Reflexiv

Die reflexive Arbeit ist ein Gefäss, in dem die Kunst über sich selbst nachdenken kann via Künstler, eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen, theoretische Erörterungen, etc., sondern um eine jeweils spezifische Form der Selbstbestimmung. weiter...

Fachhochschule Nordwestschweiz FHNW
Hochschule für Gestaltung und Kunst
Institut Kunst

Oslo-Strasse 3
4142 Münchenstein b. Basel
Kontakt, Facebook, Instagram

Die reflexive Arbeit ist ein Gefäss, in dem die Kunst via Künstler*in über sich selbst nachdenken kann, sie ist eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen oder theoretische Erörterungen, sondern um eine jeweils spezifische Form der Selbstbestimmung.

institut-kunst.ch
fhnw.ch/hgk/iku
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Reflexiv



Die reflexive Arbeit 1
ist ein Gefäss, in dem die Kunst über sich selbst nachdenken kann via Künstler, eine Einladung, an diesem Denken teilzunehmen, Fragen zu stellen und in ein Gespräch zu geraten. Dieses Gefäss ist jeweils zu erfinden, deshalb ist die reflexive Arbeit ein Experiment. Es geht nicht um fertige Texte, Abhandlungen, Meinungen, theoretische Erörterungen, etc., sondern um eine jeweils spezifische Form der Selbstbestimmung. Sie muss nicht sprachlich sein, nicht schriftlich und auch nicht in irgendeinem Medium festgehalten werden. Entscheidend ist ihre Möglichkeit, Räume zu öffnen fürs Denken und Sprechen und einzustimmen in die mentalen Umgebungen der Werke. Eine reflexive Arbeit kann ein mündlicher Bericht über Lektüre sein, es können Interviews, Schlafprotokolle, Filme, Musik ... Mitschriften von nie stattgefundenen Treffen sein, wichtig ist: sie sollte sich öffnen wollen, ein Gesprächsangebot machen, sie sollte Lust haben und Lust darauf machen, etwas in die Karten zu schauen, sich in die Karten schauen zu lassen, ins Handwerk, in die Motivation, in das Nichtwissen, in den Antrieb und in die Wege der Kunst. Es geht um kein schweres schwitzendes Beackern und Zerhacken der eigenen Kreationen, sondern auch um den inspirierenden und leichten, mutigen und oft paradoxen, verblüffenden Funken beim Denken. Und ja, dieser denkende Moment wohnt dem Kunstwerk selbst natürlich bei und inne. Die reflexive Arbeit macht per leichter Verschiebung und Betonung darauf aufmerksam.


reflexive work 1
is a container in which art can think about itself via artists, an invitation to participate in this thinking, to ask questions and to get into a conversation. This container has to be invented, therefore the reflexive work is an experiment. It is not about finished texts, essays, opinions, theoretical discussions, etc., but about a specific form of self-determination. It does not have to be linguistic, written or in any medium. What is decisive is its ability to open spaces for thinking and speaking and to tune into the mental environments of the works. A reflective work can be an oral report about reading, it can be interviews, sleep logs, movies, music... It can be a record of meetings that never took place, important: it should want to open itself, make an offer to talk, it should have desire and make desire to look something into the cards, to let itself be looked into the cards, into the craft, into the motivation, into the ignorance, into the drive and into the ways of art. It's not about heavy sweating and chopping up your own creations, but also about the inspiring and light, courageous and often paradoxical, astonishing spark of thought. And yes, this thinking moment is naturally inherent in the work of art itself. The reflexive work draws attention to this by means of a slight shift and emphasis.


Die reflexive Arbeit 2
ist ein Gefäss, dass jeweils neu zu erfinden ist. Es möchte Raum für Einsicht bieten, Innenansichten, Aussenansichten, Eigeneinsichten und ein Gespräch suchen mit anderen Ansichten und Sehansätzen. Zunächst möchte dieses Gefäss der Kunst und dem Kunstwerk, der künstlerischen Arbeit, Möglichkeit bieten, mit sich selbst zu sprechen und dann den Künstlern, ihre Positionen, Haltungen, Zweifel, Methoden und Vorbilder, Absichten, Geheimnisse und Motivationen, Lieben und Ängste denkend und somit denkend handelnd, auszuprobieren. Denken ist immer persönlich. Mut gehört dazu, Mut Fehler zu mache, nackt da zu stehen, sich zu verirren oder etwas zu denken, was weh tut. Die reflexive Arbeit möchte dies arteigen tun, mit Leichtigkeit abheben, schweben, fliegen oder auch mit Schwermut, ackernd wie ein Gaul. Sie weiss, dass sie in ihrer eigenen Zeit statt findet und für sie blind ist. Sie sucht nach Selbstbestimmung und Selbstsetzung und sie weiss, dass Sätze alleine noch gar kein Anzeichen von Bewusstsein sind. Oder denkt das Ornament? Der Mut und die Freiheit selbst zu denken ist nicht selbstverständlich und besonders in Ausbildungszusammenhängen ein kostbares und zu schützendes Gut. Die reflexive Arbeit kann in jedem Medium statt finden. Es kann eine Beerdigung sein, ein Konzert, eine Führung, Brot backen, Menschen bauen, Steine hauen, Sendemaste vergolden, Tarotkarten deuten, ... wichtig ist, dass sich in ihr das künstlerische Tun und Treiben selbst begegnet, begehbar ist und offen, Lust auf die sogenannte Begegnung hat mit dem was gerade nicht Kunst ist und Kunst als Kunst erkennen will.


reflexive work 2
is a container that must always be reinvented. It wants to offer space for insight, interior views, exterior views, personal insights and a conversation with other views and visual approaches. First, this container of art and the work of art, of artistic work, wants to offer an opportunity to speak to oneself and then to try out the artists, their positions, attitudes, doubts, methods and role models, intentions, secrets and motivations, loving and fearing and thus thinking. Thinking is always personal. Courage requires courage to make mistakes, to stand naked, to get lost or to think something that hurts. The reflexive work wants to do this with ease, take off, float, fly or even with melancholy, farming like a horse. It knows that it takes place in its own time and is blind to it. It is looking for self-determination and self-setting and it knows that sentences alone are no sign of consciousness. Or does the ornament think? The courage and freedom to think for oneself is not a matter of course and, especially in educational contexts, a precious commodity that must be protected. Reflective work can take place in any medium. It can be a funeral, a concert, a guided tour, baking bread, building people, cutting stones, gilding transmission masts, interpreting tarot cards,... it is important that in it the artistic activity meets itself, is accessible and open, has desire for the so-called encounter with what is not art and wants to recognize art as art.


Die reflexive Arbeit 3
ist eine leichte und schöne Sache. Bevor sie leicht und schön ist kann sie hart, schwer und unangenehm sein. Meist läuft sie durch einen Nullpunkt von gar nichts will mehr gehen und verstehen, dann öffnet sich das Gate wie von alleine.



reflexive work 3
is an easy and beautiful thing. Before it is light and beautiful, it can be hard, heavy and unpleasant. Usually it runs through a zero point of nothing wants to go and understand anymore, then the gate opens by itself.


Die reflexive Arbeit 4
gibt es nicht. Sie ist immer anders. Sie ist lebendig. Füttern und streicheln erlaubt!
the reflexive work 4
there is not any. It is always different. It is alive. Feeding and caressing allowed!



Birgit Kempker

Pável Aguilar

My little Republic


Colonized Square

“Veneration for the past has always seemed to me reactionary. The right chooses to talk about the past because it prefers dead people: a quiet world, a quiet time. The powerful who legitimize their privileges by heredity cultivate nostalgia. History is studied as if we are visiting a museum; but this collection of mummies is a swindle. They lie to us about the past as they lie to us about the present: they mask the face of reality. They force the oppressed victims to absorb an alien, desiccated, sterile memory fabricated by the oppressor, so that they will resign themselves to a life that isn’t theirs as if it were the only one possible.”1

“From mass culture to technoculture, from urban space to teleparticipation. In observing this trend, we run the risk of relapsing into the linear historical perspective and suggesting that communicational technologies substitute for the inheritance of the past and public interactions.

It is necessary to reintroduce the question of the modern and postmodern uses of history. I am going to do so with the most challenging and apparently most solemn reference: monuments. What meaning do they conserve or renew in the midst of the transformations of the city and in competition with transitory phenomena like advertising, graffiti, and political demonstrations?

There was a time when monuments, along with schools and museums, were a legitimizing stage of the traditional culture. Their gigantic size or distinguished placement contributed to exalting them.”2

The conditions in which my Colonized Square project has been created are closely linked to the international protests and demands of the #BlackLivesMatter movement and the rebellion against slavery and oppressing symbols in the middle of the Covid-19 Pandemic.

As a Latin American artist living in Central Europe with a catholic-german tradition, this movement is very relevant for my work.

Colonized Square is a “parody” reflecting the invasion/colonization in Latin America that was divided into four different processes:
1. The discovery of new lands in the name of the King and Queen.
2. The blessing of these newly discovered lands in the name of “God”.
3. The planting of a European seed in the new territory.
4. The fruits provided by those planted seeds, sealed the process.


Following the processes of colonization established more than 528 years ago, I colonized one of the mobile garden squares located outside the Art Institute HGK FHNW. In a ludic way this square now belongs to me in the name of the Republic of Honduras (my country of origin). It was blessed by the priest of the Basler Münster. I planted some corn seeds from America and am waiting for the corn fruits to complete this process. This colonized space was moved to different iconic places in Basel.

The dialogs and reactions to this work, transferred from the public area to an exhibition space are the main focus of interest, especially in the context of “neutral” Switzerland.



1 Eduardo Galeano, Open Veins of Latin America: Five Centuries of the Pillage of a Continent (1971).
2 Néstor García Canclini, Hybrid Cultures: Strategies for Entering and Leaving Modernity (1995).



Mitchell Anderson

Michael Jenkins: A Quick Survey


A short summary on the practice of Michael Jenkins (b. 1957), an artist central to conversations regarding the personal and the poetic in art from the late 1980s to the mid 1990s. He has not exhibited new work since his last solo exhibition in 1996 and this is the first text on his work in over 25 years. The project is a kind of witness to the overlooked and a reminder of gaps or memory loss in even the recent past.

→’ Download MICHAEL JENKINS, a quick survey by Mitchell Anderson (.PDF)

Ana Andra

SUDESTADA

Instructions for listening and watching:

1. Listen every sound.
2. Watch all moving and still images.
3. Rethink the meaning of words, sounds and images.
4. Take note when listening: new words, new meanings.
5. Repeat the process.
6. Did something change?










Vela Arbutina

Struktur

Struktur

Struktur des Denkens
Struktur des Denkens und Sprechens
Struktur des Denkens, Sprechens und Sprachnachrichten
Struktur des Denkens, Sprechens, Sprachnachrichten, März 2020 bis heute

Structure of thinking
Structure of thinking and speaking
Structure of thinking, speaking and audio messaging
Structure of thinking, speaking and audio messaging, March 2020 - current time




Hamza Badran

FREE STAGE

FREE STAGE is made for personal use, No one is allowed to use it except the one who own it, this stage is designed and produced by the artist himself for himself. the artist is being selfish you might ask! Why would he make a stage of his own?

Well, first the artist is annoyed because it’s so rare that he is invited on stage, and second is that when the artist is invited to be on a stage that carries other self’s, he is told what to say and how to behave. third reason is that the Artist is claustrophobic, and so by having a mobile stage of his own, he is able to locate it anywhere, at any time.

AD:

FREE STAGE NOW ONLY FOR 250CHF The artist is able to make you your own stages, delivery is FREE, CALL NOW ON +41783089011, or try to contact the artist by the email you find in his portfolio at the exhibition.

Céline Maria Brunko

AURA



AURA

What if we can no longer be physically present?
What if we can no longer experience physical art spaces and art itself?
What if the Covid-19 pandemic affects artistic and curatorial practice?
What if it affects my own artistic practice – which is mostly based on room-installation and depends on physical space and the physical experience?

In the age of the reproducibility of almost everything physical, human presence is one of the few things that cannot be multiplied indefinitely, an asset with inbuilt scarcity.
Hito Steyerl, The Terror of Total Dasein, www.dismagazine.com


In collaboration with the art space Espace Labo I started the curatorial project “The Wallpaper Project” that is adapting to the current situation, which is the Covid-19 pandemic. The project is dealing with the physical absence of the artist and reproduction and appropriation of their work. Me, living in Zürich, I never stepped into the art space in Geneva. I did all the conversing, explanation, thinking, imagining through the virtual space. My understanding of being in the room shifted. My physical presence became an important role.

… This small example shows the role of proxies and stand-ins in a situation, in which basically multiple presence is required in many places simultaneously, but physically impossible. …
Hito Steyerl, The Terror of Total Dasein, www.dismagazine.com


Beside the effect of rethinking the art scene, there are already artistic as well as curatorial practices that have been thriving online for several years, sparking renewed interest in the idea of the museum online. As Goggle Art & Culture, to name one example that have increasingly gained importance over the last couple of months as numerous art spaces could no longer be physically experienced.
Fotomuseum, Situation #202, The Gogglefied Image, 2020, www.fotomuseum.ch


In my reflexive work, I expose myself and my artistic practice through the screen by questioning the origin of an artwork, the reproduction of an artwork, and my physical self.

www.celinebrunko.ch

www.reaktor19.ch
in collaboration with
www.espacelabo.net

Patricia Bucher

Da wird ein Schuh draus?!

Der Titel meiner reflexiven Arbeit ist dem Sprichwort Umgekehrt wird ein Schuh draus entnommen.

Das Sprichwort beschreibt den Umstand, dass seinerzeit der Schuster zuerst den Oberschuh mit der Sohle von innen nähte und dann den Schuh nach aussen stülpte und von dort die Naht nochmals gegennähte. Es wird verwendet, um jemanden darauf hinzuweisen, dass er*sie die Sache falsch oder verkehrt herum angegangen ist, oder dass er*sie falsch liegt und umdenken sollte.

Das Drehen, Wenden und Zusammenfügen verschiedenster Inhalte beim Denken und Formulieren erfahre ich - entgegen der moralischen Konklusion beim Einsatz des Sprichwortes - als durchaus positiv, da ich die Erfahrung gemacht habe, dass sich dadurch oft überraschende Zusammenhänge offenbaren und neue Einsichten generieren.

In meiner reflexiven Arbeit wollte ich verschiedene, disparate Bereiche meines Lebens schriftlich reflektieren und sie zeichnerisch interpretieren, konnotieren, zusammenbringen und weiterdenken.

Den Platz auf dem Papier zwischen den Textblöcken diente der bildnerischen Reaktion auf die Inhalte.

Aus der doppelten Reflexion sollte - wie durch die doppelt genähte Naht beim Schuh - gutes Schuhwerk hervorgehen, mit dem sich gut weiterkommen lässt.

Das PDF zeigt eine gekürzte Version. Für die gesamte Arbeit kontaktieren Sie mich unter www.patriciabucher.de

→’ Download Da wird ein Schuh draus?! (excerpt.PDF)



Elias Carella

Unmuted Light and Dawn Chorus

Limited edition bundle of the essay Unmuted Light and vinyl dubplate of Clarity System - Dawn Chorus.
Get in touch at elias.carella@gmail.com.

Elise Corpataux

Resolutely sentimental, capital F Forever

" Resolutely Sentimental, Capital F Forever" is the beginning of a collection of memories. It is in the form of Joe Brainard's autobiography "I Remember" from 1975. Whether these sentences and paragraphs are confessional or fictional, they are part of a sentimental and nostalgic memory that can be everyone's.


I remember the day I found out that Joe Brainard died the day of my birth day. I don’t remember though, when and how it can be that I’m so obsessed with dates.

I remember the day I cried like a teenager in front of Felix Gonzalez-Torres’ « A Complete Set of « Untitled » Individuals Puzzles », last summer. How it hurt, and where. How much this felt like home. Asking myself why I was the only one devastated in the room, and how it was possible that time was suspended only for me. Where were they all? Where was I if they were not here?

I remember connecting with everything that can contain text or numbers, to me they’re the "emotional trigger" objects. I remember how words, single words, word repetitions have always been more meaningful to me than my own peers. There are people I know who represent dates and others who represent songs. Some rooms have numbers on their walls, which are organized in grids.

I remember being anxious every time I came back from holidays with my parents and older sisters. I always imagined that someone was going to tag insults on the front of our house. I imagined how my parents would react and it made me feel ashamed.

I remember not being able to have sleepovers at my friends' houses until I was 11 years old. My friends were disappointed and didn't understand. I bet they still don't get it today.


I remember the endless void in my chest and in my soul sometimes when I'm waking up, looking desperately for an identity.
I remember making lists to get out of those moments. Here are some examples: - people I love
- celebrities I love
- people who told me they loved me
- celebrities who told me they loved me (I’m kidding)
- my work content
- jokes that made me laugh
- pieces of music that make me sullen
- pieces of music that make me euphoric
- moments that took my breath away
- my values
- what I have accomplished
- pieces I can play on the piano without the score because I’m unable to read a score
- what I still have to do

I remember that my first love gave me a bracelet as a gift, on which he had the date of our first time engraved. It was really our first time, both of us. It meant a lot to us, we thought it was beautiful.

3 Avril 2011


On the back of the jewel his first name was engraved. It's like being born a first time, and being born a second time.

Also, I remember receiving an engraved bracelet for my 25th birthday and still not understanding how engraving my first name on it would give me a stronger sense of identity. People never remember my first name the first time. It's systematic. Since then, I'm repeating my first name nonstop.

I remember waking up from sleep paralysis, and being a spectator of Matisse's painting "The Dance II", right there on my street.

This one is so clear. I can see myself, as a very young girl, standing on the bed, gawking at that poster. I've been looking at it for hours. I was too young to be aware of any sexual attraction or sentimentality at that time, yet I'm sure I captured the mood. It was my very first impression of a romantic scene, and the most clichéd one you can ever see. A man, a woman, the ocean and an unusual brightness. The girl, lying on a hammock, hanging between two gigantic palm trees and the guy standing next to her with his hands on her thighs. His eyes in her eyes. Also, I always assumed that the guy on the poster was my uncle. My mother's younger brother. Maybe because the guy on the poster has the same posture as my uncle. Or maybe because that poster is hanging in his old teenage bedroom at my grandparents' house. Either way, I never doubted it. "The guy on the poster? Yeah, that's my uncle." I've always portrayed him as one of those second-rate TV actors. But more in the role of a cowboy. His hair is red, a bit wavy, he's wearing leather vests, blue jeans and cowboy boots. So I've always fantasized about my uncle's love life. I attributed to him attitudes, a slight English accent, and lots of very committed love stories on the American continent. How did all this happen?
This poster is part of the furniture, in the family nobody looks at it anymore, except me.

I remember wondering if I was more inadequate or more of an artist.


I remember hating myself for existing on the edge of everything and all the time, and the day Hanne Darboven convinced me that it could be a life, and that I could even choose to stay there.


I remember that showing vulnerability freely will always make cowards uncomfortable.

I remember my first sexual excitement. A very long day in June 2008, endless fields in the countryside of Fribourg, and in the evening, a sun shaving the wheat, between pink, gold and silver. A first cigarette, a first lousy vodka cocktail, the feeling of feeling nothing and hesitating to play the state of drunkenness. Finally, the decision not to play anything at all. Fourteen-year-old friends sitting in a circle around nothing at all, in a hay-bale barn, horses neighing, R&B sounds, a farm smell all along, me lying with my back to him, and his hand on my belly, under my top. A first gesture after a school year of desire. Frenetic.

I remember my first big pain, the one that shook me. It was the same boy.

I remember creating a Facebook account for myself the following October. When we were 14 years old it was our platform to share love, direct love, frontal love. The best thing we could do at that time, the most ballsy move to show the loyalty of our love, was to post statements directly on the wall of our loved ones. I'm not just talking about love here, but friendship. We wrote publicly, for the entire Facebook community, our cheesiest feelings, (they were real, though) at a time of life that is certainly the most hormonally charged. My generation was the first generation of teenagers to transfer intimacy to the public sphere without any shame.

I remember also that we used to post quite often song lyrics on social media. I have one still in mind: "Oh, these times are hard Yeah there're making us crazy Don't give up on me, baby" These are from the group The Script. I remember that the summer that followed, I went to one of their concert, and that I found a way to kiss the singer's belly. It was mid-july. The belly was wet, and the smell, strong.

For as long as I can remember, I've always been someone looking for emotional triggers. As I lost the ability to speak properly when I was 14 (which has left me with no after-effects except a failing memory), I lost confidence in my brain. I could no longer rely on anything or anyone. Since then, I have built my identity on some rare moments that I remember. These are the only elements that remain intact. I collect them. I take note of them, and I read them over and over again. I build a memorial of emotionally charged moments. When a photo is enough, I take it. Most of the time it's about light, but sometimes it's just poetic. "This is where the magic happens."
I remember deciding to start a series of sunset paintings to feel myself historically, to feel that I am part of everyday life, participating in it. I typed #14february2020 on Instagram, choosing a sunset photo already posted, and painting it.
I found my way there.


Et comme d’habitude, I did it my way.

Nadine Cueni

WHEN SPECIES KISS


Zu Beginn meiner Videoarbeit DER MULTISPEZIES KUSS - WHEN SPECIES KISS habe ich Geschichten gesammelt. Jeder weiss eine Geschichte über Haustiere ob lustig, traurig oder rührend zu erzählen. Geschichten geben einen persönlichen Einblick in ein gesellschaftliches Thema, ein Spiegel wie wir Menschen mit Tieren, oder generell mit signifikant Andersartigem umgehen. Deswegen sind sie so wertvoll. Sie sind weder moralisch noch didaktisch. Sie sind menschlich, voll mit Liebe, Humor, Verlustangst, Trauer, Wut und Misshandlungen. Geschichten sind laut Donna Haraway grösser als Ideologien.
Die Textebene habe ich mit eigenem Filmmaterial und Footage aus dem Internet untermalt. Geschichten aus dem Internet, könnte man sie nennen, zu tausenden am Computer anzuschauen, auch dies ein gesellschaftliches Abbild.
In diesem Moment, vereint in einem Kuss, diesem einen ausserordentlichen multispezies Kuss, begegnen wir Tieren oder anders Artigem auf gleicher Höhe. Vereinen uns zu einem Natur-Kultur Universum und sind dennoch in dieser domestizierten, vom Menschen kreierten Welt gefangen.

At the beginning of my video work DER MULTISPEZIES KUSS - WHEN SPECIES KISS I collected stories. Everybody knows a story about pets, whether funny, sad or touching. Stories give a personal insight into a social topic, a picture of how we humans deal with animals, or generally with significant otherness. That is why they are so valuable. They are neither moral nor didactic. They are human, full of love, humor, fear of loss, grief, anger and abuse. According to Donna Haraway, stories are bigger than ideologies.
To the text level I have added my own film footage and footage from the Internet. Stories from the Internet, one could call them, to look at thousands on the computer. Also this a social image.
At that moment, united in this kiss, in this extraordinary multi-species kiss, we meet animals or other kinds on the same level. We unite to a natural-cultural universe and yet we are trapped in this domesticated, man-made world.



Film stills and film excerpt from DER MULTISPEZIES KUSS - WHEN SPECIES KISS, 2020
Full HD video, 1920 × 1080, stereo, full length 10min 45sec
if you wanna watch more, contact nadinecueni@gmx.ch



Sofia Durrieu

Feel in the form


A reminder
(Suggested quality for viewing: 1080p - sound on)

Marc Jonas Eichenberger

Marathon
Training: November 2019 – July 2020


My brother and I after running 42,195 km for the first time.

Georg Gatsas

Music in the Time of Corona“




The club is dimly cloaked in blue light, interrupted by bursts of short white sequences. Pulsating bodies surface, moving to the bassline rhythm of clear techno and house beats, and disappear once more into the room’s darkness. Flickering, human-like figures continually appear on a vast LED screen behind the dancers, deformed into constantly shifting and regenerating pixel clumps and melting into the bodies on the dance floor. Disorientation is established. The stage, the stepped space arranged as a circle of sound system, the screen and DJ booth become an echo chamber of contemporaneity.

ON is the name of the event, and it can be understood as an omni-sensory trip through the post-digital now. Michigan-born musician and producer Laurel Halo is playing a set in a club built for a night event in the new wing of the Kunstmuseum Basel. On this balmy June night last year, the event’s organisers – curator Daniel Kurjakovic, art director David Rudnick and agency Planisphere – understood ON as ‘a live stage that, in a sensitive manner, links the museum as a repository of cultural energy with its exhibition programme and world-famous collection’.

ON was also, however, an elaborately produced, perfect simulation of contemporary club culture inside an internationally renowned museum of visual art that included key figures from global club and pop music. Californian producer Flying Lotus was flown in for an appearance, as were Berlin-based Laurel Halo and Aïsha Devi. Today, a year later – in the midst of a global pandemic – ON could also be read as a simulacrum (see too Jean Beaudrillard’s Simulation et Simulacres): a club night that is no longer imaginable in this manner and which no longer exists. The Kunstmuseum Basel was a fitting temporary home for euphoria, subfrequencies, collective dancing, sweating, embracing and kissing, in short, nocturnal excesses. The video sequences mixed together here – filmed by invitation from the organisers – are evidence and relics of the night.





The Corona virus crisis brought the operation of global club and pop culture to an abrupt end. In July 2020 nobody knows yet how long it will continue. While in other fields work has recommenced as previously, local and global music and club scenes face an endurance test the like of which they have never seen before. Musicians, producers, tour bookers, festivals, club and concert operators, technicians, sound engineers and (online) cultural magazines are on the brink of financial ruin in a market that was already oversupplied prior to the Corona pandemic. Given a music archive that can be accessed anywhere and at any time, live appearances in front of an audience are the main source of income upon which many depend. As I write this text, first reports of closures of important international performance locations are coming through, such as today, 28 July 2020, the Amsterdam club institution De School.





The dance floor or concert stage have always been – particularly for certain (micro) scenes – a field for experiment where societal norms could be questioned. This is a space where people of different social stripes find each other dancing to new sounds in a protected free space, deep in the night when most of society is already sleeping. Dance floor and concert stage are meeting places for secret networks of people following the same goal: furtively working on a better world for oneself and others. These are theatres of political power. Or has the pandemic revealed these theatres of political power as illusions? As microcosms that operate according to the same capitalistic rules and features as the mainstream (with the branding of one’s own work, aesthetic elitism and self-exploitation as working practice, for example)? Does music still have any meaning in the countries of Central Europe and North America, or is all that remains an empty shell?





Currently concert and club operators, like producers and musicians, are preparing for the worst, come autumn. Thanks to a warm summer, in at least some countries across Europe small daytime, open-air dance events can take place. Furthermore, most event locations have been on a summer break during this period, concealing the crisis in the music industry. But by the end of September, at the latest, this will be over. And it already looks as if entire branches of the cultural field will succumb to debt or unemployment. The probability of a vaccine against Corona virus having been developed by autumn/winter 2020-21 is slim.

This begs questions about the economics and the logic – or absurdity – of the music business that were urgent even prior to this crisis. How can we make, experience and think music radically differently? In the digital present, Western pop culture has largely lost its relevance as an engine of social change. What is more, our music consumption has long since become a product of Spotify, Discogs and Apple Music’s algorithms. Streaming and collation services harness the fact that the boundaries between reality and virtuality are ever more porous – and thus the music business was hacked. Free concerts and talks via live-streaming services such as Instagram, Facebook or Zoom during the 2020 lockdown sharpened this trend. Already prior listeners had been faced with a vast array of music at their disposal, the choice between various streaming platforms was almost overwhelming: Spotify, Tidal or Apple Music? YouTube, Soundcloud or Bandcamp? And then there is the mass of podcasts, online magazines and other, continually updating instant-access sources.

For the very reason that change in society is now only ever a few clicks away, we have to make, perform and organise music in a completely different manner. And bear in mind environmental discussions too. Developing platforms for communities, for example, that also function without digital data streams, yet which extend beyond city and country borders and which avoid the current decline into nationalism. Strong networks must be developed through which individualism doesn’t lead to isolation, competition, over-extension and ultimately burn-out, but networks which, in an ideal scenario, incentivise collaboration due to common interests and approaches. Platforms that make sense ecologically and economically. Could, perhaps, the length of live performances be stretched? Might the stage setting and the division of spectators be arranged entirely differently? Could light and sound be implemented another way – perhaps employing smartphones? Tours and appearances organised differently? The safety precautions to prevent Corona transmission in venues right now offer a possibility of implementing new forms of performance (including new forms of spectatorship) and creating new blueprints for the field. Because the old forms of rave and concert performance belonged, well conserved, in a museum, even before the pandemic.



Jérémy Gigandet

Chanting

A voice repeates one sentence over and over in a loop. Layers of language are created through the addition of voices on top of each other, one at a time, in a crescendo until the voices and words lose clarity dissolving in indistinc abstract sounds and echoes losing meaning and creating a new agitated sound landscape, before going quiet again.

Gregory Hari

Ne pas pity moi, juste cause Im a pigeon
or some days you‘re the pigeon and some days the pigeon is the statue

I‘m spending a few months in the artist residency Cité international des Arts in Paris, France. I am very lucky, as I have a small balcony with a view over the river Seine. Also included is a pigeons nest on my balcony. The text I wrote is part of a series of performative texts I continue to write. In the past Ive been writing and performing for example as a pear, a rock, a snake, All these texts are focusing on animals, objects or metaphers that either make people reject or even feel disguised by. Most of the people believe in what the society, pop culture and in general the majority believes and reflects on these unwanted topics. It is an hommage to these unloved outsiders, such as the pigeon is one.

front image: Nicolas Spencer
black/white: found footage





Martina Henzi

hut hut

Manuel Justo

Honest CV



picture by Matilde Martins





The world of Curricula Vitae is a world of radical social formatting.

Even though this document – now as universally accepted as an Identity Document – plays an extremely significant role in the structuring and unfolding of our modern lives, it is one filled with many problems.

The nature of a CV is tightly close to that of a self-portrait, which, in theory, sets out to provide others with a faithful image of oneself. The subjectivity of the person in question does, however, allow for a seemingly immeasurable control of distortion over their own image, even if it still comes across as authentic in the end. This is particularly visible in situations such as the contemporary social media, in which we – as viewers – are provided with an array of performances which (conscious or unconsciously) work with the public perception of a particular person’s image.

The CV, as we know it, is the deliberate construction of a bright, flawless alter ego designed to match the taste and expectations of a selected reader, which usually is an employer or a kind of jury, to be read in a context of competition with other CVs. Here, the CV stands for the applicant’s evaluated performance (or a part of it), aiming to maximize the writer’s chance of winning the ‘game’.

It is interesting to note that it is current practice for a person to write different CVs according to what they are applying for, conveying totally different conceptions of who they are, depending on the context.

In short, the CV ultimately fails to mirror a truthful image of ourselves, because its content is entirely dependent on its goal of success, making it a perfected utensil for that end rather than a sincere reflection on our own existence. The consequences that derive from virtually everybody in the world complying with such a structure are far from being acknowledged and addressed. Naturally, the format of the CV is a much predictable fruit of a blooming capitalistic society, being one of the major tools through which such a system maintains itself. The CV is, therefore, a major social device that profoundly defines, in large scale, how individuals perceive themselves, and consequently, how individuals construct their own identity. One of the big dangers of CVs, in my view, is that of the mass-uniformization of individuals: the general format of the CV is apparently flexible, but remains essentially identical for everybody in practical terms. Also, its methodology promotes arrogance, boasting, perfectionism, competition, specialization and egocentricity at the expense of honesty, humility, personality, humour, diversity and collaboration. Its use is unavoidable and the impact of its values is, therefore, reflected upon our individual and collective attitudes toward life.

In spite of all, the device of the Curriculum Vitae is only applied with the support of its writers, the citizens. Hence, we should recognize the importance of our own actions when writing this personal document, in small as in large scale, and remain as aware and critical as possible when taking part in any kind of already implemented system, assuming our ability and responsibility to envision and create changes and alternatives for them.

→’ Download Honest CV (.PDF)

Katharina Kemmerling

mothership

Like a mothership we drifting through the Universe
220 kilometers per second around the milky way
More than 39 trillions of passangers on board
We protect them
They steer us
We give them food
They work for us
If we die, they help us rott in peace



Lisa Lurati

Letter from the stage, sometime in June

The Stage for disappearance doesn’t support any actor nor a script
It is a testimony of something that happened and that has to happen yet
It is spread out in time and space

The Stage doesn’t tell a story as the plants aren’t about a specific type of flora
It is a merging of different plants we look at but also clouds, a forest, a landscape
Those floras come from the past and from the future and they meet in the very present
with the ones I found yesterday walking

They are wondering wether the earth or the sky is the place to be
They can’t decide

In the meantime we die and others are born and we grow
and we lift each other to the very up

And doing so we leave traces which get deleted
And we delete ourselves



Matilde Martins

a flawed zero fell



→’ Download a flawed zero fell (.PDF)



*audio recording by me and Manuel Justo



This Reflexive consists of a collection of experimentations all propelled by the act of repeatedly playing a game with a friend on the kitchen table.

It contains photos of the results of 5 games (which in themselves can be seen as visual poems); a reading attempt of one of these results and a few short texts inspired by some of the words that particularly resonated in me (either because of how they sound together or of how they create enticing mental images that shift between the absurd and the rational).

The game in question is called Bananagrams and it’s a sort of modern deviation from Scrabble. The rules are quite simple. It’s played without a board, and there is a total of 144 letter tiles. Each player starts with 21 and tries to get rid of them by creating words. The game finishes when there are fewer letters standing on the table than players. In this case, because I always played against only one other person at a time, the game ended when there was one letter tile left on the table. Although the game is to be played with someone else, each works individually on their own game, competing to finish first. This work was based on my personal final results, which can also be seen as a record, albeit by omission, of the other person’s game. These games were played intermittently from December 2019 until July 2020 between me and two friends.

I like that games serve, on a first look, the main purpose of entertainment. We turn to them in a way to escape our reality, or just to escape a passing moment of idleness. They create an environment that can keep us highly interested and motivated by triggering basic survival skills such as planning, strategy, predicting outcomes, risk-taking, to name a few. Sometimes one is at risk of becoming too entertained, to the point of getting lost in a game and becoming alienated from everything else. On the other hand some games can stretch for hours, which, let’s be honest, can be a tad tedious and frustrating.

In Bananagrams, apart from strategy and a decent knowledge of English vocabulary, chance is one of the major components to influence the result of the game. I was interested in experimenting how a combination of chance, a set of rules and playfulness can be used as a starting mechanism for creativity and writing. I was also interested in the repetitive gestures used while playing, such as constantly reorganizing the same elements to discover new possibilities, something which is an intrinsic part of anagrams, but also an attitude that is present in the process of painting and drawing in my artistic practice.

Both the end results of the games and the written texts can be seen as a type of constrained writing, a historical practice explored by many writers and avant-garde groups such as Oulipo. This technique is said to enhance creativity and help overcome the fear of the blank page. I played around with creating rules and allowing myself to break them during the process. First, I had the intention to write only with the words I got from the games. Eventually I figured I didn’t enjoy this process enough, so I decided that, although words from the games must be used as the starting point to a narrative, I could slightly change them and spontaneously add words of my choice. Which is something that, of course, if done during a game, could be called cheating.

Sina Oberhänsli

In the land of my dreams




Antonie Oberson

A poem that came out

A poem that came out is a bridge between my artistic practice, my social and political concerns and my own intimate experience through all of these aspects.

This poem is the result of a deviation. I was writing about storing my sculptures then I wrote about coming out. As I was exploring the potential and power of some words, they drove me to this topic. The shift wasn’t planned and it constitutes for me an important point.



Lara Paratte

The night I met a silhouette standing beside my bed



Being exposed for a few years to sleep paralysis, I used my available time during this corona-time and my holidays to better understand this phenomenon and try to control it.

Then I realised that I’m not only able to control it, but I can also use this state as an open door to enter into lucid dreams.

Three chapters written under the form of instruction book and diary explain my journey between my first experience of sleep paralysis to my first moment of lucid dream.

→ Download Chapter 1 (.PDF)
→ Download Chapter 2 (.PDF)
→ Download Chapter 3 (.PDF)

Manuel Queiró

TIME CAPSULE



I wrote a fictional letter to myself. It is not suposed to age well, be an universal truth or be relatable to everyone. In it I reflect about my artistc process, the importance of emotional decoding (in the work) and my expectations, doubts and fears.



"Dear Manuel,

How is everything? Hope you are doing well. We haven’t spoken much since last summer and, after your letter asking me to tell you more about my work, I thought now would be the perfect time to write you. We have been friends for so long and, throughout the years, our conversations would touch almost everything, but when it came to work we preferred to do it instead. I think now could be a great time to dive into it, headfirst, and explain to you how I function. Just for the record, I don’t know how clear I will be because it’s still not totally comprehensible to me how the machine works. For example:

I just finished drawing two people, crossing paths, aiming to grab each other’s pistols, when I wanted to draw a figure who is suffocating on a thin transparent layer involving their whole body.

How we got from one point to the other is what feeds my desire to work again and again, the element of surprise and discovery. I would also like you to know, that, more often than not, I don’t feel like working. What I really mean is, given the transformation process that I just described, I feel scared that I won’t be able to “do it” this time or, worse, I feel like I have nothing to say, no image to draw. It’s a vulnerable state that keeps coming back, even when you have powered through it the previous day. However, the feeling of accomplishment is the closest to the “sense of self” one can feel, I would guess.

I know we used to talk about this, and you used to tell me to embrace it, but sometimes I still wonder why my drawings seem so “dramatic” and question the sense of truth they have to carry for me to feel comfortable with them. I do know that the drawings wouldn’t exist without me and that I make the conscious effort to make work that feels sincere. I wonder if one day I will do a “lighter” painting. For now, this is what we got (direct translation from a very typical portuguese saying “É o que temos”, used mainly to portray acceptance to one’s reality)."

(...)

→ Download TIME CAPSULE (.PDF)

Nicolás Sarmiento

Receiving Shadows Emanated From Our Nose.




As technical starting point, I was interested in filming as much close and accurate as I could in relation to the precision that our eyes can have in low light or night environments. Then I remembered that I am kind of color blind (Deuteranopia, is a type of red-green colour blindness in which the green cones in the eye detect too much red light and not enough green light). Somehow is not such a factor in my everyday life, until I cannot recognize the colour of a towel or what kind of colour has an old and rusty metal painted with enamel, or something similar to that. But probably the limits of this condition are extended to areas that for me are completely normal, whatever normal means.
But then it is also true that when we are seeing something we are not only taking in consideration what we see as if it is coming from the abyss, a lot of information surrounding the situation is with us, if we can remember from where we came from some hours ago, things can have etiquettes that can support our understanding.
At the moment some cameras can be quite impressive in their filming performance at night -photography aside-. And it is also true that after filming the only memory you have about the moment that you filmed, last around two months.
Its remoteness, size, and virtually pristine condition mean that large-scale ecological and evolutionary processes continue essentially as they have done since times immemorial.
photons can bounce on many things before they are even seen, photons can bounce on many things before they are even seen and then an interpretation can realize that it is an image.

Definition or misconception of the term pristine.
Then you want to move into lighting.

Light simulate the real world.
Quite often better than the real world

Lighting is a process of adding lamination {?} into the scene.
, so you can better see what you are looking at:

Also is a good way to include emotion and style into your projects?

Then when they are down, you want to think about materials__?

It looks like a soccer ball
but that does not mean that is fun for everyone.

photons can bounce on many things before they are even seen
photons can bounce on many things before they are even seen
and then an interpretation can realize that it is an image.

Meanwhile I was running thoughts on some that were transparent
*slants
all the rules of construction and agendas were inscribed on them
and, at least, on 7 or 3 slants, the narrators,
standing in a pretty precarious way, singing,
AT LEAST ONE space WAS PRETTY CLEAR AGAINST UNPAID INTERNSHIP
STATING THAT SHOULD BE ILLEGAL TO PROMOTE THEM.
Then you want to move into lighting:
Light simulate the real world.

Lighting is a process of adding laminas into the scene.

So, you can better see what you are looking at.

Also is a good way to include idleness and style into your projects/
I am quite sure that there are no birds so loud at night.

I kinda believe it now.

Like when subtitles jump from one line to another one, similar as a step
not on the same regular/legal size and your leg
Removed from the coercion of time

The construction of this detail, a concentrated spot of action,
is creating, one dark ear in each side of the image****.

como te quedo el ojito?
chiquitito,
bien lindo

the subtitle is shifting from grey to green and to grey and
then to green again and then Ich sah die detaillierte Tabelle (singing)...

Ihre Beziehung zum Kreis ist unbekannt.
Sie wussten nur, dass unbezahlte Praktikum illegal sein sollten.

The last two segments of the public sphere, remnants,
the streets to burn tires
and the places where all it is sold and bought
and the places where it is all sell and buy.

Meanwhile the factory just does not stop melting coffee
(2450 meters away from this point).

Follow me halfway, it is not that solong.

Our short field vision was increasing OUR MOTOR COORDINATION
TO SEE LESS WAAS ACTUALLY A CONDITION FOR OUR BODY TO NOT BE SCARED
OF WHAT WAS AHEAD.
PRACTICALLU ALL THE FULL SPECTRUM OF WHITE LIGHT
HEATING OUR RETINAS WAS CREATING AN EXPERIENCE
THAT WAS NOT EVEN OF WHAT IT MEANS TO SEE WHILE
RECEIVING SHADOWS EMANATED FROM OUR NOSE.

Historically, the relation between written and spoken language is a complex one.
Writing was not invented to reproduce spoken messages.
The earliest written texts represent transactions rather than sentences.
A beer account, for instance, lists of the amounts of raw materials (primarily grains)
delivered, the amount of beer expected and the name of the person responsible.
The layout of the clay tablet in different columns (and with totals on the back)
represents the syntax of the transaction.
We assume that the words for beer and grain were those in use at the time
in whatever language these ancient people spoke,
but the words do not add up to a grammatically sound sentence.
The structure of the earliest writing system may be compared
to a modern software package
that uses words from the colloquial language (in menus or field names)
but does not mirror in any way the common use of such words in proper sentences.
xCuneiform writing, the first writing system to be developed,
$was simple from a technological point of view.
All one needed was some refined clay of the right consistency and a reed pen.
Clay and reeds were both abundantly available in the southern area of what is now Iraq.
The longevity of cuneiform, which was used for more
than three millennia (from about 3,200 BCE to 100 AD),
may in part be ascribed to its unassuming medium and its low costs.
The other side of the coin is that clay is bulky
and heavy
and may be inscribed only for a certain period of time.
Once the clay has dried out it becomes difficult to add more text
—in practice a clay tablet cannot contain more than what one can write in a single day.
Cuneiform was used primarily for administrative purposes
Butbutbutbutbut
the idea of a ledger, where one adds new items every day,
was simply not within the realm of the possible.
Instead, daily transactions were written on small tablets
that were collected in a tablet basket.
At the end of the accounting period the entire basket was summarized
on a beautifully written multi-column tablet,
which incorporated the information of each daily tablet
and provided the totals at the end.

That restaurant, 150 mts away, in the kitchen
-only there- an audio is playing a sound
Like a radio
that is transmitting the sound of another kitchen from another restaurant.

La oca avanza poco a poco hacia las altas nubes.
Emerge hacia arriba rápidamente como las plantas de pantano.
Esa sombra tiene verde cómo la radioactividad de este verano.
And nobody bets on whistling.
Downward spiral section of the text.
Low clearence.
I wanna know: habilitation.
Statues about leisure.

A filter that can change the light of the national tv broadcast rusty chain of programs.
A foot that grips the ground.

Do I still know how to work?
Late intermediate scenario.

The Black Spider is a novella by the Swiss writer Jeremias Gotthelf written in 1842.
Set in an idyllic frame story, old legends are worked into a Christian-humanist allegory
about ideas of good and evil.
Though the novel is initially divided,
what is originally the internal story,
later spills over into the frame story as well.
The story is characterized by its complex narrative structure,
its conservative Christian motifs and symbolism,
and its precise descriptions of the social dynamics of the village.[

Caveat means Warnung

This image could have got a ship
wearing a bamboo mess.

”A collector can do what he wants with his money,” Medina said.
.....“But at the moment he takes the step from being
a private collector
to having a foundation and museum,
at that moment he has public responsibilities,
as much for legal reasons as symbolic reasons.”

The right foundation on our end wasn't in place to move the conversation forward.

This image could have got a tanned ghost.
The last picture could have got a main cone as the point of rotation.
Or an intense depiction of very bad weather.
A list of books with ambiguous endings and steam cleaning videos.

I know this because I googled it, but someone did tell me when I was quite young
from front to back it means
that the energy of the household will be drained out like blood.

Lesson or example
Certificate
Security
Non-binding cortesy section of the text.

Even though we are returning to a feudal order
where a new economic elite will inherit great wealth and privilege from their parents,
networks can be said to have largely replaced the biological family
throughout the Western world as the entity that gives
individuals social and economic security.

Observing communities of which you are not really part
can become a little wearisome after a while.

Don't make any deal that you cannot deliver on.
Sage comme una Port.

The “dark” cinematography of several high-end productions over the last several years
has been a widely discussed topic amongst filmmakers and fans alike.
One thing I know for sure is that the creators are striving
for an immersive and cinematic experience
that helps them tell the best story possible.
No one is trying to make any shot hard to see or disorientating?
The final imagery is a creative choice approved by the DP, colorist,
director and producers before it goes out into the world.
The issue of how the final visuals are viewed
is further complicated by several factors
viewing device, streaming bit rates, compression,
ambient room light and TV calibrations.
If any single variable is not optimal,
low light level scenes
can be affected to the point of becoming
murky,
macro-blocked mayhem,
pure mud and joy.
When composing, lighting and color grading “dark” shots,
one can use COLOR, CONTRAST and/or DEPTH STAGING
to amplify the imagery and help show more definition even with low light levels.
When these 3 approaches are used at once, the shots
have a much better chance of helping
the viewers understand the geography and context of the shot.

Exactitud y precision buenas.
Exactitud deficiente y buena precision.
Exactitud y precision deficientes.
Wie kann ein zweiter pharmazeutischer Turm so lächerlich bedrohlich sein?
Makes me want to clean my house well before I die.

Alessandro Schiattarella

vulnerabile

I define myself disabled, my hands don't function well due to a rare disease. The question what do weak hands represent for me, equivalent in a broader context to what does vulnerability represent for masculinity.

bell hooks suggests that …Being "vulnerable" is an emotional state many men seek to avoid...* I can understand, it's scary to feel limited and lose control.

But what is more limiting, a muscle atrophy or a social construct?


*The Will to Change, p.144


Simone Steinegger

Glück ist ein Verb




4m2 a-Perf (Akkustik-Dämmplatte aus recycliertem Pet)
3’600 yogische Weisheiten
3’628 Stahlstecknadeln, 14 Fäden
Zitat: Milo Rau
Trailer: Video FullHD, 5:22 Min

Kelly Tissot

Little figures, big shadows

Little figures, big shadows, is a short essay attempting to collect the entity of divers protocols, objects and characters evolving in a semi-fictional and remote locality, assimilated to the rural landscape. Inertia, constraint and disorder act as motives along with other esoteric conventions, rituals and fetishes. The text explores various practices and alterations that deform and dismantle the idyllic dimension commonly associated with these places. It is influenced by autobiographical reminiscences, inherited or self-generated memories, and have been originally written in French.

A heartfelt thanks to Victoria Holdt, who worked beside me on the English version.

→ Download Little figures, big shadows (FR) (.PDF)
→ Download Little figures, big shadows (EN) (.PDF)

Andrea Zimmermann

The Bubbles Look Like Beeds

A lockdown protocol consisting of personal journal fragments combined with conversation and monologue samples from podcasts I consumed.