Curating as environ-mentalism
‘to find a frame, a timing or a situation within which suggestions of others can be realized’ tom plischke (1)
1. In this text I would like to focus on a particular form of curatorship: a practice that grew out of (and in opposition to) the ‘new’ style of programming of the 1980’s institutions. An attitude in thinking about curating in which the role of the programmer and the role of the artist start to intertwine. I’d like to talk about a curatorship that tries to redefine the boundaries put up by the institutions that were built for the production modes and logic of a generation of autonomous artists, a rethinking of the role of the institution by introducing the notions of vulnerability, risk and imperfection into the programming idiom, and a translation of the ‘relational esthetics’ of the visual arts towards a more ecological phrasing of the time and space shared by the performers, ‘spectactors’, public members and the resisting (art)objects they encounter.
Interview with Bureau d’Espoir (Elke Van Campenhout)
Co-curator of the Residency “LaZone”, October 2010
Coralie Stalberg: How do you envision LaZone?
Elke van Campenhout: LaZone is a long-term project I am working on that is related to the topic of ‘critical hope’. In this collaboration with Bains Connective we worked with the invited artists of the Thematics, and we organized collective discussions and practices, reflecting on LaZone: as a space, as an intellectual environment, as a practice, etc… When at the end of the process every member of the group tried to formulate a definition for LaZone, the ideas that came out were very different, depending on everyone’s personal point of view, which fits the concept of LaZone somehow perfectly. The basic concept of LaZone is to propose an environment that is open, not yet specified, where the rules of behavior, speech and movement are not yet negotiated and recognizable for all the inhabitants. There is no common understanding yet for what you can think and say, for the way you relate to the other, the rules for using the space. Which makes of LaZone a kind of in-between space that is devoid of any function. Continue reading “Bureau d’Espoir about LaZone”
Of horizontal authorities, anorexic redistributions, and debating politics with trees.
Welcome to Bureau d’Espoir
Chinese artists used to change their names three times in their career in order not to be linked all their lives to the same work. In this way they gave up on the concept of the “I” related, to a name, in order to reinvent themselves. In other words: they gave up their personal authorship in order to free themselves from the weight of the past and open up new possibilities. What role does the responsibility of the author play in this case?
How to talk to a tree. And be sure they’re listening.
What does it mean to speak? To have a dialogue? To resonate with another human being. Or a plant. Or a brick. Is there anything like a dialogue possible with an entity that is not conventionally and conveniently structured in a rational way? And how would I interpret such a ‘thing’? In this text I will try to open up the common conception of dialogue. Of our understanding of thinking together. Which means I will move through murky waters, and try to filter out the shiny bits. The little pieces that still reflect our shared understanding of the understandable, of what we can grasp of our experiences together. All the rest is silence.