permeability instituting shared values learning together generative space (re)presentation heritage co-habitation shared resources accessibility care visibility employment participation negotiation
10h arrivals & intro 10h15 – 11h: Kunsthal - Danielle Van Zuijlen 'permanently practicing' 11h – 11h30: discussions 11h30 – 12h15: Grace & Hanne in conversation about ‘Ghent: how to live together?’ 12h15 – 12h30: discussions 12h30– 14h: lunch break 14h – 14h45: Jester - Maaike Gouwenberg 'some principles of improv theatre as the base for program and organisation' 14h45 – 15h15: discussions 15h15 – 16h: Apass - Kristien Vandenbrande 16h00 - 16h30: discussions
(20 deelnemers voor dagdeel)
PUBLIC MOMENT: 'DESCRIPTIONS CHANGE' 16h30 - 17h30 : vijai patchineelam book presentation in dialogue with Adrijana Gvozdenovic and Pia Louwerens 17h30 - 19h: food and discussions 19h: screening Maïder Fortuné - l'inconnu de Collegno
(back of flyer) Bio's
Hanne Cottyn Hanne Cottyn is research associate at the University of York. As a social historian she’s specialising in the study of land conflicts and rural transformations in the Andean region and is currently extending her expertise to Colombia. Her research interests are situated on the crossroads of rural history, critical global studies, and political ecology. Together with Raphaël Verbuyst (UGhent) she closely followed and wrote about Grace Ndiritu’s project ‘Ghent: how to live together?’.
Grace Ndiritu Grace Ndiritu is a British-Kenyan artist whose artworks are concerned with the transformation of our contemporary world. Ndiritu firmly believes 'healing' is a type of institutional critique. Currently, she is testing her hypothesis out further through an invitation by SMAK, Ghent to be their artist in residence for one year, as the institution works towards building a new museum in 2030. Last year she worked at Kunsthal in the framework of her development trajectory 'Ghent: how to live together?' examining how the site of the former Caermersklooster, where the interests of the different people and institutions who use or own the site are in conflict, can serve as a model for the practice of commoning.
Vijai Patchineelam (with collaborators Pia Louwerens and Adrijana Gvozdenović) Vijai Maia Patchineelam’s artistic practice focuses on dialogue between the artist and the art institutions. Placing the role of the artist as a worker in the foreground, Vijai’s research-driven artistic practice experiments with and argues for a more permanent role for artists—one in which artists become a constitutive part of the inner workings of art institutions. Pia Louwerens works with spoken-word performances in which she performs an unreliable subject intra-acting with its institutional framework. Her book I'm Not Sad, The World Is Sad is an autotheoretical, semi-fictional account of a performance artist who lands a part-time job as an Embedded Artistic Researcher in an art institution. Adrijana Gvozdenović employs artistic methods to create ambiguous distinctions between practice and theory, theory and confession, documentation and production, artistic and curatorial, oral exchange and artistic form.
Maïder Fortuné Maïder Fortuné studied literature and theatre before entering Le Fresnoy National Studio for Contemporary Arts, where she developed a performance-related practice of the technological image. With a persistent formal rigor, Fortuné’s work commands all the viewer’s attention for a genuine experience of the image and its processes. Recently, her practice turned to more narrative preoccupations. Lecture performances and films deeply rooted in writing are the mediums she processes to open up new narrative strategies.
Danielle Van Zuijlen/Kunsthal Danielle van Zuijlen is a curator and advisor – or rather, a sparring partner for artists and organisations, with a love for initiating new artistic platforms. In 2018 she co-initiated Kunsthal Gent, where she is currently responsible for the coordination of the artistic programme and for running the Development programme ('permanently practicing') For studio organisation NUCLEO she recently developed an artist support policy and programme. Her wide interests include artistic development and strengthening the position of the artist, public programming, horizontal/collaborative attitudes and new institutional models, and artistic strategies for the public domain.
Orlando Maaike Gouwenberg/Jester Orlando Maaike Gouwenberg currently leads Jester, the amalgamation of FLACC and CIAP, which inhabits the territory of C-mine Genk. With improv acting as guideline for the organissation Gouwenberg has no clear-cut plan or fixed outcomes in mind. However, Jester's vision does start from three points: working, living and sharing. Taking from her former experience Deltaworkers, an international multidisciplinary residency program in New Orleans, Gouwen aims to start from practice with artists and let it happen.
Kristien Vandenbrande/a.pass An ongoing interest in the (im)materiality, the image and performativity of writing has led Kristien Van den Brande to work in between the disciplines of urbanism, literature, performance, art criticism and expanded publishing. She alternates between writing, editing and web design, curating, performing, dramaturgy and mentoring at A.pass.
Reading rooms (in preparation of the assembly) Reading Room #25: Lumbung texts from the Handbook that accompanies Documenta 15/Lumbung 1 Reading Room #24: To an Institution of Critique From the Critique of Institutions to an Institution of Critique' by Andrea Fraser (2005).
- INSTITUTING Kunsthal manual - permanently practicing (dev program) (https://kunsthal.gent/over/gebruikershandleiding) Jester principles of improvisation theatre (https://www.jester.be/) Apass accumulative platform around the question 'what is artistic research?' (https://apass.be/mission-statement/) BUDA learning together (https://www.buda.be/festival/learning-together/)
response to documenta #15 - lumbung - majelis/ fridskul/ 'keep on doing what you're doing' in situ
- SYMBOLIC > PRACTICAL
institutions as allies in transition? how?
Artist as ‘object’ > ‘subject’: how is the artist’s voice represented in the functioning of the institution? do we need new norms for representation? Relationships of trust?
– ** PRACTICES
fleuve > 'bassin versant' include in decision making? protect? > assemblies/congress/co-creation – need for legal personality? whose responsability? zolamian case?
consumers – participants – co-creators - ‘friends’? Multiple access!?...
Institutions of today < actions of yesterday, how to carry the heritage/archive of an institution? + integrate learning experiences?
embedding in local & supra-local policies/ how to govern co-property?
input from ongoing reflections in Emptor
* Ghent - how to live together?
Throughout the work developed with Grace Ndiritu on the history of the caermersklooster, our home for the day of AOP3, we learned that the caermers who used to live there never considered the place as their property. Instead they inhabited it. (habit also refers to the clothing they wore, which was an expression of their form of life – usus pauper, which in many ways also connected them to the surrounding communities and the larger community of Caermers) It was only when, after the French revolution and their eviction, they were returned their land in the form of ‘property rights’, these monks understood the concept of property as ‘usus fructus abusus’, which in the end gave rise to a different way of inhabiting the space. https://publicanthropologist.cmi.no/2022/09/20/blog-series-heritage-belonging-and-land-global-perspectives-on-grace-ndiritus-a-season-of-truth-and-reconciliation-blog-1-het-pand/ a resume article will be finished by the end of the month.
* In preparation of AOP 3 (whose institution?) we’ve also been reading the text of Andrea Fraser, where again we are confronted to the idea of collectively inhabiting an institutional space, the institution as a ‘social made body’. (the institution of art is not only “institutionalized” in organizations like museums and objectified in art objects. It is also internalized and embodied in people. It is internalized in the competencies, conceptual models, and modes of perception that allow us to produce, write about, and understand art, or simply to recognize art as art, whether as artists, critics, curators, art historians, dealers, collectors, or museum visitors. And above all, it exists in the interests, aspirations, and criteria of value that orient our actions and define our sense of worth. These competencies and dispositions determine our own institutionalization as members of the field of art. They make up what Pierre Bourdieu called habitus: the “social made body,” the institution made mind.)
** Recent (climate/migration/housing) crises confront us to initiatives that fictionalise (attribution of legal personality to natural elements/ value of certain legal recognitions, practice of ‘bureau des depositions ‘the undocumented as artist’ as mechanism to protect > AOP2) and/or institute differently (how to create institutions/space for negotiation/ new mechanisms of translation, presentation and cohabitation beyond mere representation >> cfr. RR on text of sarah van uxem & van brummelen en dehaen).
** On 27/10 we will read parts of the intro text on documenta 15 and it’s lumbung practice, where ruangrupa inhabited the Fridericianum and Kassel at large together with their ‘friends’, opening a.o. questions on the divide between development – production – presentation & instituting together. The Reading Room will proceed with a dinner conceptualized by Martina Petrovic. https://caveat.be/activities/reading-room-25.html / https://apass.be/where-do-we-go-from-here/