This point and click game was played while reading a statement called ‘Curatorial Consciousness’ describing the development of personal ideas regarding ‘the curatorial’ thereby being about the curatorial and itself curatorial in the sense that it takes form as a constellation of ideas.
Performed 28-11-2017 at Glasgow School of Art – Curatorial Practice presentations to MFA
Well, I guess these kind of presentations already raise one question.
Are we allowed to show unrealized projects as part of our practice?
Whereas while they may not have been part of an artistic discourse,
They have very well been part of a personal artistic development.
Epicurus [says that] void, place, and space differ [only] in name.
I stumbled on Epicurus’ writings (or rather those of his students) in one of these silly millennial ways. When looking for an image of a bust on Google images, I was lucky to be curious enough to read further.
It is not often that I find an ancient writing of which I think ‘I should really get into this’ (except for a weakness for Socrates). Usually, books that I get very enthusiastic about are not written and published earlier than 2010, or in some philosophical cases before 1980. But how to get into Epicurus’ writing through the available pocket publications specifically translated (curated) in order to indeed seem that fresh to me – mainly by putting his philosophy under a big umbrella of ‘how to find happiness in your contemporary life with ancient writing [read: ancient writing = very intelligent connotations]’. Which might even ironically be ‘influenced’ by Foucault’s work on subjectivity (or life as a work of art). Of course, I’m not of the philosophical type that is about getting the gist, a concise meaning reached through close examination of details in the writing and their relationship with the whole that can thereby be considered true, of a certain ‘original’ text. However, I’d like to be able to see the differences, gaps and incompatibility of such an original text with the experience of my time. That is where my philosophical friends often show a mixture of admiration and frustration when talking to me about my interpretations: they are only focused on apart and usually interested in where the text unintentionally rebels against itself by being preserved to this time. How do I solve this? I get the most boring, unaesthetic publishing of his writing, based on the table of contents and a little bit of intuition.
So as soon as I’ve read about friendship and common support structures, ataraxia – the peace and freedom from fear and early ideas of voids and particles that make up our material reality, I will come back with how that could all connect with contemporary curating of contemporary art.
coming up: Epicurating? – ‘curatorial rambling on friendship, support and falling’
Jo Freeman’s, Tyranny of Structurelessness (1969?) ✔️
Gilles Deleuze and Claire Parnet, Dialogues II, (1977) Chapter: A Conversation: What Is It? What Is It For? ✔️
George Bataille, Unfinished systems of nonknowlege (2001) introduced by Stuart Kendall. (From this book I will read: Introduction✔️,Socratic college, Method of Meditation, Concequences of Nonknowledge, Nonknowledge and Rebellion, maybe some things that catch my interest while reading the book.)
On the 23th of November Chapter Thirteen hosted a lecture by Nancy Adajania and Ranjit Hoskote. Benjamin Fallon, part of Chapter Thirteen, introduces the intention of inviting these speakers to Glasgow with an explanation on why Chapter Thirteen was founded in the first place, to counter the perfunctory institutional methods and to include new voices in this process. Nancy Adajania and Ranjit Hoskote research exactly these processes in what they call the nth field, the non-static complex transcultural exchange.
On the 28th of October, I attended a workshop by Ana S. Gonzalez Rueda titled: ‘Unknowing and other ways of learning with art’. The workshop brought the material of her PhD thesis (Radical Pedagogies and Curating) to a practical environment in the form of a workshop at the CCA. Gonzalez’s main focus was on how the pedagogical is inherent in the exhibition space rather than something imposed on it. The aim Gonzalez defined for her PhD was to supply the tools from ‘the educational’ for people operating in the exhibition space (curators and artists), functioning as the mediator between pedagogical theory and the theory and praxis of exhibition making. This process is specifically interesting to approach within the CCA (Glasgow), as this institution doesn’t have an ‘educational department’ (or another organ with a different name but similar mediating activities). Gonzalez’s approach to the outline of this research, by using the workshop-form, gave way to others in the process of defining and testing the line of thinking which is daring for a PhD research but an inseparable practice when researching the educational.
The ‘Word/Mouth body’ was formed for the event; this attracted curiosity and opened up the dialogue to interested wider audiences. The body consisted of the group, the artist and our methods of communication. The group communicated about our process and ideas through our network. The identity was also followed through on Instagram as a platform as our main social platform. The instagram functioned as a way to test and share ideas or references that did not have feature in the publication and as a way to visualise how these ideas were flowing between the members of the group.