I went back to Amsterdam this month (9.12—28-12), now I’m packing my bag and in it I put:
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.
One of my most influential resources in talking with other makers since I heard about it from Stefan. Thanks for reminding me, Victorine.
TEXT 78: Aetius 1.20.2 = Dox.Gr. p. 318 (271 U)
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 a part 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’
- Florian Malzacher and Johanna Warsza, Empty Stages, Crowded Flats – Performativity as Curatorial Strategy. ✔️ (Berlin: Alexander Verlag – House on Fire Publication, 2017)
- (Douglas Hofstadter. Gödel, Escher, Bach: An Eternal Golden Braid. (1979) 1 chapter)
- John Dewey, Art as experience. (1934) Chapter 3 – an experience ✔️
- Derek Owens, Sustainable pedagogies. (1998) – preface ✔️ and chapter 2 ‘sustainability’ ✔️
- 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.)
Part of Amsterdam Art Weekend, initiated by Humans of the institution – UiB
Part of Amsterdam Art weekend, Initiated by Humans of the Institution – UiB
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.
Wish I could have been there. 20 and 21 November 2017, Ghent
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.