Approaching ‘every project’ as an ecology one could hardly still call it ‘a project’. By breaking with common aspects of the project, such as its temporality and its input-outcome relationship, my practice produces forms that are more open and comfortable towards complexity and confusion but are at the same time more compatible with the many ways in which we learn, think and play. My process balances tactics like getting into a flow and getting lost, as I see them as each other’s productive counterpart.
I am an artist with a curatorial practice, adopting the role of the curator to directly fall from it, which gives my practice a crossover characteristic. I am committed to creating horizontal structures that facilitate collaborative spheres for cross-disciplinary learning. Spheres, in which I focus on ties and bounds, information and resources, to make my practice inherently sustainable rather than concentrated on its intrinsic logic.
Informed by an interest in learning innovations, grounded in the experience of being educated within an innovative curriculum that formed my awareness about the act of learning itself, I employ pedagogical tactics and theories within my process. This usually results in long-term investments in certain ideas and subjects resulting in a doubled practice where learning is both the producing and that which is produced. To communicate this doubled outcome, I develop ways, materials and tools that feed into new investments. As such, I appropriate methods coming from social design, but having them informed by non-linear structures we encounter around us, like digital networks, chaotic processes to form playful tactics. The array of forms resulting from this approach, deploy action-based, discursive and performative techniques that support and sustain this ecological process.
According to Maria Lind: ‘the better curatorial programs help students acquire a discourse with which to talk about curating and a good network which at best becomes a peer group, however no program has the resources or facilities to help form a method, which is the most essential part of this applied form of articulation’, that is curatorial practice.
In creating a personal methodology for my wish to work comfortably within complexity, I looked into curricular development in primary education. While some academics advocate the introduction of experiential learning to post-secondary education and even doctoral research, this type of learning is, not unsurprisingly, best developed and described for the early stages of education. Based on ‘van de Akker’s Web’ for innovating curricular development, I created a similar web translated to fit the conditions of a curatorial or artistic practice. Within the context of the ‘sandbox studio’ research project, I subject this diagram as a temporary structure to tests by my peers and cross-disciplinary proffesionals. The diagram intends to step away from linear project-based development, as learning and creative practice do not reflect this linearity. Although many questions in the diagram may be familiar and may occur in several parts of conventional project development, the diagram visualises how these questions hang together, how they are interdependent on each other. In this way the diagram allows one to start from unforeseen angles while remaining able to assess the process.
Using the diagram:
The diagramconsists of two different elements – the heart (vision) and the radials (aspects). The ‘vision’ for a mapped project is determined by the user of the diagram, this can be any more or less defined ideology, concept, feeling or intention to guide a project. The different radials of the web represent a gradual scale to map ‘focus’ in the direction of one of the named aspects. The related questions (shown in one version of the map) help to thinkabouthow to outline the ‘focus’ of a project or an activity onto the different radials of the web. The aspects opposite each other in the diagram are oppositions or are interdependent. The aspects in approximation to each other are related.
Once filled out, the shape created is that of a ‘bubble’, (filled with the breath of its creator). Asin nature, the most sustainable bubble is perfectly spherical and thus directs the shape a project should strive for. Any humps and dents in the non-spherical shape can now be acted upon. Mapping activities on the diagram, instead of setting a project out beforehand, slowly results in the collection of these activities adding up to a project.
“At this point I am not sure whether I am a curator or an artist who imagines a different artworld.”
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.)
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.