Tag Archives: museum

RECALL

\/\/\/\/\/\/\/\/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.

RECALL

\/\/\/\/\/\/\/\/Which key-notes would you like to share with all of us?

It is quite simple to fold past events into the present, but to fold present events into the future and to forget anticipated futures effectively is a difficult task, particularly if there are distinct anticipated futures. The “coming” offers an adequate conceptual space in which such active forgetting of anticipated futures can be achieved through the passage of time.

In addition to stomping and melting as forms of setting and virtuality the expansion-form describes the affective and effective forces of spatial contamination.

\/\/\/\/\/\/\/\/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?

Thanks to all of you for making the WOF! You may have realized that I have not participated in the building of a model. The reason is that the WOF itself is my model including the question of its making. The WOF is an artistic research project that among other aspects examines spaces of freedom for art’s involvement in academic research contexts. This question is relevant for an ethical redefinition of the artwork and art practice in a globalized market-driven art world dominated by a consumer-friendly curatorial system of transnational large-scale exhibitions. Claiming that the art worlds of the 1970s were just romantic ineffective refuges would mean to disregard their capacity of transforming socio-political issues into artistic material exhibiting real difference. Today, contrarily, the art world seems materialized as consumable material representing the world’s capitalist infrastructure.

Philosophically speaking we could say, for example, that art is the exhibition of the potential of not not being. The wonder of art resides in the sensation of the freedom that it could have been radically otherwise – and that it is not. While everything exhibits itself as it is and thus cannot be otherwise, art exhibits itself as its impossibility of being otherwise and thus constantly reemerges as it is: and makes us wonder. There is an intrinsic connectedness between art and the world in which it is embedded: within the immanence of gesture. But at the same time art’s gestures can only be connected to aims outside the wonder of art. While the gesture of walking leads to a position, the gesture of art leads nowhere, to atopy, to a-position (just) so to speak.

Thus, the WOF is constitutive for my dissertation wall sandwich – The Architectural in Art Practice from Destruction to Non-Construction. The cave and the ‘studiolo’ (an Italian Renaissance intellectual translation of the eremitic cave or the monastic cell into a hybrid architectural typology of a bourgeoise “study” room) are exemplary spaces of the architectural as non-construction: a hole in the ground and virtual space. The cavities left by the footprints of “ornament” and “gesture” as well as the virtual molds of melting or expanding models constituted an experimental framework of non-constructive art practice.

The focal shift in the art world (and beyond) from architecture to the urban and the global (and beyond) finds an institutional parallel in the Swiss context from art & architecture (Kunst & Bau) to art in public spheres (Kunst im öffentlichen Raum). The WOF together with the concept of non-construction point beyond public space towards a virtual artistic infrastructure.