[English see below]
Corner College führt seine Veranstaltungsreihe The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) fort.
In der zweiten Veranstaltung lädt Corner College die Künstlerinnen Margit Säde und Denise Bertschi ein, ihre kuratorische Praktiken vorzustellen und untereinander und mit dem Publikum zu diskutieren. Stefan Wagner ist von Corner College eingeladen, die Diskussion zu moderieren.
Left: Steve.skp by Margit Säde, DOings & kNOTs, 2015. Photo: Margit Säde. Center: exhibition view, PROTECTION ROOM; Denise Bertschi & Gitte Hendrikxs, Rosa Brux, Brussels, November 2014. Right: STREET view, #brusselslockdown, Denise Bertschi, Brussels, November 2014. Both photos: Denise Bertschi.
Das kuratorische Konzept der Veranstaltungsreihe von Dimitrina Sevova in Zusammenarbeit mit Alan Roth (auf Englisch): http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
[Deutscher Text siehe oben]
Corner College is continuing its series of events The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?).
In the second event, artists Margit Säde and Denise Bertschi are invited to present their curatorial practices and discuss them between themselves and with the audience. Stefan Wagner is invited by Corner College to moderate the discussion.
… Steve’s appearance didn’t give away any hints of his rebellious nature, which existed alongside his feelings of ambivalence and loss. This project had indeed challenged the way he looked at things and the part that he played in them. The process of this project had taught Steve that it’s impossible to follow somebody else’s instructions – it was simply impossible for him to follow a given formula. He was fed up, for real this time, he was fed up of doing things in the way that they were expected to be done and most of all he was fed up with taking himself so seriously. “How is it,” Steve wondered, that there’s hardly anything that can make us feel better about the way we do things?” One does what one is; one becomes what one does...
Excerpt from short story Steve.skp by Margit Säde, 2015
Taking her last exhibition project DOings & kNOTs as an example, Margit Säde will talk how she is performing and switching between the roles of a curator, a narrator, a DJ, an artist or an assistant/intern.
DOings & kNOTs ( I didn’t fail the test, I just found 100 ways to do it wrong) taking place in Tallinn Art Hall, was an exhibition about the impossibility of following instructions, rules or given formula. The exhibition tried to look into what lies between a refusal and doing, a script and a live moment, a self-organisation and an institution — imagined ideas and actual situations.
Margit Säde is an independent curator and an artist based in Tallinn and Zurich. Her practice emphasises the self-initiated, collaborative and ongoing nature of art practice. Her curated projects include group DOings & kNOTs at Tallinn Art Hall, SOURCE AMNESIA at Oslo10, While Walking on the Secret Paths but also While Walking on Salads, And So On & So Forth (at CAME in Tallinn and kim? in Riga), If It’s Half Broke, Part Fix It (CAC, Vilnius) and listening sessions A Selfless Self in the Nightless Night; Disembodied Voices & Imaginary Friends (BAR, Barcelona and Corner College in Zurich) and Hear Me With Your Eyes (Castrum Peregrini, Amsterdam).
PROTECTION ROOM – an exhibition project unexpectedly happening during the Brussels lockdown
PROTECTION ROOM is an exhibition wherein five artists inhabit « ROSA BRUX », an independent art space in Brussels, which originally functioned as a flat. By chance this week fell together with the #brusselslockdown beginning on the 21 November 2015 due to information about possible terrorist attacks in the wake of the series of terrorist attacks in Paris just two weeks before.
PROTECTION ROOM explores nuances of transparency and opacity and the thin line between the private and the public – question if this line still exists. During a week, five artists respond to different aspects and tactics of ‚hiding‘ and ‚covering over‘ („Protection“) – making reference to hyper-visible control of public spaces and the relationship between the body and architecture. PROTECTION ROOM asks how to claim our „right to opacity“ (Edouard Glissant) and in what way opacity can function as protection in a world of super-exposure. It detects the obscure and confinement of transparency and will function as a opaque view on the subject matter that can be linked to the public-space, private-self and over-exposed world.
Today, ‚public space‘ is democratized, we accept and submit permission for use of our private-selves without a second thought. One can question of movement between a ‚public‘ and a ‚public‘ is all that is left and how the feeling of security can be guarded, without giving in to systems of hyper-control.
Under the circumstances of the #brusselslockdown the exhibition project’s title PROTECTION ROOM got into new spheres of relevance and the question around the ‚public‘ and the ‚private‘ carried a new heaviness, also questioning the role of a ‚flat‘ as a safe place? The gallery space, which was our private living space for a week allowed subtle touching points between the working process of the artists – intertwining proximity and distance and eventually ending in a public moment, the opening which also stood under the shadow of this special political moment in time.
The project is initiated by artist Denise Bertschi. It wanted to test the slippery state between curatorial practice, artistic collaborative production and the role of friendship.
Sophie Reble &
Curatorial concept of the series of events by Dimitrina Sevova in collaboration with Alan Roth: http://materials.corner-college.com/2016/201602/201502-the-artist-as-the-curator-new-series.html
The Artist as The Curator as The Artist (The Art of Curating or How about a Paracuratorial Turn?) is a series of presentation and conversation-driven irregular events critically interrogating the curatorial turn, exhibition-making practices that sometimes go beyond the notion of the exhibition, the practices of curating performed by the artist, and the performative potentialities of the curatorial without a clear programming policy and museological framing. It questions how the political and aesthetic potentiality of the discourse can be made practical, searching for a new vocabulary reflecting on the idea of what an exhibition could be from the point of view of the artists and their current exhibition practices and curatorial endeavors.