Februar 2017
24.02.2017
2017 / 201702 / 201703 / Ausstellung
Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part II: Der Prozess / The Trial

Robert Estermann, Jakob Jakobsen, Lara Jaydha, Jso Maeder, Aya Momose, Josefine Reisch, Saman Anabel Sarabi
 
25.02.2017
2017 / 201702 / Artist Talk / Diskussion
Screening, artist talks, discussion
With Aya Momose, Robert Estermann, Jakob Jakobsen, Jso Maeder, Saman Anabel Sarabi & Josefine Reisch and the curators

Robert Estermann, Jakob Jakobsen, Jso Maeder, Aya Momose, Saman Anabel Sarabi
 
27.02.2017
2017 / 201701 / Curatorial Reading Group
Curatorial Reading Group
Session 2


 

März 2017
02.03.2017
2017 / 201703 / Diskussion / Installation
Temporary video installation The Judgment by Kosta Tonev, presentation and discussion with the artist
Kosta Tonev
 
04.03.2017
2017 / 201703 / Performance
INTERMEZZO (locus solus)
First visit

Jso Maeder
 
11.03.2017
2017 / 201703 / Performance
INTERMEZZO (locus solus)
Second visit

Jso Maeder
 
19.03.2017
2017 / 201703 / Buchvernissage / Finissage
Finissage of Theorem 4. Aesthetic Agency and the Practices of Autonomy
Part II: Der Prozess / The Trial
With a reading from the book Josefine, by Saman Anabel Sarabi / high times

Saman Anabel Sarabi
 

Thursday, 04.12.2014
20:00h

 

Performance
SEMIOSPACE
A performance-conference to carry out conceptual research while exploring Raphaële Bidault-Waddington's work with Sylvain Menétrey

Raphaële Bidault-Waddington, Sylvain Menétrey
 

Ever since 2000, French artist Raphaële Bidault-Waddington has been developing a complex and diversified process that spans immaterial formats of conceptual art to manual and sensual works. The artist emphatically endorses this diversity which she stages using a pseudonymous strategy. Rather than adopting conventional aliases, Bidault-Waddington describes her pseudonyms as art-based research laboratory stemming from acronyms and logos which she draws from corporate aesthetics and language.


...


Hence LIID ® (Laboratoire d’Ingénierie d’Idées – www.liid.fr) is the laboratory for engineering ideas wherein Bidault-Waddington develops her conceptual research projects – creating diagrams, exploring the notion of aesthetic intelligence as well as pursuing both conceptual and collaborative research on the aesthetic dimensions found in organizations. PIIMS ® (la Petite Industrie de l'Image Sensorielle) meaning the Small Industry of Sensory Image, is the vehicle she uses to focus on urban design as well as information architecture through photographic sampling and composition whereas her laboratory for creating or experimenting with textiles is known as la Raffinerie Poétique ®, meaning the Poetic Refinery.
Parallels can be drawn between the structure of these art laboratories and corporate R&D departments or branches of academic institutions involved in research and innovation. The laboratories revolve around the figure of the artist herself, multifaceted and empowered by the freedom to activate any or all of them depending on her needs, projects or desires. Far from adopting the form of insular entities, interaction between the three laboratories along with various external organizations (cities, universities, companies, etc.) leads them to influence and inspire each other. Bidault-Waddington has thus created an original artistic ecology and economy that reflects her interest in system analysis, cartography, model-making, fictionalization and future planning - be it on a local, urban or global scale.
Semiospace, a neologism that can be freely defined as the combination of mental and material space, is a fitting term to evoke Bidault-Waddington's expanded and multidimensional work in a cross-sectional manner. The artist often operates as a quasi-scientist by delineating an area of research and extracting data, signs and information. Artistic activity therefore functions as would a refinery - to coin the artist's own term – that transforms the various elements into imaginary landscapes. Thought is converted from a solid to a gaseous state, giving it free rein to form associations and amalgams at will, combining accuracy as well as mental plasticity while delighting in abstraction and speculation.

Led by author and curator Sylvain Menétrey, the Corner College conference serves to apply this sublimation process to exploring Bidault-Waddington's various semiospace prototypes while simultaneously experimenting with collective (audience participation inclusive) design and performance enacting this essential concept.

Posted by Stefan Wagner