mykhiotime-blog

[mykhiotime-blog]

30 January

Wrote to Philippa Lyon, researcher in Collaborative Drawing at the University of Brighton

https://vimeo.com/77975872

[mykhiotime-blog]

30 January

Photo Studio introduction +

rewrote reply to Ed D’Souza:

Dear Ed,

after meeting you at Khio, I wrote some notes about your proposal of collaborating in your project for the Oslo Biennial 2019.

In order to accept, decline or possibly come up with a counterproposal, I would need to hear more in details from you about your project, your priorities, your way of working as well as the terms and conditions of the proposed collaboration.

I would like to know what is your idea of collaboration, in both pragmatic and artistic terms.

Are you looking for assistants and producers to execute your project or rather fellow artists and co-authors with which to establish a dialogue?  In ether case, and especially if it is something in between, it would be important to know the terms of the collaboration, the type of work, the economic treatment, the time frame, the expected outcomes, the extent of autonomy and responsibility expected from us in possible decision-making processes that might be encountered along the way.

Unfortunately the argument that young artists would “benefit from the experience afforded by their engagement” is extensively used within our field to obtain cheap labour. And often the participants’ engagement doesn’t necessarily foster a process of empowerment. I would like very much to hear from you about this, as in some part of your document it sounds like you already have clear ideas about the project and its outcomes, and all you need is some knowledgeable, responsible and flexible assistants “to collaborate on what is essentially community engagement and co-production to work with a foreign artist and local migrants to harvest stories of journey…….and to work with the Ambassador sculpture ……”. In other parts of the document you present this collaboration as co-owning, which I think it is a misleading term, unless the co-owner are acknowledged as an essential part of a dialogue, as individuals responsible of their choice, as artists exercising artistic freedom.

If you are willing to clarify the issues mentioned above, I would be honoured to start a dialogue with you based on the following questions:

-How do you want to include local migrants? As voluntary participants? Will they be remunerated? How will their stories be collected? Will they receive something in return beside the 15 minutes of celebrity? As you write ”the Biennale might propose new possibilities of a politics of social equality.” Don’t you think that social equality presuppose an equal economic treatment?

-You state you want to go “beyond a narrative of suffering and displacement but through a narrative of journey”. Some people are still suffering from the trauma of displacement. What if they actually want to talk about it? Would this narrative of journey help them to heal? Is it meant to show them the poetic aspect of their condition or personal story? Is it meant to distract them from their possible suffering, past and present? Isn’t it the case that this kind of narrative could reinforce a romantic view on immigration, more focused on exoticism than on a genuine attempt to face the individual lives’ condition in its human and political misery?

-Your intention is to work within the car-free zone. That zone is not really representative of what Oslo is and of how people live. Most immigrants and in general the socially disadvantaged population actually live in other areas. Wouldn’t it be more effective and radical to work in those areas, to shed light on the social dynamics and relevant issues within the local communities, rather than showing their stories on the spectacular display of the city center?

To conclude, in my opinion your project would possibly benefits from a open collaborative approach, granting power to your collaborators, facilitating unexpected outcomes.

Looking forward to hearing from you

[mykhiotime-blog]

29 January

Silkscreen Workshop intro + preparing the care labels printing process

[mykhiotime-blog]

26 January

Finished reading the following books by Grant H. Kester: 

https://www.ucpress.edu/book/9780520275942/conversation-pieces

https://www.dukeupress.edu/art-activism-and-oppositionality/?viewby=title

Started to read “Phenomenology of the everyday” edited by Mikkel B. Tin and Ina Nalivaika. https://www.adlibris.com/no/bok/phenomenology-of-the-everyday-9788270997602

[mykhiotime-blog]

25 January

Lasercut polyester fabric for silkscreen printing

[mykhiotime-blog]

24 January

Participated in the drawing workshop “Touching the World Lightly” at Khio, conducted by Duncan Bullen, Jane Fox and Philippa Lyon

[mykhiotime-blog]

22-25 January

Artistic Research Weekend at Khio

[mykhiotime-blog]

20 January

Visited Liv Bugge’s show “The Other Wild”

https://www.oslomuseum.no/aktivitet/the-other-wild/

[mykhiotime-blog]

18 January

Participation in Maina Joner’s Space Capsule

[mykhiotime-blog]

17 January

Linocut Introduction workshop with Scott O’Rourke

[mykhiotime-blog]

14 January

Tutorial with Apolonija Sustersic

[mykhiotime-blog]

12 January

Currently reading, from the Participatory Relation seminar reading list:

READING-LIST SEMINAR PARTICIPATORY RELATIONS 9.-11.1.2019

APOLONIJA

Kester, Grant H. “Aesthetic Evangelist: Conversion and Empowerment in Contemporary Community Art.” Afterimage, no. 22 (January 1995): 5–11. Also available at: http://grantkester.net/resources/Aesthetic+Evangelists.pdf.

—. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Fleming, Marta. http://www.marthafleming.net/artforum-vanguard-fuse-afterimage/

CAMILLA

Arendt, Hannah. The Human Condition, The University of Chicago Press 1958, Chapters to read: “The Web of Relationships and the Enacted Stories” (p.181-188) and “Power and the Space of Appearance” (p. 199- 207) http://sduk.us/afterwork/arendt_the_human_condition.pdf

Jackson, Shannon and Paula Marincola (eds.) Keywords“Participation”, “Relational”,and “Spectator" In In terms of Performance, 2016 – http://intermsofperformance.site/

OLGA

Debord, Guy. “Towards a situationist International” (1957) in Participation Documents of Contemporary Art (2004) pp.96-101

Eik, Henriette. (2MAPS) Visualization of Miwon Kwon One place after another. Rancière, Jacques. “Problems and Transformations in Critical Art” (2004) In Participation

Documents of Contemporary Craft, pp. 83-93 Those reading Norwegian, can read Olga ́s article about Rancière when he lectured in 2016

www.periskop.no/moteoffentlighet/

1

WEEK 2 2019

MASTER KUNST OG OFFENTLIGHET//ART AND PUBLIC SPACE Seminar programme 9.-11.2019 MASTER IN PERFORMANCE //

PARTICIPATORY RELATIONS – Art-Audience-Public

PARTICIPATORY RELATIONS general bibliography

Arendt, Hannah. The Human Condition, The University of Chicago Press 1958, “The Web of Relationships and the Enacted Stories” (p.181-188) and “Power and the Space of

Appearance” (p. 199- 207) Arenstein, Sherry R. “A Ladder of Participation.”JAIP35, no. 4 (July 1969): 216–

224. http://lithgowschmidt.dk/sherry-arnstein/ladder-of-citizen-participation.html

Becker, Carol. “Microutopias: Public Practice in the Public Sphere” In Living as Form: Socially Engaged Art from 1991-2011, ed. Nato Thompson. Cambridge, MA:MIT Press, 2012.

Bishop, Claire. “Antagonism and Relational Aesthetics” October 110 (Autumn, 2004): 51-79.Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship, London and

Brooklyn: Verso, 2012. Bishop, Claire. Installation Art, New York: Routledge, 2005. Bishop, Claire. Participation, Cambridge MA: MIT Press, 2006. Bishop, Claire. “Participation and the Spectacle: Where are we now?” In Living as Form

Socially Engaged Art from 1991-2011, Edited by Nato Thompson. Cambridge, MA:

MIT Press, 2012. Bishop, Claire. “The Social Turn: Collaboration and its Discontents” Artforum 44.6 (2006):

178-183. Blundell Jones, Peter, Doina Petrescu, and Jeremy Till, eds. Architecture and

Participation. London: Spoon Press, 2005

Butler, Judith. Notes Toward a Performative Theory of Assembly, 2005 Danvers, John. “The Knowing Body: Art as an Integrative System of Knowledge” Chapter 7,

in Art Education in a Postmodern World Collected Essay, Ed. Tom Hardy, (2006)

Intellect, Bristol, UK, Portland, OR, USA Debord, Guy. “Towards a situationist International” (1957) in Participation Documents of

Contemporary Art (2004) pp.96-101https://www.youtube.com/watch?v=IoUIHBSiVAY

https://www.youtube.com Partially Examined Life #170: Guy Debord's "Society of the Spectacle" (Part One) https://www.youtube.com/watch?v=F11bFaLu7kM Que-reste-t-il de la pensée de Guy

Eik, Henriette. (2MAPS) Visualization of Miwon Kwon One place after another.

Finkelpearl, Tom. “Participatory Art” In Encyclopedia of Aesthetics, Michael Kelly (eds.)Oxford University Press, 2014.

Fraser, Andrea. “From the Critique of Institutions to an Institution of Critique” In ArtforumInternational 44.1 (Sept. 2005): 278-283.

Grehan, Helen. Performance, Ethics and Spectatorship in a Global Age, Palgrave McMillan2009, chapter 1: “Situating the Spectator” (p.9-36)

Groys, Boris. “A Genealogy of Participation Art.” In The Art of Participation: 1950 to Now, Edited by Rudolf Frieling, et al. New York: Thames & Hudson, 2008.

2

Jackson, Shannon. Social Works, performing arts, supporting publics, 2011, Chapter 2: Quality Time

Jackson, Shannon and Paula Marincola (eds.) “Keyword: Participation” In In terms of Performance, 2016 – http://intermsofperformance.site/

Kaprow, Allan. Essays on the Blurring of Art and Life, 2003 Kwon, Miwon. One Place After Another, 2002, Chapter 5: The (un)sitings of Community

Mouffe, Chantal. Agonistics: Thinking the World Politically. London: Verso, 2013.

—. “Artistic Activism and Agonistic Spaces.” Art & Research 1, no. 2 (Summer 2007): 1–5,http://www.artandresearch.org.uk/v1n2/pdfs/mouffe.pdf.

—. The Democratic Paradox. London: Verso, 2000.—. The Return of the Political. London: Verso, 2005.

Petcou, Constantin and Doina Petrescu. “Acting Space, Transversal notes, on-the-groundobservations and concrete questions for us all,” in “Participation,” ed. Urška Jurmanand Apolonija Šušteršič, AB –Arhitekturni bilten [AB- Architectural magazine] XLI, no. 188–189 (July 2011): 56–59.

Rancière, Jacques. “Problems and Transformations in Critical Art” (2004) In Participation Documents of Contemporary Craft, pp. 83-93

3

- - -

The Emancipated Spectator, Translated by Gregory Elliott. London: Verso, 2009http://www.critical-theory.com/who-the-fuck-is-jacques-ranciere/https://www.youtube.com/watch?v=w4RP87XN-dI

www.periskop.no/moteoffentlighet/

Schmedling, Olga «Moteoffentlighet» About the project MOToffentlighet and Jacques Rancière ́s thought. Rancière lectured in Oslo 10.6.2016

Widrich, Mechtild. Performative monuments, Manchester University Press, 2014. Wright, Stephen. “The Delicate Essence of Artistic Collaboration.” In Third Text 18.6 (2004):

534-535. Wright, Stephen. Lexicon of Usership, 2014.

[mykhiotime-blog]

9-11 January

Seminar “Partecipatory Relations” with Olga Schmedling and guests:

Merete Røstad, Philip Schulte, Camilla Eeg-Tverbakk, Eleonora Fabião and students from the Norwegian Theatre Academy, Østfold University College,  Fredrikstad.

[mykhiotime-blog]

7 January 2019

Writing class with Line Ulekleiv.

Wrote the following text:

One of these days I should sit down and think through the reasons why I resist so much declaring my references. It must be somehow related to my predilection for independent thinking and complexity, as opposed to any form of unconditioned admiration, personality cult and reductivism. At the same time I must admit I get a certain amount of pleasure in contradicting myself.

A while ago, a friend sent me a link to an interesting website. After a first quick look, I decided I definitely had to set time aside in order to study it in depth. As often happens, it slipped my mind shortly after, but it popped into my head on several occasions later on. I really must take a deeper look at that, I reminded myself at each time, and then again it slipped my mind.

I’ve just found the link and clicked on it. Actually the website’s name is quite easy to remember. Everybodystoolbox.net. From now on I shall remember it. It has been set up in 2006 as a wiki, an internet content pool that anyone can freely edit, by an open group based on interest and named Everybodys. It is a platform for the exchange of works, methodologies and production models, that focuses on the development and dissemination of tools and discourses that exist within the performing arts. The website includes a “Workshop Kit” composed of different sections. In one of them, a set of “Games” based on precise yet open instructions or rules, can be used to develop ideas or works. “Scores and descriptions” proposes to put in relation different forms of notation, such as existing or purpose-written scores and descriptions of performances, as a way to expand the possible understandings of a piece but also to develop new works. The section “Interviews” includes the instructions to conduct individual or group self interview, as well as examples contributed by a number of artists.

Sometimes I include written instructions in my work, while with other projects I use recognisable structures, frames or predefined models within which I let things happen, therefore allowing for a high degree of freedom and unpredictability. Such frames or models can be seen as forms of regulation hence, in my point of view, as a chance to find alternative solutions, a pretext to develop different approaches and practices by turning obstructions and limitations into resources.

Rules and instructions regulate the way things should be done within a defined context, a set of limitations and parameters that require a common acknowledgement but can also be interpreted and adapted according to the individual’s level of engagement. I am interested in the tension between rules as regulatory statements, and the discrepancies produced when interpreted and translated into practice. Such discrepancies can be accidentally or deliberately produced, and used in a transformative way. If rules define limitations and restrictions, they can also foster processes of adaptation, interpretation and transformation. Playing by the rules, playing with the rules, changing the rules or breaking the rules are options at the players’ disposal, some more suitable than others in challenging the rigidity of the game.

One of these days I should sit down and think through the specificities of the contexts I want to address, each one with its own implicit or explicit regulations, frames and models. One of these days I should sit down and define which game I want to play, which rules to keep, which rules to add, which rules to improve and which rules to dump.

I run out of time. I must suspend writing due to family obligations but I promise I will resume at a later time. I won’t forget this time. You know what? I am going to add it to my reference book! My reference book is an address book with alphabetical index tabs that I fill with names of artists, works, writers, books, films and so on. These references have been recommended to me by friends and colleagues after I showed them one or more projects I have done. Some references are relevant and on point, while other not as much...Unluckily I have not been very consistent with taking note of all the names and works that have been recommended to me throughout the years. Moreover, I forget to thoroughly study the names and works that made to those pages...I should definitely set time aside for this.

In the meanwhile, here is the current list: A-B Bernadette Corporation, Francis Alys’s Fabiola, Sven Augustijnen’s Spectres, Guillaume Bijl’s Souvenirs of the 20th Century, Ricardo Grey, George Bataille’s De la Part Maudite, Giorgio Agamben’s Note sul Gesto, Cezary Bodzianowski, Stanley Brown’s A Short Manifesto, Conrad Bakker, Walter Benjamin’s The Work of Art in the Age of Mechanical Reproduction and Theses on the Philosophy of History, Hans Belting’s An Anthropology of Images: Picture, Medium, Body and The End of the History of Art?, Judith Butler, Roland Barthes’s Mythologies and La Mort de l'Auteur and La Chamber Claire and Éléments de Sémiologie, Marina Abramovic’s The Artist is Present, Roy Andersson, Louis Borges, Alain Badiou, Boyle Family, Baktruppen, Pierre Bismuth’s Where is Rocky?; C-D Adam Curtis’s The Century of the Self, the exhibition Correspondences at Espace Culturel Louis Vuitton, DreamWorks Animation’s Chicken Run, Stefaan Dheedene, Tacita Dean, Régis Debray’s Transmettre, Sophie Calle, Koenraad Dedobbeleer, Martin Creed, Marquis De Sade, Nico Doxx, Dizionario di Retorica e Stilistica, Jacques Derrida’s Plato's Pharmacy, Gabriele Di Matteo; E-F Harun Farocki, James Ensor, Hans Peter Feldmann, De Appel Curatorial Program Fluiten In Het Donker, Olivier Foulon’s Isa Genzken’s Ring, Sigmund Freud’s Mourning and Melancholia and the concept of Polymorphous Perversity, Emilio Fantin, Robert Filliou, Andrea Frazer; G-H Hitchcock’s MacGuffin, Kristján Guðmundsson, Robert Pogue Harrison’s The Dominion of the Dead, Douglas Hubler, Sigurður Guðmundsson’s Pavement, Street, Tibor Gyenis’ Ten Superflous Gestures, Witold Gombrowicz, the term Happenstance, Ane Hjort Guttu’s How to Become a Non- Artist, Roger Hiorns, René Girard’s Théorie Mimétique; I-J Jasper John’s writings, Jean-Yves Jouannais’ Artistes sans œuvres, Christian Jankowski; K-L Komar and Melamid, Akira Kurosawa’s Rashomon, Michael Landy’s Break Down, Joshua Knelman’s Hot Art, Kris Kimpe’s exhibition design, Marijn Van Kreij, Andrei Kuzkin, Joachim Koester, We communicate only through our shared dismissal of the pre- linguistic: fourteen analyses (1995) in Mike Kelley : minor histories--statements, conversations, proposals, Valery Konevin, Martin Kippenberger’s Lieber maler male mir, Shaurya Kumar’s The Lost Museum, Paul Klee’s drawings, Sherrie Levine, Rafael Lozano and Susie Ramsay’s Ok Art Manifesto; M-N: Kobe Matthys’ Agentshap, Ivan Moudov, Brussels’ Musée de la Police, Matt Mullican’s That Person, Paul McCarthy’s On the figure of the artist; O-P Nicolas Provost’s Plot Point, Ola Pehrson’s Hunt for the Unabomber, George Perec’s Life, a manual; Q-R Kurt Ryslavy, Alain Resnais’ Les statues meurent aussi, Ugo Rondinone’s Your Age and my Age and the Age of the Sun, Robert Rauschenberg’s Erased De Kooning Drawing, Gert Robyns, Michael Rakowitz, S-T Harald Szeeman’s Les Machines Celibataires, Edward Steichen’s The Family of Man, Taryin Simon’s Contraband, Adam Parker Smith’s Thanks, Schrodinger’s cat paradox, Simon Starling, Wolfgang Tillmans, SI-LA-GI’s Apology, Bálint Szombathy’s Lenin in Budapest, Koki Tanaka; U-V Van Eyek Mystic Lamb lost panel at STAM Museum in Ghent, Anton Vidockle’s Art without market, art without education: political economy of art, Enrique Vila-Matas’ Bartleby & Co, Ulay at Neuenationalgalerie in Berlin, Franco Vaccari, Paul Virilio’s L’accident original, Paul Valery, Mierle Laderman Ukuleles’ Maintenance Art Performances, Alex Villar; W-X David Foster Wallace’s A supposedly fun thing I’ll never do again, Peter Watkins’ La Commune, Stephen Willats; Y-Z Snorre Ytterstad.

Andrea Galiazzo

[mykhiotime-blog]

13 December

Open Day at Khio

[mykhiotime-blog]

10-11 December

Model and Prototype workshop intro

[mykhiotime-blog]

7 December

Drawing Triennial 2019 launch at Tegnerforbundet, Oslo. I will be collaborating with Marthe Ramm Fortun with the following preliminary proposal:

The last two years we have been on parental leave to stay with our daughter, who had a premature birth and needed our presence. During this period we didn´t stop making art, we rather acknowledged our situation, including it in our work or making works as we were pushing the pram through the city of Oslo. This cross contamination between art and everyday life, work and family, is still taking place both within playing and professional situations. For example, the drawings we make at home are often a form of open collaboration, rather than finished works issued from one’s individual expressivity. Our daughter draws something, she then asks to add a specific animal or object or person, she intervenes subsequently with coloured lines over or around the figure we outlined. We are about to go to Paris, where we will share an apartment and a studio for three months. The kitchen walls and forniture will be covered with large sheets of paper, used as support for a three´months long collaborative drawing environment. At the end of our residency in Paris, the sheets of paper will be removed and transported to Oslo. For the Tegnetriennalen we are planning to recontruct the kitchen forniture and show the resulting environment.

The Drawing Triennial 2019 will be curated by Helga-Marie Nordby who wrote the following introductory text:

Thematical approach the Drawing Triennial 2019 – Human Touch

The way drawing has been understood has varied throughout history, and it’s hard to define. Nevertheless, besides speech, drawing has always been the most important form of expression for human beings. Even 30,000 years ago people used drawing as a medium, as we can see from the images in Chauvet Cave in Southern France. Cave paintings and petroglyphs of people, animals, objects and geometrical and abstract forms testify to the enduring inclination we humans have to express ourselves visually. First, we talk and draw, later we develop the abilities to read and write. Children become familiar with things in the world by drawing them. Drawing is experienced early in life as completely natural, accessible and immediate. But most of us stop drawing as a means of exploring the world when we’re about 11 or 12 years old. Nevertheless, drawing proves to be important for many people processing challenging and traumatic experiences, or when trying to understand and express themselves in situations where words are inadequate. By drawing, we can see both inwards and outwards, and by drawing, we can also formulate what we see – not merely as imitation or depiction, but as visual ideas, as reflection, as searching, as questions.

For me as curator, the video work Arket er strekens verden / The Paper is the Line’s World(2009), by the Norwegian artist Ane Hjort Guttu, was an important entry point for working with the triennial. In this video we encounter the art student Ina Åsheim who creates abstract expressionist drawings. She is asked to describe her drawing process in words. In a searching and detailed way, she describes her own presence and concentration in the drawing. The film gives us insight into a physical and conceptual process, the relations between the individual / the artist, the world and the paper. The Paper is the Line’s Worldexplores how the mechanisms in Ina’s drawing process can also be operative outside the paper, in the ‘real world’, and how a drawing can function as an image of unrealized possibilities.The South African artist William Kentridge also talks about the unlimited potential of drawing. His performative lecture series ‘Six Drawing Lessons’, which I experienced live in Berlin two years ago, has also been an inspiration in my work. ‘Drawing has the potential to educate us about the most complex issues of our time.’ In the Cuban artist Ana Mendieta’s (1948–1985) video-documented performance Blood Sign / Body Tracks from 1974, we seeAna Mendieta’sthe artist, with a simple but determined movement, draw directly on a wall with her armsthat have been dipped in blood – for me a fundamental expression for what it is to behuman. These three works can be understood as my curatorial entryway into the Drawing Triennial 2019.

Drawing as an art form is readily at hand; it is an expression of our curiosity, our need to express ourselves. In the triennial, I focus on drawing as an exploration and processing of what it means to be human. The exhibition will include works by artists who use lines as tools for inquiry, who use drawing as a method for getting closer to who we are as human beings (both ourselves and others). These are artistic practices that show something at stake, set our thoughts in motion, say something about the human condition. The need we have to reach out to another body, another person, and the need to withdraw into ourselves. A line can be vulnerable but also show strength. The medium of drawing encompasses the entire spectrum. The Drawing Triennial 2019 will be about the human being, drawing as the trace of an individual, a physical and mental imprint. The exhibition also makes connections to prehistoric art, to drawing as a form of communication that precedes writing systems and words.

‘Before and After the Line’ (‘Før og etter streken’) is the title of the triennial’s discursive programme, which is curated in collaboration with Kunstnernes Hus. With this programme, we want to facilitate greater reflection around drawing as a universally human form of expression and tool for understanding the world and ourselves. The programme – with artist talks, lectures, workshops, open drawing classes for children and adults, film screenings, performances and guided tours – will create an expanded, activating and reflective frame around the main exhibition.

Confirmed artists:

Filippa Barkman (1982, SE) Per Inge Bjørlo (1952, NO) Eirik Blekesaune (1980, NO) Louise Bourgeois (1911-2010, FR) Jennie Hagevik Bringaker (1978, NO) Peder Kirkevaag Bugge (1971, NO) Ann Iren Buan (1984, NO) Liv Dessen (1935, NO) Marthe Ramm Fortun (1978, NO) & Andrea Galiazzo (1983, IT) Ane Hjort Guttu (1971, NO) Silje Hammer (1980, NO) Nina Heum (1965, NO) William Kentridge (1955, RSA) Ingeborg Annie Lindahl (1981, NO) Per Maning (1943, NO) Elisabeth Mathisen (1961, NO) Pierre Lionel Matte (1961, NO) Ana Mendieta (1948-1985, CU) Gunnveig Nerol (1958, NO) Randi Nygård (1977, NO) Cecilia Jiménez Ojeda (1982, SE) Shwan El Qaradiki (1977, IQ) Anngjerd Rustand (1982, NO) Anne-Marie Schneider (1962, FR) Bente Stokke (1952, NO) Per Teljer (1970, SE) Monica Winther (1976, NO) Vera Wyller (1953, RS) Ina Åsheim (1975, NO)