\/\/\/\/\/\/\/\/Which key-notes would you like to share with all of us?
The WOF is an experiment towards the ornamental and the engagement of the participants was holding up mirrors to ourselves, of the gestures we make, and their effect. The ornamental in this context as defined in the “call” is about intermedia agency. In the open space all acquires meaning and keeping a discussion constructive demands ethics and interest. The arts are quite well-trained at this.
\/\/\/\/\/\/\/\/What is the relevance of WOF in your work? How do its aspects reflect in your current projects and how could you imagine integrating the questions WOF raised in future projects?
The participation in WOF reminded me of the importance of research CULTURE and that this has to be taken so seriously that it needs to take the timeframe . I was inspired by the participants who engaged positively looking into this open frame. This attitude is enabling. This is to me economy. Not just speaking of economy – as our WEF colleagues do it all the time, while continuing to ruin peoples lives – but to be economic in that we respect and practice exchange of knowledge and seek to leave the secure forms (and the power they might give) in order to truly collaborate and be .. ornamental.
The three impulses I tried to set up referring to model, ornament and gesture (“The museum as a model to recall materiality”, “The changed colours of Kirchner’s ornamental bed cover as a sign of the depth of time” and the “Being inside the collectors impatient gesture”) – were short and immediate, to me a way to understand “enacting” as a starting point for a form of narrative and the brevity of the moment without any auxiliary tools.