2017
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.
Contact: info-at-worldornamentalforum.ch
Ronny Hardliz, independent artist
Julie Harboe, art historian, Future Laboratory CreaLab
Thorsten Sadowsky, Director of Kirchner Museum Davos
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2016
COMING-WOF – World Ornamental Forum
The World Ornamental Forum is neither conference nor meeting. Rather it is a gesture; something that gives ornament the chance to become the far side of economy; something enjoyable, just like a seam, of immeasurable value. It thus brings seeming necessities down to the ethos of taking place. Exploring “how” this happens is its practical scope. You hate ornament? What could we wish more! Welcome to Davos!
The COMING-WOF is the real gesture, a virtual hole, indeed, the truly contingent frenzy beyond transgression and exception; this is ornament’s real chance to become ‘whatever’, beyond economy; something enjoyable, just like a seam, not without irony. The World Ornamental Forum is an instantaneous condensation of this COMING-WOF. You love ornament? What could we wish more! Welcome into the virtual!
The World Ornamental Forum (WOF) at the Kirchner Museum in Davos, Switzerland, is an international annual format that operates beyond, or before, economic interests bringing together individuals and communities for the effectuation and exploration of today’s paradigm shifts.
WOF leaves space for contingent research by exploring the state of its own actualization. Thus every gesture reaches a double status, one that is both the activity of making the WOF (method) and the actually made WOF (object of research). Models also have such a double status as both being a contingent reality and representing something else. By building models of the state of WOF’s actualization it was possible to gain insights about the state of our world in which, presumably, a major paradigm shift towards practice is taking place.
The coming WOF (2015) focuses on reflecting the past WOF (2014) and speculating about the future WOF (2016) and explicitly shifts the concepts of ‚example‘ (‚paradigm‘) and ‚practice‘ to its core.
The contingency of gesture is very visible in the work of Ernst Ludwig Kirchner and the Kirchner Museum in Davos, Switzerland, therefore provides a stimulating frame for the WOF. Thanks to the generous hospitality of Thorsten Sadowsky, director of the Kirchner Museum, we have set the dates for the WOF of 2015 and 2016. So the coming WOF is not just the remembrance of the first WOF but, rather, can become the speculative potentialization of itself as a future past to be remembered. As such a threshold, the WOF 2015 will act as a jumping board of past contingency for WOF 2016.
± How can we de-complete the product of the WOF and thus restore possibility to its gesture?
± ± What is the difference between a model and an example and how do they relate to theory and practice?
This website, the COMING-WOF, should be seen as a virtual warm-up forum, a kind of „WUF“. It is here that pressing issues can manifest and set the agenda of the coming WOF.
| Venue: | Ernst Ludwig Kirchner Museum Davos |
| Dates: | May 4th – 8th 2016 |
Participants 2016:
Alessi, Alberto
Professor of Theory of Architecture. UL University of Liechtenstein.
Beutler, Martin (tbc)
Artist, Firma für soziale Plastik, Bern, Switzerland.
Chapuis Schmitz, Delphine
Artist, Philosopher, Zürcher Hochschule der Künste, Switzerland.
Christensen Blair, Sara
Artist, Associate Professor of Art. Northern State University, Aberdeen, SD, USA.
Economides, Aliki (virtual)
Researcher. Harvard University, Graduate School of Design, Cambridge, U.S.A.
Egger, Salome
Performance Artist and Textile Designer, PhD cand. Nottingham Trent University.
Gfader, Verina (tbc)
Artist, Lecturer. Goldsmiths University of London, and University of Huddersfield, UK.
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.
Kader, Hadas (tbc)
Artist, Curator, Fine Art Lecturer at Bezalel Academy of Art and Design in Jerusalem, Israel.
Kivland, Sharon (virtual)
Artist, Reader in Fine Art. Sheffield Hallam University, City Campus, Sheffield, United Kingdom.
Mac Namara, Aoife (tbc)
Artist, Dean Visual Art and Material Practice. Audain School of Visual Art, Emily Carr University of Art and Design, Vancouver, Canada.
Maharaj, Sarat (tbc)
Professor of Visual Arts & Knowledge Systems. Lund University, Malmö Art Academy, Malmö, Sweden.
Marinov, Nicolay (tbc)
Architect, Sofia, Bulgaria.
Mudrak, Christl
Artist, Berlin, Germany.
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.
Hitherto participating:
Alessi, Alberto
Professor of Theory of Architecture. UL University of Liechtenstein.
Badura, Jens
Head of research area “performative practice”. Zurich University of the Arts (ZHdK)/Department Darstellende Künste und Film, Zürich, Switzerland.
Baralou, Evangelia
Assistant Professor of Organizational Behaviour. ALBA, Graduate Business School, American College of Greece, Athens, Greece.
Beutler, Martin
Artist, Firma für soziale Plastik., Bern, Switzerland.
Christensen Blair, Sara
Artist, Associate Professor of Art. Northern State University, Aberdeen, SD, USA.
Drabble, Barnaby
Senior Lecturer. Ecole cantonale d’art du Valais, Master MAPS, Sierre, Switzerland.
Dürfeld, Michael (virtual)
Postdoc Researcher at Cluster of Excellence Image Knowledge Gestaltung. Humboldt Universität zu Berlin, Cluster of Excellence Image Knowledge Gestaltung, Germany.
Easterling, Keller (virtual)
Professor. Yale School of Architecture, New Haven Connecticut, USA.
Economides, Aliki (virtual)
Researcher. Harvard University, Graduate School of Design, Cambridge, U.S.A.
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.
Hobson, Gillian
Artist, Doctoral researcher in Fine Art. Sheffield Hallam University, City Campus, Sheffield, United Kingdom.
Holzer, Jacqueline
Head of BA Theatre, Department of Performing Arts and Film, ZHdK, Zurich, Switzerland.
Kivland, Sharon
Artist, Reader in Fine Art. Sheffield Hallam University, City Campus, Sheffield, United Kingdom.
Kuepers, Wendelin
Professor of Leadership and Organisation Studies. Karlshochschule, Karlsruhe, Germany.
Loos, Christoph
Artist, Visiting-Professor Accademia di Belle Arti di Firenze, Italy, Ph.D.-Candidate Manchester Metropolitan University, Great Britain.
Mac Namara, Aoife
Artist, Dean Visual Art and Material Practice. Audain School of Visual Art, Emily Carr University of Art and Design, Vancouver, Canada.
Maharaj, Sarat (virtual)
Professor of Visual Arts & Knowledge Systems. Lund University, Malmö Art Academy, Malmö, Sweden.
Massumi, Brian (virtual)
Full Professor at Communication Department, University of Montreal. Université de Montréal, Département de communication, Montréal, Canada.
Meissner, Jens (team)
Professor for Organisation, Innovation & Risk Management. LUASA, School of Business, Institut für Betriebs- und Regionalökonomie IBR
, Luzern, Switzerland.
Pérez-Gómez, Alberto (virtual)
Saidye Rosner Bronfman Professor of Architecture. School of Architecture, McGill University, Montreal, Canada.
Powers, Jonathan (virtual)
Independent researcher, Montreal, Canada.
Rawes, Peg
Senior Lecturer. Bartlett School of Architecture, UCL, London, 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.
Seemann, Silke
Lecturer. Institut für Organisation und Lernen, Leopold-Franzens-Universität Innsbruck, Innsbruck, Austria.
Simon, Joshua
Director and Chief Curator, MoBY – Museums of Bat Yam, Tel Aviv-Jaffa, Israel.
Stupart, Linda
Artist, Ph.D. candidate, Department of Art, Goldsmiths, London, Great Britain.
Wolf, Patricia
Lecturer, leader of Interdisciplinary Focus (IS) “Creative Living Lab” and coodinator of research at Institut für Betriebs- und Regionalökonomie IBR
, Hochschule Luzern, Switzerland.
Zellweger, Christoph
Artist, Dozent MA Design (HSLU) / Professor of Art and Design, Senior Resarch Fellow (Sheffield Hallam University). Hochschule Luzern, Design und Kunst, Luzern, Switzerland.
| Inventor contact: Team: In collaboration with: |
Ronny Hardliz artist and artistic researcher ronny.hardliz@gmail.com Julie Harboe Jens Meissner Lars C. Schuchert Zukunftslabor – CreaLab Lucerne University of Applied Sciences & Arts Kirchner Museum Davos |