in Curating, Zurich University of the Arts (ZHdK)
Tanja Trampe & Anne Koskiluoma
Warning: count(): Parameter must be an array or an object that implements Countable in /homepages/2/d473645651/htdocs/wordpress/wp-content/plugins/ultimate-responsive-image-slider/layout.php on line 17
Fr. Oct 10th, 12h – So. Oct 12th 2014
50 hrs nonstop!
What’s Cooking? features twelve positions from the fine arts, art theory, and curating as well as transdisciplinary interventions that bear interactive, relational, and participative characteristics and engage in active documentary strategies. The approximate 50-hour nonstop-gathering calls for simultaneous production, documentation, and presentation in order to broaden dimensions that allow us to reflect actively on presence, simultaneity and our individual involvement.
- Kathrin Böhm (DE/UK) »A Haystack for Zürich«: How does non-representation show? Setting for a gathering (edt.*)
- Ludovica Carbotta (IT/UK) »A motorway is a very strong wind«: Sculptural interventions based on dialogues
- Corner College (CH) »What‘s cooling?«: collective culinary experiments
- Brett Davidson (US/CH) »OUC Office of Universal Consultation«: Interactive office
- Fucking Good Art (NL) »Play«: Are we just playing? Publication and interventions
- Monica Germann & Daniel Lorenzi (CH): Mapping-sessions with guests
- Milenko Lazić (BiH/CH) »Zürichsyndrom«: Live-Doku-Lecture-Performances / Live-documentation
- Jso Maeder (CH) »Un salon des revenants«: An imaginary library
- Doris Prlić/Marlies Stöger/André Tschinder (AT) »Finding a New Order«: Performative flip chart workshops
- Marinella Senatore (IT/DE) »Estman Radio«: DIY-broadcasting on air (edt.*)
- Francisca Silva (CH) »Frattoostudio«: Tattoo sessions
- Marcus Steinweg (DE) »transgressing—precipitating—exaggerating«; live discussion on air (*)
- Side Dishes: DIY-kitchen around the clock, cheap beers, DIY-Fanzine Copy Shop, Poster-Edition by Monica Germann & Daniel Lorenzi
What’s Cooking? understands the unforeseeable and coincidence as its prerequisites. From a curatorial point of view, it is of vital importance to foster situations where concerted action initiates immediate discourse.
What’s Cooking? transfers ephemeral, time based artistic formats in site specific processes
What’s Cooking? is an experiment with alternative curatorial orders and breaks ground through
the continuous formation of new collaborations which deploy perpetual processes of re-arrangement fueled by gestures of precipitancy, transgression, and exaggeration.
What’s Cooking? starts at a given time and date but its end remains indefinite…
Relational art practices are ephemeral, time based and often participative formats which disengage from a pure centering of objects as artefacts and move the interaction and interrelationship between the artist, viewer and locality to the foreground. These practices and concepts bear the immanence of processuality through the present simultaneous production and presentation and emerging discourse on site. Additionally, they imply consequent contingency as an affirmative factor.
In their shared curatorial practice Anne Koskiluoma and Tanja Trampe question and investigate processes where the notions of precipitancy and destabilization of the subject come into play as a potential to defer and re-arrange prevailing orders. In curatorial coherences they interrogate how to create and foster situations that initiate such processes in the network of relations between the event and the subject. In this sense the curatorial is an experiment with alternative orders and breaks ground through the continuous formation of new collaborations which deploy perpetual processes of re-arrangement fuelled by gestures of precipitancy, transgression, and exaggeration, as formulated by Philosopher Marcus Steinweg in his book Philosophie der Überstürzung: „To change the direction from one into another we need to stride the disorder. A seamless transition does not exist.“1
What is the right timing or locality? What are the elements and possibilities which allow for multiperspectivity, action, community and critical discourse? Further, which curatorial and artistic formats are appropriate to transfer ephemeral works and processes, into positions that aren’t acts of closing but a pledge for an open end? Does this openness invite an audience to participate – or is it a delusion?