T:O:U:C:H:I:N:G (1968) 12 mins

'I am not at all interested in the mystical symbolism of Buddhism, only in its strong, intuitively developed imagistic power. In a sense, I am more interested in the mantra because unlike the mandala and yantra forms which are full of such symbols, the mantra is often nearly pure nonsense – yet it has intense potency psychologically, aesthetically and physiologically. The mantra used upon reaching the “thig le” of the Mandala of the Five Dhyani Buddhas is the simple “Om” – a steady vibrational hum.'

Both quotes taken from:
Notes on Films/1966-68 by Paul Sharits
Published in Film Culture 47, Summer 1969, p.13-16.

> Paul Sharits Text 1
> Paul Sharits Text 2

Posted by Philip Matesic

Lesung
Aus dem Werk "Aus der unmittelbaren Unwirklichkeit" von M. Blecher
Florian Steiner
 

Der Schauspieler Florian Steiner liest im Rahmen der gleichnamigen Ausstellung Textpassagen aus M. Blechers Werk, ausgewählt vom Künstler Christoph Brünggel.




Der Titel Christoph Brünggels aktuellem Bilderzyklus lehnt sich an den Roman "Întîmlari în irealitatea imediata" des rumänischen Schriftstellers M. Blecher an (Dt.: Vorkommnisse aus der unmittelbaren Unwirklichkeit; 1936). Die Rastlosigkeit und Krisenanfälligkeit der Hauptfigur, die sich in einem Zustand physischer wie psychischer Selbstauflösung befindet, führt zu einer übersteigerten Wahrnehmung einzelner Gegenstände und Lebenssituationen. «Selbst die Unerbittlichkeit der Dinge erschöpft sich einmal», schreibt Blecher über die Hyperpräsenz und das gleichzeitige Entschwinden der eigenen Umgebung.

Qualen und Exzesse der Wahrnehmung auf der Suche nach Realität, nach sich selbst in den Gegenständen, Orten und Personen erlebt der jugendliche Protagonist in M. Blechers Roman. Je gefrässiger, obsessiver er sich ihnen nähert, um so unwirklicher wird er sich selbst, um so intensiver und kälter erstrahlt die Welt. In seinen "Krisen" erkennen wir den lichten Irrsinn der ästhetischen Erfahrung, die sich von den Fesseln der Gewohnheit befreit.

Ausstellung offen ab 18.00 Uhr
Lesung ab 20.00 Uhr


Posted by Jeannette Polin

Each One, Teach One
Practical Fridays
Philip Matesic
 


The Boy Mechanic, Vol. 1, Page 338


"Practical Fridays" is a new series of events extending the "Each One, Teach One" philosophy of Theory Tuesdays. Starting in 2013, during the last Friday of each month at Corner College, a volunteer will teach or workshop a practical skill to the group.

Instead of discussion about a specific text or film, we will have a hands on experience of learning something practical. This can take the form of many skills including how to play the Swiss card game "Jassen", sharpen a knife or effectively change a flat bike tire.

We look forward to learning something practical from you in 2013! Please attend the Theory Tuesdays winter planning session on November 20th with your ideas or send suggestions to theorytuesdays@gmail.com.

Posted by Philip Matesic

Buchvernissage
rundherundherundherum
TUN-IS-THUN


Ingo Giezendanner
 




Der für seine Zines und Stadtansichten bekannte Zeichner Ingo Giezendanner hat im Rahmen der Ausstellung GRR 49: rundherundherundherum ein 50 Meter langes Panorama im Thuner Panorama geschaffen. Das Thuner Panorama, früher auch Wocher Panorama genannt, gilt als das älteste, erhaltene Panoramabild der Welt und wurde vom Basler Künstler Marquard Wocher von 1809 bis 1814 gemalt. Es zeigt das tägliche Leben in der Kleinstadt Thun und seiner ländlichen Umgebung auf 285 Quadratmetern, wobei selbstverständlich auch die touristischen Highlights des Berner Oberlands wie Blüemlisalp oder die Jungfrau nicht fehlen.
Ausgangspunkt für "rundherundherundherum" bildet (ähnlich wie bei Wocher) denn auch eine Reise – in diesem Fall in die sich ganz ähnlich anhörende und sich fast auf dem gleichen Längengrad wie Thun befindende Stadt Tunis. Auf einem öffentlichen Platz etwas abseits des Zentrums sitzend hat er dort in einer 360-Grad-Zeichnung das Geschehen rund um ihn herum dokumentiert.

Ab 18 Uhr: Barbetrieb und Couscous

"rundherundherundherum" wird herausgegeben vom Kunstmuseum Thun, Petra Giezendanner und Siri Peyer im Verlag Moderne Kunst Kunst. Die Buchvernissage findet in Zusammenarbeit mit dem Kunstmuseum Thun statt.

Posted by Stefan Wagner

Ausstellung / Präsentation
Syria - Here and There
Rayelle Niemann
 

The difficult and complex situation in Syria leads to a fragmentation of society into various isolated parts. Some of these parts seem to be in line with each other better than others. Sometimes it appears to be a unified. And then again it falls to pieces. Syria as concept has become a synonym for itself and all the questions that arise when the line is crossed: be they existential, ethical, humanitarian, political, religious, economic, military or in terms of international law.

Presentation "Social Media tools in Times of Transition" (in English language) at 7.30pm:

In order to understand the development in Syria we take a closer look at the Egyptian revolution and the struggle for information, media coverage and connectivity. Battuta, Muhammed Radwan is an engineer, activist and social media entrepreneur from Cairo. He visualises and analyses the complexity and multiple layers of the Egyptian revolution, and its use of language on the basis of flyers, stickers, etc. Also, besides Facebook and Twitter, other transnational social media platforms with a simplified operation mode, such as Bambuser or Ushahidi, are used to promote identities and opinions. Battuta draws on his own experiences from the streets, digital spaces and the financial market. He links this to the opportunities of social media tools in times of transition and their field of application – a cultural landscape oscillating between representation and archive; one of his theses states that the speed of technical development is overtaking history.

for sale: "sold out... for now", original revolution T-shirts from Cairo.

to see: collection of printed things, stamps, stickers and flyers

music and open bar with Ashraf Osman, Architect from Beirut, Lebanon / Switzerland.

concept: Rayelle Niemann


the people - revolution of the people power to the people


Die schwierige und komplexe Situation in Syrien produziert viele einzelne, isolierte Teile. Manche Teile scheinen besser zueinander zu passen als andere. Manchmal erscheint das Bild klar. Und dann zerfällt es wieder. Syrien ist ein Synonym geworden, für sich selbst und für alle Fragen, die gestellt werden, wenn die rote Linie überschritten wird: existentielle, ethische, humanitäre, politische, religiöse, wirtschaftliche, militärische, völkerrechtliche.

Beginn Präsentation "Soziale Medienwerkzeuge in Übergangszeiten" (in Englischer Sprache) um 19:30 Uhr:

Eine erste Spurensuche rund um Syrien führt über den Kampf um Information, Medialität und connectivity nach Ägypten. Muhammed Radwan Battut stammt aus Kairo und ist Ingenieur, Aktivist und Unternehmer für soziale Medien. Anhand von bewährten zugehörigkeits- und meinungsbildenden Mitteln wie Flyer, Sticker etc. erläutert Battuta die visualisierte Vielschichtigkeit der Ägyptischen Revolution und deren Sprache. Länder überschreitend werden parallel Internetplattformen für Information und Aktion benutzt, die neben Facebook und Ttwitter mit einfachen Bedienungs- und Benutzermodi arbeiten, wie Bambuser und Ushahidi. Battuta greift auf seine eigenen Erfahrungen auf der Strasse, in digitalen Räumen und dem Finanzmarkt zurück. Er spannt einen Bogen zu den Möglichkeiten sozialer Medienwerkzeuge in Übergangszeiten sowie deren Anwendungsbereiche – eine Kulturlandschaft zwischen Präsentation und Archiv; Eine seiner Thesen ist, dass die Schnelligkeit technischer Entwicklungen die Geschichte überholt.

Neben der Präsentation gibt es T-Shirts (sold out …… for now > Verkauf von original revolutionären T-Shirts aus Kairo) zu kaufen sowie eine Sammlung gedruckter Dinge, Briefmarken, Sticker und Flyer anzusehen. An der Bar legt Ashraf Osman, Architekt aus Beirut, lebt in der Schweiz, Musik auf.

Konzept Rayelle Niemann.

Die Veranstaltung wird am 25. November im Cabaret Voltaire.
The presentation will be continued on November 25th at Cabaret Voltaire.

> Invitation/Einladung

Posted by Stefan Wagner

Ausstellung
Aus der unmittelbaren Unwirklichkeit
6. - 17. November 2012

Christoph Brünggel
 

Der Künstler Christoph Brünggel präsentiert im Corner College einen ersten Einblick in seine fortlaufende Werkreihe „Aus der unmittelbaren Unwirklichkeit“, die sich mit der Auflösung und der Bildung von Form und Struktur auseinandersetzt.


Dying Swan, 2012, Christoph Brünggel


„Der Schwebezustand, das noch Ungeformte interessieren mich. Dieses Dazwischen, das Oszillieren zwischen Gegensätzen ist Antrieb und auch Ort meiner Kunst“ beschreibt der Künstler seine Arbeit. Zu sehen ist der Versuch, durch unterschiedliche Techniken ein eigenes Sensorium für die Transformation der Dinge an der Bruchstelle zwischen Wirklichkeit und Unwirklichkeit zu entwickeln. Gezeigt werden Arbeiten auf Papier, die durch eine teils diffus verklärte und abstrakte Ästhetik überzeugen. Als Ausgangslage der ausgestellten Arbeiten dienten dem Künstler eigene Fotografien, Bildmaterial aus Archiven sowie Filmausschnitte, deren Bewegung er mittels eines Langzeit-Scans auf Papier bannen konnte.
Christoph Brünggel begann den Bilderzyklus während seines diesjährigen Atelieraufenthaltes in Berlin und wird ihn auch nach dieser Ausstellung laufend weiter entwickeln.


6. November, 18.30 Uhr
Eröffnung der Ausstellung

15. November, 20.00 Uhr
Lesung aus M. Blechers Werk mit Florian Steiner


Öffnungszeiten
Do 18-21 Uhr / Fr 15-19 Uhr / Sa 14-17 Uhr oder auf Anfrage

Posted by Jeannette Polin

Buchvernissage / Lesung
40 JAHRE KERNSPALTUNG und DICTATORS
Peter Tillessen
 

Der in Zürich lebende Fotograf Peter Tillessen hat diesen Sommer gleich zwei Bücher - 40 JAHRE KERNSPALTUNG und DICTATORS - fertig gestellt und lädt nun zur Doppelbuchvernissage. Neben der Buchpräsentation werden Fotos gezeigt und Peter Tillessen wird eine wissenschaftliche Lesung halten. Anschliessend gibt es Eintopf und vielleicht einen Dessert aus Tillessens Geheimrezeptbuch.




Erschienen sind die Bücher bei Kodoji Press, wobei die Pressetexte einen Einblick ins Tillessensche Universum gben:

40 JAHRE KERNSPALTUNG/40 YEARS OF NUCLEAR FISSION

40 Years of Nuclear Fission looks like an old scientific textbook that explains the origins of nuclear fission, illustrated by captivating black and white photographs of sculptural shapes. In fact the book is not an academic but personal compilation by photographer Peter Tillessen. The 40 photographs show excrements of the black-headed earthworm, which aggressively ploughs through a cemetery in Zurich. The pictures of those fragile sculptures are contrasted with parts from the detailed descriptions of nuclear fission from the original book, a text by Darwin that explains the work of earthworms and a text by the artist, who describes his childhood in the atomic age as a son of an atomic engineer. The number 40 is in this compilation no accident: Tillessen took the pictures on his –rainy– fortieth birthday for one of his best friends to pay off his debts from a bet – as he wasn't a father of a big family (like his father) at the age of 40. That’s what he had pretended to his friend at the age of 27. The design of the book in the book accentuates the biographical fission within the big context of the atomic age: particularly the way the photographer examines the father's book to reflect his own situation and to become aware of the earth's fragility. At the end it's all about evolution. 40 Years of Nuclear Fission is the third publication in his series at Kodoji Press.

DICTATORS

Dictators is based on Peter Tillessen's observation, that the style of female pubes often resembles the moustaches of politicians. Whether the personal is political or not, Tillessen drew 18 sketches in his Moleskine, which are all represented in this black and white Xerox-printed booklet. The publication is housed in a white paper bag with a self-made potato stamping by the artist and his daughter. Dictators is the second publication in his series at Kodoji Press.

Posted by Stefan Wagner

Lecture-Performance
'WTF?!'
Nick Thurston
 

This evening of poetry readings will feature works from the loose and emergent field known as ‘conceptual writing’. Practioners in this field have come to understand the conversations about conceptual writing as being unresolved somewhere between poetics and aesthetics via new media theory. Following that trans-disciplinary spirit, and in keeping with the Intermedia precedents for this kind of writing, Nick will perform readings from his own published works and other’s.


Sucking on Words' sound poetry event, Whitechapel Gallery, London, February 2012. Photo courtesy of the gallery


A renewed interest in the effects of networked technologies on the semantics, syntaxes and labour processes of contemporary writing will be the focus, following Nick’s basic research project of writing on the inside of contemporary art onto the outside of the register of literature. Any conversations about how these media also effect distribution and reading experiences will be a very welcome bonus!


Further reading:

Nick Thurston
http://afterall.org/online/7239

Conceptual writing
http://www.ubu.com/concept/

Organized by Lucie Kolb & Romy Rüegger
http://www.withwith.ch

Posted by Stefan Wagner

Buchvernissage
CITY AS LOFT




Immer geht es um den jeweiligen Ort, die Menschen und um eine Vision – dies wird in den Porträts von 30 umgenutzten Industriearealen aus aller Welt deutlich. Ihre Neuinterpretation setzt ein enormes Potenzial an Energie und Kreativität frei: in den USA, Russland, Brasilien oder China ebenso wie in Europa. Das Buch beleuchtet die Hintergründe, Akteure und Konzepte und zeigt verschiedene Strategien der Umnutzung auf. Fachleute aus Theorie und Praxis erläutern in Aufsätzen und Interviews ihre Erkenntnisse und Erfahrungen. Der niederländische Buchgestalter Joost Grootens,bekannt für seine selbsterklärenden «infographics», visualisiert die 30 Projekte und ermöglicht damit eindrückliche Vergleiche.

It’s always about each specific location, the people, and a vision. This is the message distilled from these portraits of 30 reused industrial areas. In a wide variety of places all round the globe, reinterpretations of the legacy of the industrial age are releasing tremendous potential energy and creativity – in the USA, Russia, Brazil and China just as much as in Europe. The book examines the background, protagonists and concepts involved and shows various strategies for reuse. In essays and interviews, specialists from both the theoretical and practical fields explain their findings and experiences. Dutch book designer Joost Grootens, well known for his self-explanatory ‘infographics’, has given the 30 projects a visual form allowing fascinating comparisons.




Programm:

19 Uhr
Beginn und Glühwein

19:30 Uhr
Begrüssung + Einführung, Martina Baum (Herausgeberin)

19:45 Uhr
Moderierte Gesprächsrunde/Podiumsdiskussion mit Kees Christiaanse und Martina Baum sowie den Gästen Patrick Gmür (Amt für Städtebau Zürich), Martin Hofer (Wüest & Partner), Thomas Hildebrand (blue architects), Matthias Bürgin (Büro metis) und Irene Grillo & Stefan Wagner (Corner College)

Ab 21 Uhr
Ausstellung, Apero, Buchverkauf

-

CITY AS LOFT: Adaptive Reuse as a Resource for Sustainable Urban Development Martina Baum, Kees Christiaanse (Hrg.)
Mit Beiträgen von Martina Baum, Tom Bloxham, Kees Christiaanse, James Corner, Angelus Eisinger, Annette Gigon/Mike Guyer, Anne Lacaton/Jean-Philippe Vassal, Yan Meng, Neo Rauch, Ronald Rietveld/Erik Rietveld und andere.
Bookdesign und «infographics»: Joost Grootens

gta Verlag




Posted by Stefan Wagner

Vortrag
Curatorial Practice
Sally De Kunst
 

The result of globalisation is that the romantic idea of cultural origins or local roots has more or less lost every meaning. Authenticity doesn’t refer to provenance any more, but rather to a succesfull arrival of a cultural practice in a new surrounding, ideally with an own, obstinate touch. It is in that sense that locality becomes interesting : to produce international artistic work that creates an interactive relationship with and questions a local context or to stimulate local artists to overcome the little box thinking by trying out new formats. Belluard Bollwerk International is an arts festival that since 1983 takes place every year at the beginning of the summer in Fribourg. It has a history of having its own vision on actual art and society and producing and showing work of local and international artists in a convivial context. Hard to pin down the disciplines we are producing or presenting. Word says we are 'in between'. Which is at the same time complex, challenging and exciting. Works go from more sort of 'classical' formats like theatre, performance, dance, concerts, to more 'unconventional' projects like acupuncture of a building, a human library or artists that are digging a hole in the middle of the city during 10 days.
www.belluard.ch




A lecture organised by The Postgraduate Programme in Curating, ZHdK.

Posted by Irene Grillo

Ausstellung / Vortrag / Workshop
Ein Buch bei Nacht
Objekte aus der Bibliothek Andreas Züst


...


Programm Sonntag, ab 19 Uhr, stündlich:

Simone Koller:
Handle with care (mehr oder weniger)
(Vortrag)

Chris Jaeger Brown:
Rhythmischer Unfug
(drum solo)

C.E.Meier:
Dreizeilern
(Workshop)

Philipp Messner:
Papierformat und Wissensorganisation
(Vortrag)

Habib Ahmed Afsar:
Silent Friend
(Performance)

Ein kleiner Imbiss wird während des Abends serviert.

Mehr Infos:

http://www.ebbn.ch

Posted by Stefan Wagner

Lecture-Performance / Lesung / Performance / Workshop
Ein Buch bei Nacht
Objekte aus der Bibliothek Andreas Züst


...


Programm Samstag, ab 19 Uhr, stündlich:

Salome Hohl:
Dekonstruktion eines Vierecks, im
Viereck. Ein Versuch – mit dem
Spiralkneter
(Lesung)

Samuel Bänziger, Mara Züst:
«Insert I – Ein Buch bei Nacht»
(Präsentation)

Sereina Steinemann:
Das neue Heft
(Workshop)

Heinz Emmenegger:
KANNT oder WENIGER
(Lesung)

Macuso Vikovsky
(Konzert)

GRRRR:
… am Zeichenstift
(Kunst)

Lucie Kolb:
Liste, Titel, Zitat. Über das
Adressieren von Kunstwerken
(Vortrag)

Anina Schenker:
… schreibt einen Brief
(Kunst)

DJ Fascinación
(turntables)

Ein kleiner Imbiss wird während des Abends serviert.

Mehr Infos:

http://www.ebbn.ch

Posted by Stefan Wagner

Ausstellung
Ein Buch bei Nacht
Objekte aus der Bibliothek Andreas Züst
19. - 21. Oktober

So kompakt sich ein Buch gibt, in jedem einzelnen schlummern Welten, die – im Sinne eines Objektes mit Körper und Seele – darauf warten, geblättert, betrachtet und gelesen, gerochen, gefühlt und, in ihrer höchsten Form, in die Gedankenwelt des Betrachters, der Leserin übertragen zu werden. Diese «Bücherwelten», in einer Bibliothek Buchrücken an Buchrücken gereiht, führen nicht nur in andere Zeiten, Gegenden und Gedankenwelten, sondern stehen immer auch mit derjenigen Person, die sich einem Buch annimmt, in Verbindung. Ohne ein Gegenüber ist ein Buch nicht mehr als etwas Papier und Druckerschwärze, mit einem Gegenüber wachsen Bücher weit über dies hinaus. Dochin welche Form? Um dem nachzukommen, wurden unterschiedliche KünstlerInnen und angewandte GestalterInnen eingeladen, ihren ganz spezifischen Zugang zu einem bestimmten Buch (oder auch mehreren) der Bibliothek Andreas Züst in ein Objekt zu überführen. Diese Objekte werden nun, zusammen mit den dazugehörigen Büchern und Buchreihen, in einer kleinen Wanderausstellung dem Publikum präsentiert.


...


As consolidated as a book seems, each one consists of slumbering worlds, which, in the sense of an object with a body and soul, are waiting to get flipped through, to be looked at and read, felt and in its highest form, be transformed into the mind of the beholder and transmitted to the reader. Those “book worlds”, stacked spine next to spine in a library not only guide to different times, areas and intellectual worlds, but are also always in some way connected to the person, who looks at it. Without this counterpart, a book is no more than some paper and ink. With a counterpart, books can go far beyond. But in which form? To explore this, various artists and practical designers were invited to transform their perspective of one (or several) books of the library of Andreas Züst into an object. These objects, together with the corresponding books or book series are now presented to the public in a small circulating exhibition.

19th to 21th October 2012

-

Programm Freitag:

19 Uhr:
Eröffnung Ausstellung Habib Ahmed Afsar, Ivo Mendes Barão Teixeira, Beni Bischof, Gabi Deutsch, Daniel Gafner, Mariano Gaich, Estelle Gassmann, Peter Hutter and Nobert Möslang

ab 19 Uhr:
This book - organized by Veronika Spierenbrg

Artist Veronika Spierenburg will talk with people who have an interesting connection with the
medium of books.

Barnaby Drabble – A talk about a book about books inside a library as part of an exhibition inside a museum
Moritz Küng – Curating the Library
Hans Witschi – oeuvretotal.com
Erik Kessel – In almost every picture
Moritz Küng – Peter Downbrough
Romy Rüegger & Garrett Nelson – my book your book
Eva Kovakovsky – Grasbücher
Vincent Romagny
Dominique Hurth – séance de lecture  – on the physical manifestation of the book
Rob van Leijsen – Art Handling in Oblivion
Sophie Nys
Karma – karmakarma.org
David Senior


Ein kleiner Imbiss wird während des Abends serviert.

-


Ein Buch bei Nacht wird organisiert von Samuel Bänziger und Mara Züst.

Mehr Infos?

http://www.ebbn.ch

Posted by Irene Grillo

Lecture-Performance
Performative Lecture No3
YOU THE BETTER I

Sarah Bernauer, Fork Burke, Garrett Nelson
 


...


The Performative Lectures ist eine konzeptuelle Reihe der Künstlerin Sarah Bernauer und des Künstlers Garrett Nelson. Angesiedelt zwischen Vorlesung und Performance behandelt die Lecture aktuelle künstlerische Fragestellungen, Haltungen und Taktiken. Jeder Lecture geht eine intensive Vorbereitungsphase voraus, in der Bernauer & Nelson jeweils ein neues Setting an Charakteren und Kommunikationsmodellen entwerfen.

Special Guest: Fork Burke

Posted by Stefan Wagner

Kino
NO FLASH
Homage to Ricardo Rangel (1924–2009)


...


Ricardo Rangel is regarded as the doyen of Mozambican photography and is one of the leading photo reporters in Africa in the second half of the 20th century. He belongs to a tradition of documentary photographery which is close to the approach of the Magnum photographers. He always had any critical attitude towards the Portuguese colonial regime, and this led to conflicts with the censorship authorities and to emprisonment. After independence in 1975 he made a major contribution to the construction of the new socialist state, while maintaining his critical distance to the establishment. As a leading journalist and as a teacher in the Centro de Formação Fotográfica (CFF), Rangel had a strong influence on the next generation of photographers and was one of the main founders of the photographic tradition in Mozambique.

The film shows sequences from 2003 with Ricardo Rangel at the time of the opening of the exhibition Iluminando Vidas. The scenes from 2003 are interwoven with longer interview passages from the year 2011 with Alexandre Pomar (*1947, Lisbon) and photographer Sérgio Santimano (*1956, Lourenço Marques / Maputo). Pomar is a respected Portuguese art critic and journalist who lives in Lisbon.

Read more about Ricardo Rangel and watch
trailer.

With a short introduction by Bruno Z'Graggen.

NO FLASH
Homage to Ricardo Rangel (1924–2009)
A film by Bruno Z'Graggen and Angelo Sansone
56 min
P, English subtitles




Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Linda Jensen, Clin d'oeil à Baldessari/I Will Not Make Any More Parodic Art


Presentation:
"The Art World Establishment (to varying degrees)" by Linda Jensen

During this session Linda Jensen will present works by artists and writers who, to varying degrees, comment on the art world establishment. The tone of representation varies greatly. Some deliver their message or insight in glaringly humorous ways, whilst others do so more soberly with a reporting approach.

Who are these buffoons who have in good humor mocked art movements? Who are the heretics that have astutely interpreted and presented the sociological workings of the art scene as well as the more distasteful conducts of behavior within the art system? They may be overtly cynical and yes, some of them are perhaps a bit too much, but who gives a hoot—they're hilarious!

There are those who have crassly blown out idealism's pale fire with one cheeky breath whilst others have nimbly created art-world narratives, grabbing your hand and dragging you somewhere unexpected. What does satire’s subversive edge have in store? The spectrum of styles presented will include parody, satire, irony, cynicism, invective, wit and spoofs.

The presentation will be held in English.

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

3 Years / 100 Sessions


"Nicolas Bourriaud" by Navid Tschopp


October 9th marks the three-year birthday and 100th session of Theory Tuesdays. To celebrate this unexpected longevity of the discussion group, Corner College will be hosting a special event. The discussion table and chairs will be folded up and replaced with a ping pong table. The weekly back and forth between the participants will be transformed into a "Rundlauf / Round-the-table" ping pong tournament.

10 ping pong paddles have been illustrated for the occasion, by Swiss artist Navid Tschopp, with the faces of philosophers, critics and thinkers that have fueled Theory Tuesdays discussions over the years. A "Theory Tuesdays 100" publication will also be released, highlighting the occasional scan blooper found in the Theory Tuesdays .pdf archive. Please stop by and participate in the celebration of 3 years / 100 sessions of Theory Tuesdays!

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




Text:
Excerpts from „Are You Working Too Much? Post-Fordism, Precarity, and the Labor of Art”
edited by Julieta Aranda, Anton Vidokle, Brian Kuan Wood, e-flux journal / Sternberg Press, 2011

During this session, Anna Francke will be presenting two essays from the book "Are You Working Too Much? Post-Fordism, Percarity and the Labor of Art". Below you will find the exact titles and if you follow the link, the corresponding .pdfs.

„People of Intensity, People of Power: The Nietzsche Economy” by Diedrich Diederichsen
„Politics of Art: Contemporary Art and the Transition to Postdemocracy” by Hito Steyerl

The texts and discussion will be in English.

> Are You Working Too Much?

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Dieter Roth / Ein Dokumentarfilm von Edith Jud




Dieter Roth lebte zwanzig Biografien und hinterliess ein titanenhaftes Werk. Kunst und Person fliessen auf einmalige Weise zusammen, diese wechselseitigen Bewegungen nimmt der Film auf. Er ist als eine innere und äussere Reise konzipiert und konzentriert sich dabei auf die Themen Kunst – Leben und Autonomie – Zusammenarbeit.

Dieter Roth tritt in eigenen Videos auf, als Performer oder Selbstdarsteller seines Alltags, diese Dokumente und die Werke bilden Zentrum und Ausgangspunkt, sie führen an die Schauplätze seines Wirkens und zu seinen Mitarbeitern, Weggefährtinnen und Weggefährten - auch diese sind in Dokumenten festgehalten. Sie erzählen und erinnern aus dem Heute an kreative, wilde, zärtliche und traurige Momente mit Dieter Roth. Hauptperson ist sein Sohn Björn, er hat die letzten zwanzig Jahre zusammen mit seinem Vater gearbeitet.

Laufzeit: 115 Minuten
Sprache: Deutsch

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Dan Perjovschi, Window Drawings, Paris Triennale, 2012


Travel Series:
"Manifesta & Paris Triennale“ presented by Olga Stefan

2012 was a year of major bienniales and international art manifestations that attracted art crowds in mass pilgrimages from one opening to another throughout Europe and beyond. But how effective and interesting were the exhibitions themselves?

Olga Stefan will be discussing the artwork and curatorial approach at two of this year's major international exhibitions, The Paris Triennale and Manifesta. Through slide show presentations of both shows, Olga will offer her take on what worked and what didn't.

Olga's Website: http://olgaistefan.wordpress.com/

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Rebel L


Rebel L vs. Mitt Romney

«Ecstatic Alphabets / Heaps of Language» is a group show at MoMa NY that runs until August 27. That we will be discussing it on August 28 in Zürich is not as far-fetched as it seems: One of the works featured in the exhibition is an edition of Bulletins of the Serving Library by Dexter Sinister – i.e. a work that can be seen not only in New York, and not only for the duration of the exhibition.

The publication contains texts dealing with the materiality of language and its letters – as do the installations, sculptures, prints in the show. Reading two texts from the exhibition catalog, we will be learning how rebellious the letter L is; how many novels with one-letter titles there are (almost 26); and why Mitt Romney doesn’t like Sesame Street.



Texts:

> Brought To You By The Letter I
> A Die With 26 Faces

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


Rodney Graham, Rheinmetall/Victoria 8, 2003


Text:
"Under the Gaze of Theory" by Boris Groys

Link:
http://www.e-flux.com/journal/under-the-gaze-of-theory/

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




Text:
Excerpts from "Artists with PhDs“ by James Elkins

> Chapter 9 - On Beyond Research and New Knowledge

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 




Film: "Liste 16: Absolute Art Space“ directed by Edith Jud

LISTE – The Young Art Fair is the little sister of Art Basel. It was established in 1996 and hosts galleries that are too new/young/special to make it into the larger arena of Art Basel. The galleries that participate have to be younger than 5 years old and the artists they show, younger than 40. This film documentary, by filmmaker Edith Jud, tells the history of LISTE and about the space it occupies every year, the Werkraum Warteck. The screening will be followed by a discussion of the yearly ritual of art fairs in Basel and how they influence the rest of the year.

Running Time: 74 Minutes
Language: German/English

Posted by Philip Matesic

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Is everything going to be alright?
Art and the City Session


Martin Creed, Everything is going to be alright, 1999/2012


Verschiedene Zürcher Quartiere befinden sich massiv im Umbruch. Zürich-West ist eines davon. Diesen Sommer wird es im Rahmen des Festivals Art and the City mit 43 Kunstwerken von internationalen Kunstschaffenden bespielt. Neben der Stadt Zürich sind Sponsoren, Galerien, Museen und verschiedene Kunsträume involviert. Das Konzept, Werke und Projekte, das Offspace-Programm, die Verbindungen und Widersprüche zum Forschungsprojekt Kunst und Öffentlichkeit und nicht zuletzt das vermittelte Verständnis von Kunst im öffentlichen Raum und öffentlichem Raum an sich stehen zur Diskussion.

Gast: Michael Hiltbrunner, Organisation Off-Space Programm Art and the City, wissenschaftlicher Mitarbeiter Institut für Gegenwartskunst ZHdK und Muriel Baumgartner, Künstlerin.

Moderation: Philip Matesic und Anna Francke

In deutscher Sprache.

Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 


“Losing Face”, Gratwohl/BBB Deimling, Zurich/Berlin. Physical Vehicle, ICA performance festival, London, 2001. (Photo: Robert Ayers)


Text:
"The Body as a Medium: Switzerland's Performance Network" by Rayelle Niemann

> The Body as a Medium

Posted by Philip Matesic

Präsentation
The Surveyor
Fabian Reimann
 

Der Künstler Fabian Reimann stellt in der Publikation "The Surveyor" Zusammenhänge zwischen Spionage, Kunst und Mehrfachidentitäten her. Dabei geht Reimann von dem englischen Kunsthistoriker Anthony Frederick Blunt aus, der 1979 in einer Unterhaus-Rede von Margaret Thatcher öffentlich als sowjetischer Spion enttarnt wurde. Die Enttarnung Blunts als Vertreter des Establishments war für die britische Oberschicht ein gravierender Schock, bestätigte sie doch jede Paranoia in der Epoche des Kalten Krieges.
Das Buch The Surveyor knüpft an eine gleichnamige Installation von Fabian Reimann an. In der Publikation berichtet der Künstler von den Wechselbeziehungen der Medien in den Rechercheprozessen seiner Arbeit. 
Mit Texten von Stephanie Tasch, Denise van de Beek und Jan Wenzel. Besonders hervorzuheben ist das erstmals veröffentlichte Bekennerschreiben Blunts, das im Juli 2009 von der British Library der Öffentlichkeit zugänglich gemacht wurde. 




1979, Sir Anthony Frederick Blunt ist nicht mehr Sir. Der Grund dafür liegt weit zurück in Cambridge, wo er studierte. Dort kam er mit einem geheimen Kreis von Männern zusammen, jung und von glühender Leidenschaft für den Kommunismus. Später wurden sie bekannt als die Cambridge Five. Der erste von ihnen wurde 1951 enttarnt, der zweite ein Jahr später. Blunt war zu dieser Zeit Professor für Kunstgeschichte und Berater der Queen in Kunstangelegenheiten, er betreute die Gemäldesammlung der Windsors als Surveyor of the Queen’s Pictures. Französische und italienische Kunst waren sein Schwerpunkt, Poussin insbesondere. 1963 flog der dritte aus dem Kreis der Cambridge Five auf, er hatte sich wie schon die anderen nach Moskau abgesetzt. Blunts zweite Identität wurde ein Jahr darauf bekannt – aus Rücksicht auf die Queen aber nicht in die Öffentlichkeit getragen. Margaret Thatcher tat dies 15 Jahre später.

Posted by Irene Grillo

Lesung
und zwischen dazwischen und dazwischen und...
&
Albernheit

Michael Glasmeier
 

Der Berliner Autor und Theoretiker Michael Glasmeier liest aus folgenden beiden Bänden:


und zwischen dazwischen und dazwischen und...


1979 besorgt sich Michael Glasmeier einen Stempelkasten und einen Schwung unlinierter Leintal-Schulhefte, "holzfrei 80g", um einen einfachen, aber hinreichend literarischen Titel zu setzen: "gedichte". Damit beginnt eine rege lyrische Produktion über gut zehn Jahre, die hier gesammelt zur Wiederentdeckung angeboten wird: literarische Bild- und konkrete Sprachkritik, Albernes, Urbanes und Landschaftliches.

Neben illustrierten Sprüchen Johann Wolfgang Goethes stehen Versuche über die Enzyklopädie der Dinge, über den Walfang und Kamele in Berlin. Komplettiert wird der Band durch ein nicht gar zu arg philologisches Nachwort von Jan-Frederik Bandel und eine vom Verfasser unsentimental kommentierte Bibliografie.



A – Albernheit


Die Albernheit – obwohl ringsum praktiziert – ist dem Verdikt eines unübersehbaren Ernstes zum Opfer gefallen. Entsprechend marginal sind die wissenschaftlichen Erträge zu dieser kindischen, beiläufigen, grundlosen und – bei optimalem Sender-Empfänger-Verhältnis – unterhaltenden Stimmung. Mit gediegenen Begriffen wie "Satire" und "Ironie" wird das künstlerisch-literarische Bedürfnis nach Albernheit überspielt und eingezäunt. Aber ein Begriff des Albernen als künstlerische Strategie der grenzenlosen Fantasie erlaubt es auch, den Kanon der Kunst- und Literaturgeschichte zu überprüfen – einschließlich ihrer hohen Meisterwerke.

Posted by Urs Lehni

Kino
Traité de Bave et d'Éternité



"Traité de bave et d'éternité" est un film expérimental français écrit et réalisé par Isidore Isou en 1951, produit par Marc'O, et monté avec l'aide de Maurice Lemaître.

Ce film, qui fit scandale à Cannes en 1951 et reçut le Prix des Spectateurs d'Avant-Garde, est basé sur le principe de ce qu'Isou appelle le montage discrépant, qui consiste en une disjonction totale entre le son et l'image, traités de manière autonome sans aucune relation signifiante.

Ainsi, la bande-son est constituée de poèmes lettristes (servant de générique et d'interludes), auxquels s'adjoint une narration contant l'histoire de Daniel, auteur d'un manifeste pour un nouveau cinéma (le cinéma discrépant), de son discours face à un public hostile et de son histoire d'amour avec une dénommée Ève.

L'autonomisation du son a pour but de le faire s'épanouir pleinement, sans tenir compte de l'image, lui offrant ainsi toute la richesse stylistique de la prose, devenant un véritable roman parlé (procédé qui inspirera notamment Chris Marker pour son film La Jetée).

La bande-image, quant à elle, constituée, en grande partie, de found footage, présente une succession d'images banales : Isou errant dans le quartier de Saint-Germain-des-Près ou en compagnie de personnalités (comme Cendrars ou Cocteau), des fragments de films militaires récupérés dans les poubelles de l'armée ou d'exercices de gymnastique filmés, et des plans d'actualités de personnalités de l'époque, telle l'actrice Danièle Delorme.

Ces images servent de prétexte à l'utilisation de la ciselure, procédé rendu en peignant, grattant ou rayant directement la pellicule, séparant ainsi chaque photogramme, habituellement perdu dans le mouvement général d'un film, pour l'explorer en lui-même et l'anéantir. L'image se retrouve parfois réduite à des écrans blancs ou noirs à divers moments du film.

(Wikipedia)

"Traité de bave et d'éternité" (Venom and Eternity)
Directed by Isidore Isou
France, 1951
b/w, 111 Min, English Subtitles

Read here more about lettrist cinema:

http://www.mitpressjournals.org/doi/abs/10.1162/OCTO_a_00019

Posted by Stefan Wagner


Plattentaufe "Visite Ma Tente"
Macuso Vikovsky Trio
 


...


Nach seinem Auftritt als One-Man-Band an der
3. ZineSezession 2010 kommt Macuso Vikovsky zurück
ins Corner-College, um sein Debüt-Album vorzustellen.
«Visite ma tente» das heisst: Man möge die Einladung annehmen und eintreten in eine verzückende Wunderwelt
der musikalischen Kleinode und der fein gesponnenen, überraschenden Klänge eines «Songbastlers». Musik der akustischen Art mit Folk-Anleihen, der eine sympathische Schrulligkeit eigen ist.
Live kommt das Album nun in Trio-Formation zur Umsetzung. Als leises, kammermusikalisches Pop-Konzert.

Nicola Romanò (Cello)
Stefan Haas (Banjo, Gitarre, Stimme)
Macuso Vikovsky (Stimme, Gitarre, Banjo, Ukulele, Balalaika, Klarinette)

«Visite ma tente» erscheint am 1. Juni 2012 bei spezialmaterial.

http://macuso.restorm.com/
http://www.spezialmaterial.ch/



Posted by Sarah Infanger

Buchvernissage / Lecture
Success and Uncertainty
Bart de Baets, Sandra Kassenaar
 

From March till July 2011 Dutch graphic designers Bart de Baets (Knokke, Belgium, 1979) and Sandra Kassenaar (Johannesburg, South Africa, 1982) were resident artists at the Townhouse Gallery in Cairo.

Due to the recent events in Egypt and especially its capitol, their initial date of arrival on the 1st of February 2011 was postponed for a month. Being stunned by the political tidal wave flooding the country, the resignation of Hosni Mubarak and the phenomenon of having a curfew — something they had only heard of in World War II stories — the designers found themselves gazing from the sidelines, not knowing how exactly to react to all of this. They asked themselves ‘Would it be arrogant to confront the Egyptians with our assumptions? And ‘isn’t it ignorant to pretend to have a nose bleed?’


Success and Uncertainty


Their unclear position and the new situation the country found itself in proved to be an inspiring discovery, which eventually lead to the project "Success and Uncertainty." The title of this work is an existing headline taken from the 12th of February 2011 front page of "The Evansville Courier & Press," a local Indiana newspaper reporting Mubarak’s resignation as the president of Egypt.


Success and Uncertainty at San Seriffe in W139, Amsterdam


On Wednesday June 1st 2011 a lightbox was hung outside the Townhouse Gallery that announced the start of the project and showcased the first of twenty-one posters. During the month of June 2011, each day a new poster was presented, generating a growing exhibition. The daily changing posters could be seen both in- and outside of the gallery and — just like newspapers — showed bold statements and gruesome facts, next to light-hearted messages, such as casual observations and rumours that caught Sandra and Bart’s attention during their residency. The content provided by both therefore created a clash of information that will influence the way one reads a poster. It was this constant dialogue between the designers that lead to "Success and Uncertainty."

http://www.successanduncertainty.wordpress.com

Organized in collaboration with Motto Zürich.

Posted by Urs Lehni

Buchvernissage / Urban Art Surveillance
Urban Art Surveillance - Ein Quadratkilometer Kunst
Rémi Jaccard
 


...


Nun ist es geschafft. Rémi Jaccard hat seine Dissertation über Urban Art abgeschlossen. Im Herbst 2010 war er mit seinem offenen Rechercheprojekt Urban Art Surveillance für drei Monate im Corner College zu Gast. Damals initiierte er Führungen und Diskussionen mit Theoretikern, Kunstschaffenden und Architekten zum Thema Urban Art und beobachtete einen Quadratkilometer Siedlungsfläche in der Stadt Zürich auf Spuren von Urban Art.




Posted by Stefan Wagner

Each One, Teach One
Theory Tuesdays
Philip Matesic
 

Winter Planning Session



Theory Tuesdays is organized around an "Each One, Teach One" participatory model. If you would like to suggest a specific text or film for a Theory Tuesdays winter session, please attend the planning round with your ideas.

We will then, collectively, fill in a calendar with everyone's suggestions and begin winter sessions starting on December 4th. Below is a list of requirements to keep in mind as you prepare your suggestions.

TEXT - The texts presented and discussed are usually about art, architecture, design, critical & social theory.

FILM - The films screened are usually about specific artists, art & design movements or avant-garde cinema.

Theory Tuesdays is not exclusively an English language reading/discussion group. Please don't hesitate to make suggestions that are in German!

Posted by Philip Matesic

Lecture
Action & Adventure
David Senior
 


Alphonse Allais, Album Primo-Avrilesque, 1897


David will introduce some historical artists' publications and trace one origin story for this genre of experimental books. It won't be a full history - maybe a one hour chapter from a 10 part drama mini-series - but there will be a lot of action and adventure. In the mix will be content from three recent shows that he has assembled from the library collection at MoMA - Access to Tools: Publications from the Whole Earth Catalog, 1968-1974, Scenes from Zagreb and Millennium Magazine.

Posted by Urs Lehni

Vortrag
The Gentlewoman, a Modern Magazine
Veronica Ditting
 

Veronica Ditting (Grafikdesignerin und Art Director) spricht über die visuelle Entwicklung der Zeitschrift The Gentlewoman. The Gentlewoman ist eine Zeitschrift für moderne Frauen und erscheint zweimal jährlich. Es geht um starke, echte, modebewusste Frauen und deren Ansichten, Lebensentwürfe und Berufe. Anspruchsvoller Journalismus, Fotografie und Gestaltung werden durch ein kleines Team realisiert. Veronica wird u.a. den Sprung von Fantastic Man zu The Gentlewoman erläutern, auf verschiedene Aspekte der Frauenzeitschrift eingehen und den visuellen Entstehungsprozess zeigen.


The Gentlewoman


Veronica studierte Grafikdesign an der Gerrit Rietveld Academy in Amsterdam und ist seit 2005 als freischaffende Grafikerin tätig. Sie ist Art Director von den Zeitschriften The Gentlewoman und Fantastic Man und arbeitet vorwiegend im kulturellen Bereich. Bevorzugte Medien sind Bücher und Zeitschriften die in enger Zusammenarbeit mit den Auftraggebern entwickelt werden. Sie arbeitet hauptsächlich in Amsterdam sowie in London.

http://www.veronicaditting.com
http://vimeo.com/39263988

Posted by Stefan Wagner

Lecture
Aesthetic Journalism
How to Inform Without Informing

Alfredo Cramerotti
 

Italian writer, curator and artist Alfredo Cramerotti will give an introduction in his book "Aesthetic Journalism: How to Inform Without Informing". Recognising the “blurring of margins between artistic and information practices” as a main feature in contemporary culture, Cramerotti sets out the Who, What, Where, When and How, and Why of Aesthetic Journalism.


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Cramerotti identifies this “'investigative approach” in contemporary art and photography as the use of fieldwork, reportage, interviews, document analysis, graphic mapping and information distribution. He cites a number of artists who employ these strategies: Hans Haacke, Martha Rosler, Lukas Einsele, Laura Horelli, Renzo Martens, Alfredo Jaar, Renée Green, The Atlas Group/Walid Raad and Bruno Serralogue. For Cramerotti, Aesthetic Journalism implies the critical use of documentary techniques and journalistic methods where the medium itself undergoes questioning. He posits that aesthetics, understood as a “process in which we open up our sensibility to the diversity of the forms of nature (and manmade environment)” can open up the mechanisms of art and media to expose the limitations of photojournalism, documentation and the ethics of representation. In doing so, Aesthetic Journalism renders productive readings of reality, information, fact, fiction and objectivity.

The concepts outlined in the book have been a key tool in the development of the Chamber of Public Secrets’ curatorial approach for the 8th edition of Manifesta, the European Biennial of Contemporary Art: Manifesta 8 taking place in the region of Murcia, Spain.

Posted by Stefan Wagner

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What's In A Band?
Eyes, Ears, Mouth & Nose!

Jason Dungan, Dustin Ericksen, Anthony Faroux, Rochelle Fry, Sara Nunes Fernandes, Sam Porritt, Elia Rediger, Monika Stalder, Magaly Tornay, Maria Zahle
 


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Q. What's in a band?
A. It's members.
Q. Can anyone be a member?
A. Pretty much, yes. Well actually no, not really. Yes and no. If they come with the right attitude and make the existing members of the band feel good, then yes, otherwise no.
Q. How do the band members decide if the new person makes them feel good?
A. Because the band members know each other, their likes and dislikes, and because there's intimacy and trust between them. Maybe that's what makes a band?

For one week the band Squares & Triangles will be in residence at Corner College. During this time they will make an album. Their stay will culminate in a performance to mark the release of the album on Friday the 6th of July. For this event they will be joined by the artist and musician Sara Nunes Fenandes who will play part of the set she toured Israel with earlier in the year.

S. & T. are a music group that formed in the south of Sweden during the summer of 2007, it consists of visual artists who are mainly based in London. Its changing lineup of participants and collaborators revolves around its core members, Jason Dungan, Dustin Ericksen, Anthony Faroux, Sam Porritt and Maria Zahle.

To complement the project there will be a number of talks and screenings.

SCHEDULE

Tuesday 3rd of July 7-9pm
A discussion between artist and musician Elia Rediger (The Bianca Story) and artist Sam Porritt about 'risk', 'performance' and 'popular music'. Following this, Sara Nunes Fernandes will give a lecture/performance; "Laika the space dog, The Blob, and other short stories".

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Wednesday 4th of July 7-9pm,
Artist Dustin Ericksen will talk about The Red Krayola, art bands and the L.A. music scene during the 70', 80'and 90's. Then Zürich-based historian Magaly Tornay will discuss aspects of her Ph.D. on the history of psychoactive drugs and personhood since the 1950's. Her talk will include rarely seen archive footage, not to be missed!

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Friday 6th of July, 9pm
Squares & Triangles (with special guest Colin Min Sai) play Corner College. Doors open from 8pm. Specially made food courtsey chef de partie Moniker Stalder, all welcome!

Graphic design and printing by Lehni-Trüb and Holger Wilkens. Organized by Sam Porritt and Stefan Wagner.

Posted by Stefan Wagner

Vortrag
No Order issue #1
Marco Scotini
 

‘What does the appointment of art dealer Jeffry Deitch as director of the Los Angeles Museum as director of the Los Angeles Museum of Contemporary Art have to do with the trend of global financialization restarted at the Toronto G20 Summit in 2010? And how does the 25 percent attendance increase at the 2010 Gwanju Biennale fit in the picture?’ The editorial of the first issue of No Order: Art in a Post-Forsit Society, published by Archive Books, suggest that these events are among the symptoms of a global transformation of labor whereby knowledge, creativity, sociability, and ultimately life itself, are taking on the role played by machines in the Fordist era.




No Order magazine focuses on the relationships between contemporary art systems and capitalism’s production processes. By means of an investigation into current creative industries – and their social, economic and semiotic assemblages – the magazine contributions (essays, articles, interviews and dialogues as well as artists’ projects) aim to deconstruct, analyse and intervene within the ambit of the procedures and forms of cognitive capitalism. It concentrate, in particular, on the phenomena of the ‘biennalisation’, ‘financialisation’ and ‘spectacularisation’ of the political, beginning with the control and distribution of forms of artistic education, production and display on a global scale.

The Editorial Board is comprised of a series of transversal figures from various geographic and cultural environments, and includes Asef Bayat, Harun Farocki, Peter Friedl, Maurizio Lazzarato, Sylvère Lotringer, Achille Mbembe, Angela Melitopoulos, Christian Marazzi, Nelly Richard, Florian Schneider, Nomeda & Gediminas Urbonas and Françoise Vergès.

Amongst the numerous contributors to the first, 400 page issue are: Roger M. Burgel, Charles Esche, Harun Farocki, Stephen Willats, Maurizio Lazzarato and Christian Marazzi.

The cover picture is taken from the demonstrations at the Milan Triennale in 1968. The underlying theme of the XIV International Exhibition of Modern Decorative and Industrial Arts and Modern Architecture was ‘Large Numbers’. The XIV Triennale never opened. It was occupied by students during the demonstrations and all the exhibition areas were destroyed. ‘Why not try to start again, precisely here in Milan? In that same space in which the great process of social transformation was interrupted?’

Marco Scotini (Editor in Chief of No Order, independent curator and director of the departments of Visual, Multimedia and Performing Arts at NABA, the New Academy of Fine Arts in Milan) and Andris Brinkmanis (coordinator and lecturer for the MA of Visual Arts and Curatorial Studies at NABA and International Editor of No Order) will introduce to the public the first issue of the magazine.

No Order

An event organised by The Postgraduate Programme in Curating, ZHdK.

Posted by Irene Grillo

Ausstellung / Kino / Workshop
Construction School
James Langdon
 


Photograph courtesy Jim Wood


James Langdon will present an ongoing research project on the subject of the Construction School, an experimental design programme in Bristol, England (1964 to 1979).

Program:

2-3pm
James Langdon will give an illustrated presentation of his ongoing research into Norman Potter's (1923-95) 'Construction School' at Bristol, 1964 to 1979. The presentation will include documentary audio and visual material to give an account of the nature and activities of the school.

3.30-5.30pm
A discussion with designer and design historian Christopher Burke, artist Susanne Kriemann and James Langdon. The two guests will each make a short presentation of their own practice, followed by a conversation covering various subjects, including visual research methodologies, the ethics of 'activating' archival materials in artistic production, and the complexities of handling partial or subjective narratives.

6-7.15pm
A group reading from the script of Norman Potter's play 'Icarus' (1975). The play is deeply informed by Potter's experiences at Bristol and his reflections on the international student movement of 1968.

8pm
Grill and drinks.






Posted by Stefan Wagner

Ausstellung / Kino / Lecture
A PARADISE OF LETTERS (AN EXHIBITION THAT NEVER TOOK PLACE)
Jonas (J) Magnusson, Kim West