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FSUWExhibition Experiments (working title) is a collaborative practice-based research project into histories of exhibition.  Students, staff, experts and others will together research the idea of exhibition as a bundle of technologies for display and exchange. There are an increasing number of academic publications and conferences in curatorial and exhibition history, although the premise of this project is research through practice; we will make things, and make things happen.

The project might construct key exhibitionary moments; for example architect Frederick Kiesler’s 1924 L+T System for museum displays; a fragment of El Lissitsky's Abstract Cabinet (destroyed by the Nazis in 1937) we may also re-enact projects such as op losse schroeven (Stadelijk Museum, 1969) the entrepreneurial Freeze exhibition of 1988, or maybe one of Rirkrit Tiravanija's convivial cooking exhibitions. 

These are mere suggestions - the plan would be to develop an exhibition of key exhibitionary experiments, collectively.  This will unfold through seminars and workshops before the Triangle ‘exhibitionary’ period, and during the physical construction of the exhibition itself. 

Exhibition: Triangle Space, Chelsea College of Art & Design

When: Monday 21st May – Wednesday 30th May 2012

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See the project blog or

 

St Pauls, London

As part of Self Portrait; Arnolfini we produced a beautiful celebratory publication, designed by Stephen Coates and developed in close collaboration with archivist Julian Warren.  

Recalled from composite memory on the eve of our centenary in 2061, three relational threads are intertwined;

1. social and financial organisation

2. technological innovation

3. art and its institutions

You can view, or download a .pdf, read a data sprite snippet, or see how we developed the raw-text on this wiki.

A print version is published by Arnolfini and available from Cornerhouse.

FSUWI'll be contributing to the International Conference: Free/SlowUniversity of Warsaw

The Free University of Warsaw is a nomadic centre of interdisciplinary studies, critical reflection, and independent thinking about art and society. The FUW operates parallel to the official centres of artistic and academic education. Its principle is to combine theory with praxis within culture while working as an informal research centre.

The Labour of the Multitude: The Political Economy of Social Creativity

when: 20th - 22nd October 2011

where: Warsaw, Campus of the University of Warsaw: Old Library (Hall 205) and Warsaw University Students' Council Hall, 26/28 Krakowskie Przedmieście, Warsaw

participants: Hans Abbing, Luc Boltanski, Neil Cummings, Diedrich Diederichsen, Isabelle Graw, Matteo Pasquinelli, John Roberts, Gigi Roggero, Martha Rosler, Hito Steyerl, Joanna Bednarek, Isabelle Bruno, Dusan Grlja, Precarious Workers Brigade, Johsua Simon, Stevphen Shukaitis, Britta Timm Knudsen, Ewa Majewska, Jason Francis McGimsey, Vlad Morariu, Yiannis Mylonas, Alexander Neumann, Bojana Romic, Massimiliano Tomba, Marina Vishmidt and Patricia Reed



the conference is free of charge, although the 
number of places is limited

reservations: szymon[at]funbec.eu


description: there

program: here


In December, just two months later a beautiful 430 page polish language publication was produced, it has a written version of my presentation A Joy Forever .

7pm Thursday 6th October 2011

Studio, 1st floor

ZKM Museum of Contemporary Art, Karlsruhe, Germany

As part of the reflexive research program accompanying the exhibition The Global Contemporary. Art Worlds After 1989  I participated in a workshop screening of Museum Futures: Distributed (2008) followed by a lively discussion on the future of museums, art and its markets, the financial crisis, the forces of globalisation, technocity and much else besides.

Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art, are faced with the questions as to the extent to which the concept global can and must be thought – and how this reflects back on its own methods of working. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. A critical analysis of the key institutions of the art world seeks to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions of possibility. With The Global Contemporary. Art Worlds After 1989  ZKM Karlsruhe, imagines itself as a utopian factory a place in which local experiences of time subvert the unity of the new universal time.

Sheriff Court convenes at murder suspect Neil Cumming's hospital bedside.kempton

Alan Kempton, principal procurator fiscal depute in Perth leaving Ninewells Hospital.

Walk through time on Sunday 25th September 2011, 12 - 1pm

Ms ChanJoin me on Sunday 25th September between 12 - 1pm, with archivist Julian Warren and curator Nav Haq and we will walk through time on a tour of Self-Portrait: Arnolfini. The talk and tour, from 1831 to 2061, will culminating in the launch of  Self-Portrait: Arnolfini the book of the project beautifully designed by Stephen Coates, especially for Arnolfini's 50th anniversary.

See the installation of Self Portrait, part 1, or part 2, or the Futures workshop

Arnolfini
16 Narrow Quay
Bristol, Avon BS1 4QA
0117 917 2300

tahrir squareOn Friday 30th September and Saturday 1st October 2011, I participated in Media Squares: on the new forms of protests and their media, organised by De Baile, in Amsterdam. And two weeks later joined the Occupy London protest.

Social protest has become almost inseparably linked to a plethora of media images and messages distributed via internet, mobile phones, social media, internet video platforms and of course traditional media outlets such as newspapers, radio and television. A popular category to have emerged recently is the 'twitter-revolution'. In almost all cases - Iran, Tunisia, Egypt, and London - the role of the platform turned out to be less influential in retrospect, although certainly, deeply rooted blogger-networks did play a mayor role, preparing the protests that have now been dubbed the Arab Spring. And digital connectivity played a crucial role in the organisation and co-ordination of the European 'anti-austerity' protests in Spain, Greece, UK and Italy where protest was manifest on the streets and particularly in public squares.

Ms Chan

From the 17th September 2011 –  5th February 2012, Museum Futures: Distributed is being exhibited at ZKM in Karlsruhe as part of The Global Contemporary. Art Worlds After 1989

Museum Futures: Distributed - is a machinima record of the centenary interview with Moderna Museet’s executive Ayan Lindquist in June 2058. It explores a genealogy for contemporary art practice and its institutions, by re-imagining the role of artists, museums, galleries, markets, manufactories and academies.

Globalization as a phase in the geo-political transformation of the world is at once a transformation of art – of the conditions of its production, and possibilities of its diffusion and dissemination and presence. At the same time, artists, and above all the institutions of art, are faced with the questions as to the extent to which the concept global can and must be thought – and how this reflects back on its own methods of working. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. A critical analysis of the key institutions of the art world seeks to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally creates and reviews its own conditions of possibility. WithThe Global Contemporary. Art Worlds After 1989  ZKM | Karlsruhe, imagines itself as a utopian factory a place in which local experiences of time subvert the unity of the new universal time.

Candas, AsturiasAranjuez to Chinchon

 

 

 

 

 

 

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