“At this point I am not sure whether I am a curator or an artist who imagines a different artworld.”
This text has been cited, edited, reprinted, cut and translated in many different contexts. Its earliest version took form as a talk at the conference called by the Southern Female Rights Union in 1970, later it has been written down and often published without permission. Out of respect for Jo’s intellectual property, I will not copy her text onto my blog but offer you a window to her website which I will use for something I would call reverse-referencing. Rather most than sometimes things we read do not have a connection to just one single line of thought. In fact, to see thought as a line or a linear structure can in fact already be problematic for some types of knowledge. Referencing and footnoting might for that reason be among my favourite types of (academic) output. The ways these texts flow through the written output are hardly visible but for the writer, let’s try that in reverse for this text.
I went back to Amsterdam this month (9.12—28-12), now I’m packing my bag and in it I put:
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.
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.
From our reflection:
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.
The following needs more thinking: How can existing media be used in creating a single voice from a polyphonic construction.