Prossimità di spazi e tempi
Martina Angelotti e Caterina Riva
Andrea Phillips, Christophe Meierhans e Alex Martinis Roe
IN COLLABORATION WITH
Agreements to Zinedine – ATZ, Ariella Vidach, Boite, Il Colorificio, DANAE Festival, Edicola Radetzky, FANTA Spazio, Kunstverein Milano, MEGA, Pelagica, T-Space, The Classroom, UOVO Kids, Viafarini, Wurmkos, ZONA K
18.09.2017 — 24.09.2017
In 2017, Careof turns 30 and wants to use this occasion as a pretext to reflect on his own story, to involve artists, curators and cultural managers mainly active in the city of Milan (nonprofit spaces, festivals, theatre organizations, artist run spaces, independent publishers) and, at the same time, to think about the future of each of us, people who are present in the local and extra local cultural context.
Starting from the questions "who are we, what are we for and how we want to continue" and with the aim of re-focusing the discourse on doing well and better rather than surviving or surrendering, we invited three international guests Andrea Phillips, Christophe Meierhans, Alex Martinis Roe (Formations) to hold a five-day workshop to help us collectively develop different themes and reflections that pertain to the practices of all involved.
From September 18 to September 24 2017 Careof offers itself as a physical space and educational occasion for the invited organizations in order to discuss about the following macro-areas: understanding the impact of culture production in a local context and its "deferred value"; what alternative economies can we imagine to support artistic practices and how to adopt artistic methodologies in the cultural organization management. A technical exercise and a science-fiction setting that will help us bring back a meaningful vocabulary for our work and the role it plays in the social context.
Prossimità di spazi e tempi aims to introduce new methods and new lexicons to redefine the role of actors in the social and cultural context. The project, also in its visionary nature, is born with the specific purpose of rediscovering the space of the relationship, taking care of our time and our work, in an apparently pacified but terribly compulsive reality with which we are often forced to interact.
How can a cultural organization build communities?
How can you work in order to talk to the public and make experience of it?
Can you measure the value of an organization not only through numbers but through its social impact?
How does your domestic policy, and the methods of distribution and remuneration of work, are confronted with the current crisis?
These are some of the questions.
The workshop will be anticipated by a series of in-depth studies published online, thanks to the collaboration with KABUL magazine .
During the weekend of September 22 - 24, Careof becomes a place for self-reflection, with artistic interventions conceived as small events that appear in parallel to the considerations presented during the days of the workshop. In the increasingly urgent context of the global economy, in a rapidly evolving workforce landscape, artist Danilo Correale presents Reverie: On the Liberation from Work, a sound work born in New York in collaboration with a psychotherapist and hypnotherapist, consisting of two guided hypnosis recordings aimed at relaxing the body and mind in preparation for a post-work society. Careof here acts as a listening hall where audiences can experience hypnosis through headphones. In the same space, you will be able to experience Fake Therapy, a practice launched by Valentina Desideri in 2010, whose goal is to use preprinted cards to "heal" the other.
And if the "care" has worked out properly, the utopias illustrated by Jordi Colomer's X-Ville movie will also become real if viewed with the right gaze. The film was produced with the collaboration of a group of students and the participation of the inhabitants of the city of Annecy in France.
Andrea Phillips is PARSE Professor of Art and Head of Research at the Valand Academy, University of Gothenburg. Phillips lectures and writes about the economic and social construction of publics within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture.
Recent and ongoing research projects include: Curating Architecture, a think tank and exhibition examining the role of exhibitions in the making of architecture’s social and political forms (AHRC 2007-2009). Actors, Agent and Attendants, a research project and set of publications that address the role of artistic and curatorial production in contemporary political milieus (in collaboration with SKOR 2009-2012), co-director with Suhail Malik, Andrew Wheatley and Sarah Thelwall of the research project The Aesthetic and Economic Impact of the Art Market, an investigation into the ways in which the art market shapes artists’ careers and public exhibition (2010-ongoing), Public Alchemy, the public programme for the Istanbul Biennial 2013 (co-curated with Fulya Erdemci), Tagore, Pedagogy and Contemporary Visual Cultures (in collaboration with Grant Watson and Iniva, AHRC 2013-2014), How to Work Together (in collaboration with Chisenhale Gallery, Studio Voltaire and The Showroom, London 2014-ongoing).
Alex Martinis Roe
AMR was born in Melbourne, Australia in 1982 and have lived and worked in Berlin since 2009. Her current projects focus on feminist genealogies and seek to foster specific and productive relations between different generations, as a way of participating in the construction of feminist histories and futures. This involves developing research and storytelling methodologies, which employ non-linear understandings of time, respond to the specific practices of different communities, experiment with the dispositives of discursive encounter, and imagine how these entanglements can inform new political practices. In addition to her current research project To Become Two, she is exploring these methodological concerns in collaboration with theorist Melanie Sehgal and a research group called FORMATIONS, which began within the framework of the Haus der Kulturen der Welt.
Christophe Meierhans (Geneva, 1977) was trained as a composer at the Amsterdam Conservatory and at the University of the Arts in Berlin, before he rapidly drifted towards performance and theatre. His first productions — realised mostly with the C&H collective from 2002 until 2011 — were essentially dedicated to a deconstructing and reconstructing of the basic social mechanisms which turn a person into a spectator (Bühnenstück, 2005, Konspiration, 2006). The collective then turned towards a practice of interventions in the public domain with Postcards from the Future, which was developed between 2007 and 2011 in different cities (Geneva - Points d'Impact festival, Leuven - Playground festival, and Metz - Centre Pompidou) and culminated in 2010-2011 with a series of performances involving 9 different populations of the city of Brussels.
Since 2013, Christophe develops an politically engaged and often participatory theatre, either on his own, as with the constitutional rewriting project Some use for your broken clay pots (touring since 2014 across Europe) or the anarchist cooking show Verein zur Aufhebung des Notwendigen - a hundred wars to world peace, or in collaboration with other artists such as Luigi Coppola, with Fondo Speculativo di Provvidenza, a monetary dispositive aiming at turning a festival audience into a political community, or Ant Hampton, with THE THING an entirely automated 16 hour workshop-performance.
Christophe Meierhans is artist in residence at the Kaaitheatre in Brussels for the 2017-2022 period as well as associated artist to the Nouveau Theatre de Montreuil, in Paris.
Jordi Colomer was born in Barcelona in 1962. He presently lives and works between Barcelona and Paris. Enjoying a gifted and marked sculptural sense, his work spans many mediums, centring on photography, video and the staging of both in exhibition areas. Often the creation of situations -befitting a kind of "expanded theatre"- allows the spectator to assess his/her relationship with the productions and his/her role in and before these. The variety of mediums called forth by Jordi Colomer's work and the transversality of his judgement undoubtedly are linked to his fragmentary education as architect, artist and art historian in progressive 1980s' Barcelona. Beginning with the "Alta Comèdia" (High Comedy) exhibition, (tinglado 2, Tarragona,1993), Colomer began to fuse his sculptural work, elements of theatre staging and architectural references. From those years on (in particular after he discovered the German avant-garde cinema of the thirties), video started to stand out as the main mediator in the relationship the artist had with performance art, theatre and sculpture. In 1997 he showed his first video work "Simo" at a site-specific projection room built inside the Barcelona Museum of Contemporary Art (MACBA). This strategy enabled Colomer to superimpose theatrical space, the installation as an inhabitable sculpture and cinematographic micro-narration. That was how he produced pieces such as Pianito (The Little Piano, 1999), Les Jumelles (The Twins, 2000) or Le Dortoir (The Dormitory, 2001), which would complete a period marked by work in extreme film set constructions, where the set entirely determines the characters' behaviour.
From 2001, Jordi Colomer's staging investigation extends to urban space and an exploration of the different scenes of social life (neighbourhoods, streets, rooftops…) and his reverse the desert. This phase of his work is determined by different urban sets he is seeking or rediscovering. This is what led to works such as Anarchitekton (2002-2004), a travelling project involving four cities (Barcelona, Bucharest, Brasilia, Osaka), NoFuture (filmed in Le Havre, 2006, reenacted for Manifesta X, St. Petersbourg, Russia, 2014) or Arabian Stars (Yemen, 2005), among many others. It is also behind his most recent works En la Pampa (In the Pampa, made in the Atacama desert, Chile, 2008), Avenida Ixtapaluca (houses for Mexico) (Mexico, 2009) or The Istanbul Map (Istanbul, 2010), the tryptich What will come (New York, 2010), Medina Parkour (Tetouan, Morocco, 2013) or Sjobadet Alphabet (Norway. 2014). These are journey-works where the issue of movement keeps coming back, and where the isolated actions of a character condenses reflection (but not without a degree of absurd humour) on the possibilities of poetic survival offered by the contemporary metropolis.
Some of the more recent work do research on the many facets of utopia or dystopia and its relationship with fiction and history; At L' avenir (2010), we follow a group of pioneers in a free interpretation of the Phalanstery project of Charles Fourier. Prohibido cantar / No Singing (2012 ) superimposes imaginary cities and unrealized projects . Here the founding of a city, evokes the failed mega - projects of casino-citiy in Spain ( as Gran Scala, Eurovegas ) and at same time the City of Mahagonny described by Bertoltd Brecht in the moment that Las Vegas began. La Soupe Americaine / The American Soup on the provisional postwar shelters (Normandy , 2013 ) or The Svartlamon Parade ( Trondheim , Norway, 2014 ) incorporate archive footage to place the present in a critical position.
Valentina Desideri is an Amsterdam-based artist. She trained in contemporary dance at the Laban Centre in London (2003–2006) and later on did her MA in Fine Arts at the Sandberg Institute in Amsterdam (2011–13). She does Fake Therapy and Political Therapy, she co-organises Performing Arts Forum in France, she speculates in writing with Prof. Stefano Harney, she writes biographies by reading people’s hands, she engages in Poetical Readings with Prof. Denise Ferreira da Silva.
Danilo Correale is an artist and researcher born in 1982 Naples, Italy, and he lives and works in New York and Napoli. In his work he analyzes aspects of human life, such as labor-leisure, and sleep under the lenses of time and body. His work has been presented in numerous group exhibitions, including Work it,Feel it, Kunsthalle Wien, Sick Time Sleepy Time Trip Time, EFA, NY, Pigs, Artium Museum, Spain (2016), Nahmad Projects Gallery , London,( 2016 ) Ennesima, Trienniale Milano (2015), Kiev Biennial, Kiev (2015), Museion, Bolzano (2015) Per-formare una collezione, Madre Museum Naples (2014), Steirischer herbst, Graz, (2013) Fondazione Sandretto Re Rebaudengo, Turin (2012), Manifesta 8 in Murcia/Cartagena (2010), Moscow Biennial, Moscow (2010), Istanbul Biennial, Istanbul (2009). Recent solo shows: Tales of Exhaustion. La Loge, Brussels BE (2016) The Missing hour. Rhythms and Algorithms, Raucci/Santamaria, Naples (2015), The Warp and the Weft, Peep-Hole, Milan (2012), Pareto Optimality, Supportico Lopez, Berlin (2011) and Entrèe, Bergen (2011). Correale is the founder of the Decelerationist Reader and a regular contributor to publications in the field of critical theory. He recently published The Game - A three sided football match, FeC, Fabriano (2014) and No More Sleep No More, Archive Books, Berlin, 2015.
Danilo Correale is 2017 Associate research fellow at Columbia University, New York, USA.