Participants 2017

Participants 2017 are:

Alessi, Alberto
Professor of Theory of Architecture. UL University of Liechtenstein.

Beutler, Martin (tbc)
Artist, Firma für soziale Plastik, Bern, Switzerland.

Harboe, Julie (team)
Lecturer. Future Laboratory CreaLab, Lucerne School of Business, Lucerne University of Applied Sciences and Arts (LUASA), Switzerland.

Hardliz, Ronny (team)
Artist, Berne, Switzerland.

Huwiler, Bernhard
Artist, Berne, Switzerland.

Kivland, Sharon
Artist, Reader in Fine Art. Sheffield Hallam University, City Campus, Sheffield, United Kingdom.

Sadowsky, Thorsten
Director of Kirchner Museum Davos. Ernst Ludwig Kirchner Platz, Davos, Switzerland.

Schuchert, C. Lars (team)
Scientific research assistant. LUASA – School of Engineering and Architecture, CC Typology & Planning in Architecture (CCTP), Horw, Switzerland.

Simon, Joshua
Director and Chief Curator, MoBY – Museums of Bat Yam, Tel Aviv-Jaffa, Israel.

Steudler, Sandro
Artist, Zurich, Switzerland.

Zellweger, Christoph (tbc)
Artist, Dozent MA Design (HSLU) / Professor of Art and Design, Senior Resarch Fellow (Sheffield Hallam University). Hochschule Luzern, Design und Kunst, Luzern, Switzerland.


INVERSE STRIKE! – A Call to Continue to Work

WOF – World Ornamental Forum


INVERSE STRIKE! – A Call to Continue to Work


WOF is an open work, a spatial essay subject to methodological and thematic changes. The functions of current artistic research, pressing scientific questions, as well as new methodologies are inverted: rather than institutional, they become political. As a work-oriented space WOF is neither a networking platform nor a publication tool; rather it is an incubator for radical artistic and scientific spatio-discursive practices. It offers a structured site for discursive and material reflections of open work. An integrated event, it shows the reviving power of ‘the museum of the future’ as a profoundly critical place of research.


The current exploitation of critical and creative intellectual work has proven to be nothing more than the expansion of the historical exploitation of the proletariat. Beyond that, however, the increasing redundancy of meaningful work within cultural, educational and research institutions of neoliberal management, signals a paradigm shift.


The dominating institutional preoccupation with certificates, visitor numbers, compulsion of publication, employability, questionnaires, and quality control for cultural institutions, regenerates but itself and degrades the institution to an aestheticized form of neoliberal politics. In times of the obtrusion of totalitarian tools in public spheres, the critical question of not showing such aesthetic of non-aesthetic is highly relevant. Whoever refuses to stop producing intrinsic meaningful work generates an act of political resistance: Inverse Strike!


WOF makes a global call to continue producing intrinsic meaningful work, from 26 to 29 April 2017 at the Kirchner Museum in Davos; to show the urgency of your work, discuss it, and continue working.

Please send a three-minute video by 1 March 2017 that shows what you are working on. Not the question as such, but the fact that there is an intrinsic question, perhaps yet unknown, that gives a sense to your work is critical.


There are no registration fees, however, a binding commitment after acceptance is mandatory because your presence during the entire event is indispensible for a fruitful collaboration.


Ronny Hardliz, independent artist

Julie Harboe, art historian, Future Laboratory CreaLab

Thorsten Sadowsky, Director of Kirchner Museum Davos

13 May. Radio check.

All after.



She wrote that they met. They found their spots and unpacked their stuff in different spaces. She told me they had lunch next to the pine. She says they worked some more, but too little. Then they walked. They walked to Kirchner’s grave and house. They walked back in the sunshine. They had dinner and they agreed to send me short messages about their day. She said that she would remind everyone. She said that was now. She sent me her best wishes from Hotel Europe.


In the sunshine I waited.


I read back.


The next morning, he sent me a photograph.



This was followed by another photograph.


I read back …


I was impatient. I expected more. I wondered if I had misunderstood. I did not reply.


A full report was transmitted: two days. It was written on the second day. The second entry was shorter than the first. En route he realised how much time he needed. He thought of the situation towards which he was heading as a time for incubation, and wrote of watering seeds, the shade, light, minerals that formed the metaphor of presence and joined intelligence. He found a space to continue to work, one in proportion to a body, testing the measured proportions, and covering everything with a gauze the colour of skin. He felt strongly about it but do not yet know why. He talked with others, knowing that interaction, like trust, was crucial. Trust was currency, current. He thought that walking was good for thinking, that is was good for sharing. He went to the Jewish cemetery and although he was moved, could not take a photograph, holding only fragments in his head that touched other thoughts. At dinner he talked with others. He started to write to me the next morning, but found that writing blocked him. He liked to find words and would prefer to talk. He wondered if he might call me. He had never liked the idea of writing a diary. He did not even like to report to himself what he felt and thought, feeling himself to be both accountable and unaccountable. Fuck, he wrote. He was looking for what was unsharp; he wanted to sense, not know, he did not want to understand. He repeated that writing often blocked him from making intuitive decisions. He liked fragmented facts, notions instead of knowledge. Perhaps he would call me the next day,


Read back.


He sent me a film. It turned. No, he turned. No, the camera turned. He was wearing a Hilfiger tee-shirt in blue. To his left was a pile of books, and he was reading from a paper placed on the on the table in front of him. He was in front of a window. Outside the wind blew through the trees. Some things, he said, did not work. Difference, rhythm, of rhythm, curatorial knowledge. There was a burning house, yes, the maison brulée filmed by Georges Bataille. Exhibit of fire, I missed this. Brand mark. Brand marking. Post irony. Irony of post irony. Utopian paradigm … imagination. I am trying to type as he speaks, as he spoke. A pinhole. Inside of another outside Line of flight, Unscheduled. Back to… yes, back to the outside… time, something about time, time drills? Studied exhibits. Verso of politics, no, versus of politics. The angelic messenger who has absolutely nothing … nothing to add. Politics of versus.


Say again.


The angelic messenger who has absolutely nothing … nothing to add.


Read back.


I waited another day, then another. There was a break in transmission. I could not send. I waited to receive. Silence. Dead air. The wind was still blowing through the green trees.


He wrote to tell me that my request, which he also called my challenge, was ‘in the air’ all the time. I was off air for which he chastised me, for some invested time and energy thinking about what to write or produce for me, or writing and producing for me. This was their precious time. They could have used this time differently. I did not acknowledge their reports I received. There was waiting on both sides: on air, off air.


He beat out a tune: This rhythm is for you. This rhythm is for you. This rhythm is for you. This rhythm is for you.


I did not know who was you. Moi ou toi. For me. For you.


Read back.


She wrote to tell me that she informed and that they all reflected on the idea of the radio transmission. Everyone was interested and into it, she said. But then later they were confused when there was no answer from me. Then, well, then, the present was more present.


From where could these messages come? The present has past. It always does.

Deux fois.

I repeat.

The present has past. It always does.


Read back.



burning house



WOF – curatorial/knowledge

the two things that

don’t work

in my dissertation.


Burning House –>

script for a realisation of

la maison brûlée

film by Georges Bataille.


Wof on the WORK

Ring of fire, exhibit fire

burn a hole, brand, mark, brandmarketing?

The irony of postirony?


The camera turns

einen Film drehen.

The utopian paradigm

a pinhole to imagination.


The inside of another outside annihilates your walk on the line of flight

unscheduled backs to the starts.

With your back to the outside and an empty schedule, time drills.

The study exhibits the recto of praxis and the verso of politics.


Verses of politics

The angelic messanger

who has absolutely nothing to add.

Politics of versus.