ecology

16.
flow

eco-logics, cosmic worldview, inter-being

What we see in this card is the world coming together in all its different realizations. The water, the roots, the plants, they all resonate with delicate harmony. Flow is the card of the ecology of things: not only of all things ‘natural’, but also the ecology of the mind, the individual, the group, and the material economy. And on a larger historical scale the logics of history, gender, politics, emancipation etc… Flow is the card that draws attention to the inherently connected character of our environments. To the fact that we are not so much subjects living in a world of things, but that we are made up through the confluence, through the meeting of different realities of being-in-the-world. Who we are is as much a result of the coincidence that brought our parents together, as from the political and economic climate we were born into, the aesthetic preferences of the city we live in, the materials that make up our homes, the part of the world we identify with, the food we eat, the body image that rules our thinking etc… Continue reading “16. flow” →

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.

Continue reading “Curating as Environmentalism (2011)” →