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The following text comes from a letter written for the Forum of Contemporary Art held at the Centro Pecci in Prato, where Antonio Grulli had been invited to coordinate a round-table debate on the theme of public institutions as places for discussion, debate and thought.
The public institutions devoted to contemporary art are living today a dynamic but at the same time very risky period. The art world in recent years has expanded enormously and this is definitely a positive factor.
But right now, globally, we are in a situation where the art market has a strength and an economic power that the institutions cannot even come close to, and this imbalance stands out sharply.
The art institutions of the past could count on public funding, which allowed them to take the lead over a group of very few collectors, who were buying in a small number of galleries. By contrast, in recent years we have seen how even the most important museums in the world have been suffering from the influence of a trading system that has become bigger than them and against which they have no means to resist.
Issues such as the questioning of the concept of permanent collection are an example of this: And this is the best scenario. And what about the institutions, often with an important history behind them, which are not lucky enough to be in the big cities of the world and therefore cannot even be the subject of speculative interest in the art market?
This is the case, for example, of Italy, a country of contemporary art museums that are structured neither from a financial point of view nor with regard to their collections, often poor or disorganized. So why not try to react against the international trend of an art system that moves faster and faster and more and more superficially, where artists are valued not for their work but for the academy they attended, the person they have studied with or for their CV, in which there must be no stain or slowdown?
What we are witnessing every day is that there is no time to try to figure out what artists are really attempting to bring to the radical innovation in making art. As art curators we only have half an hour for each of these people, and they must be able to conquer us with a portfolio of very few pictures, a strong statement and their shrewdness.
And that goes for the institutions too, except in rare cases. Conformism and boredom reigns everywhere, and the names that we see going around the world are always the same, offered over and over again with no chance of a surprise.
Why do we study today exhibitions like the one Harald Szeemann set up to feature his grandfather, but it is very unlikely that something of that kind could happen in a museum in ? Why is it so hard to imagine for example an artist as the director of a museum or a public institution? Can the institution be a producer of sense, or should it limit itself only to be a re-producer of meanings already established elsewhere, already frozen and therefore already commonplace?
This is where in my opinion the concept of establishment as a production of thought and discussion comes into play. Because reflection can only come from an initial feeling of disorientation, of crisis, of craving to understand what is really new. The institution must not become a place of appeasement, only called to put its own stamp on things which have been already decided.
It must be a place capable of producing a surplus of meaning compared with normality, able also to give scandal, a place that is alive, that can accommodate the obscene or anything that is not already on the scene. This is why I speak of disquiet. I use this term because I like to imagine these buildings as if they were endowed with feelings and passions.
As if they were persons, capable of shaking with their fears, their flaws and their tendency to make mistakes. Do we want the institutions to be bureaucratic entities trapped between the two polarities of paternalistic education and entertainment, or do we want them to be real places of culture and reflection with all that this entails?
Why should we ask a museum to live a life that we would never want for ourselves? I would like the institution to be a place from which to ignite conflict, with the ability to become a place of resistance to the prevailing clichés. It must be a restless, telluric, almost criminal place, where parents are afraid to allow their children to go, and not a place of deportation, concentration and detention of hordes of children with felt-tips in their hands.
Only then it will become a place of reflection, and not a place of reassurance of our most banal platitudes. Le istituzioni espositive del passato potevano contare su finanziamenti pubblici che permettevano di fare da guida rispetto a un collezionismo composto di pochissime persone, che compravano in un numero esiguo di gallerie.
Aspetti come la messa in discussione del concetto di collezione permanente ne sono un esempio: E questo è lo scenario migliore. Perché allora non provare a reagire a quello che è il trend internazionale? Lo vediamo ogni giorno: E questo vale anche per le istituzioni, salvo rari casi. Ovunque regna il conformismo e la noia, e i nomi che vediamo in giro per il mondo sono sempre i soliti, riproposti senza possibilità di sorpresa.
Noi sappiamo benissimo quali sono gli artisti e gli intellettuali del passato e di oggi che dobbiamo avere come punto di riferimento. Perché oggi studiamo una mostra come quella che Harald Szeemann fece sul proprio nonno, ma è difficile credere che qualcosa di quel tipo possa accadere in un museo nel ? Qui entra in gioco a mio parere il concetto di istituzione come luogo di produzione di pensiero e discussione. Per questo parlo di inquietudine. Utilizzo il termine perché mi piace immaginare questi edifici come se fossero dotati di sentimenti e passioni.
Come se fossero persone, capaci di tremare, con le loro paure, i loro difetti e le loro capacità di sbagliare. Perché dobbiamo chiedere a un museo di vivere una vita che noi non vorremo mai? Deve essere un luogo inquieto, tellurico, quasi criminale, in cui i genitori abbiano paura che i propri figli vogliano andare, e non un luogo di deportazione, concentramento e detenzione di orde di bambini coi pennarelli in mano.
Vincent Honoré Can you tell us about the missions of La Ferme du Buisson, and explain what makes this place unique in France? Julie Pellegrin Located on an exceptional site in the outer suburbs of Paris, La Ferme du Buisson is a multidisciplinary cultural centre of national and international standing.
It comprises a contemporary art centre, a national theatre containing 7 concert and performance spaces, and a cinema. This configuration, which is unique in France, makes the place a perfect example of the de-compartmentalisation of disciplines. So the programme revolves around three axes: In our ways of working, in the subjects explored or in our activities directed at the public, we try never to disconnect the art scene from the social, political and cultural spheres.
It was saved from destruction thanks to a mobilisation by residents and local politicians who understood the importance of preserving industrial heritage and creating a high-calibre cultural centre for the new city of Marne-la-Vallée, which was then under construction. Beyond its art production and distribution mission, how do you define the political and civic role played by La Ferme du Buisson?
Although our role within the city can sometimes seem trifling, the current context is making it absolutely indispensable. In support of this, La Ferme du Buisson is doing great mediation and awareness-raising work directed at visitors from the every walk of life. Why did you want to participate and what programme are you proposing?
In this period when people are turning inward, international collaborations that make it possible to exchange points of view, practices and sometimes funding, are vitally important. In this sense, the cooperative projects developed by d. Since Jarry had very close links with the futurists, and Italy is home to many pataphysics societies, and Ubu regularly serves as a metaphor for illustrious Italian politicians, we asked Alberto Salvadori and Leonardo Bigazzi to join in our research.
This project takes the form of an archipelago in which each island-chapter unfolds in a different place and in a different form. Vincent Honoré Pouvez-vous nous présenter les missions de la Ferme du Buisson, et ce qui en fait un lieu unique en France?
Dans nos manières de travailler, les sujets abordés ou nos actions en direction des publics, nous tentons de ne jamais dissocier la scène artistique des sphères sociale, politique et culturelle. Comment définir — au-delà de sa mission de production et de diffusion artistique — le rôle politique et citoyen joué par la Ferme du Buisson? Si notre rôle au sein de la cité peut parfois nous paraître dérisoire, le contexte actuel le rend absolument indispensable.
Pour accompagner cela, la Ferme du Buisson développe une formidable action de médiation et de sensibilisation en direction des publics les plus divers. Pourquoi avez-vous souhaité participer et quel programme proposez-vous?
En ce sens, les projets de coopération développés par d. Trois expositions collectives se sont ainsi tenues au Quartier, à La Ferme du Buisson et au Museo Marino Marini, et un ensemble de performances dans le cadre du festival Playground à Louvain. We quickly identified the archive as our research thread, starting from what seemed to us quite a strong paradox inherent to the practice of archiving ephemera as the CNEAI is doing: A bit like collecting butterflies! In a way, all archives are ephemeral.
The stories they preserve are there to be rewritten each time, to be brought to a new life on the occasion of each new display. Gradually, our research took the form of a historical perspective on some individuals, institutions and groups, who share similar preoccupations and who are trying to articulate them — or should we say, with Seth Price, to disperse them — through a variety of media.
How did you work all together? This was the occasion to approach and study the archive both individually and as a group. Each of us initially focused on our own personal curatorial interests and research, but at this stage we shared a common discussion on artists and their practices, which led to the identification of authorship as a crucial topic for the project.
Gradually, we defined the group of artists we wanted to include in the first show in Rome, which was a selection of predominantly French artists. In reality, it was quite immediate not only for their works, but also because it was an opportunity to show historical artists such as Pascal Doury and Michel Journiac, who are not well known in Italy. We also included Italian artist Maurizio Nannucci and Jonathan Monk, whose practice is based on collaboration and appropriation.
What are the continuity and the main differences between Rome and Chatou exhibitions? It was important, therefore, that each exhibition had a distinct title, but that were still directly connected in order to create continuity from one show to the next. This is of course true for any archive, the issues of access and display being at the center of its operations. But in the case of the FMRA archive, the whole idea of collecting editions and ephemera is really centered on exploring the possibilities of circulation and transmission of this specific type of art object.
We were confronted with this very interesting dialectic between the fetishism of the collector impulsive collecting, accumulation and preservation of ephemera… and the endeavor of distributing it, which often implicates the questioning of the aura of the art object itself.
With the exhibitions we wanted to emphasize such types of dualities. This was done by involving some figures for which archiving, collecting, re-framing, displaying, editing or distributing is at the core of their practice, and who contribute with their hybrid activities to the critical thinking and redefinition of the field. In other words, we wanted to share with these artists and their productions the processes of activating the archive. That was for us the most coherent way to present the FMRA collection, and also a response to some of the lines of research that emerged through the material itself.
Red Swan Hotel Space: Is it a character, a theological idea… What is it? Azul Jacinto Marino was conceived as an idea of a platform or a territory, an entity with fluctuant borders. We wanted to make a project that was quite extensive and required a vast operational surface. Somehow it comes out of a precedent project, Ediciones del Exotismo Ordinario Internacional Neotropical ,which is an ongoing series of self-published booklets, built around a specific type of house plants found all around the world, but whose origin is the Neotropical Region south of Chile to south of Mexico.
These booklets encompassed a large array of interests, binding them together. Since then it started its own existence, as a polysemic entity, a surface, a character. AJM traces points of visions, topographic pretexts, territories where misunderstandings can be formulated, erased, rewritten, retraced; where magic can interlace with anarchism, as a geo-botano-animo-logo-palimpsestic incident.
Exhibition view, Rometti Costales. So, Azul Jacinto Marino can become something different for each project? Kind of a shapeshifter? Yes, you can see it as a shapeshifter or a trickster. Something that can go somewhere and come back in a totally different form or to tell a different story.
A loop with a lot of loopholes. But if there is one thing that really defines it, it is the ambiguity of being several different things at the same time. Already the three words that compose the name say a lot: You are talking about Antonio García Barón, the anarchist we often refer to, who lived in the Bolivian Amazon, and created his micro anarchist state. The life of a hands-on anarchist living in such a particular context is pretty appealing, because of the encounter between two political philosophies: Yes, Antonio García Barón really existed, as well as the jungle around him and his micro anarchic state with that forest as a background.
But it gives us a territory on which to operate, and Azul Jacinto Marino claims this territory, it is this territory. We made a flag, an anarcho-syndicalist pattern of a red and black diagonal recreated with Huayruro seeds. These seeds are used a lot in the Amazon, as protection, as an amulet, and in some cases as part of the mix used to prepare Ayahuasca, in order to potentiate it.
This is the flag of Magical Anarchism. What is the relationship between oral tradition and your work? We were very much interested on what defines the crafting process. The creation of a Beni Ourain rug is a very fascinating way to leave the final result to chance. The women who weave allow themselves to see less than the last half meter of the work done, the rest is rolled up, and will not be seen until they finish it.
And since they can leave the work without finishing for weeks, sometimes months, once they come back to work on the rug, they are obliged to make an effort of memory to be able to follow the precedent path. And it always takes them somewhere else.
It is as if the chance and fragility of memory were constantly inscribed in the final result of this rug crafting. Is a thought mapping of sorts. And we like to believe it is a quite conscious modus operandi. It is like if they were inscribing chance and contingency of everyday life into a surface, a protection device which is this rug, that can be used as a cover or a collective bed for a family.
It is a very beautiful way of claiming the necessity of chance and the aleatory. So yes, from this perspective it is familiar to the development of a discourse present in oral tradition, to its vulnerability, always in present tense, since one is always obliged to reactualize it because there is no archive, no registry to which to rely to. And suddenly there is something that makes the glare of fascination around him shine with a certain intensity.
And this something, which can be anything, a cup, a knife, a brunch of a tree or a coral fossil, whatever, makes you think: Millions of years, the substance of a succulent plant, its becoming a mineral, the relation between animal and man, plant and mineral, all this collapses into this one single arbitrary event, into this fiction.
And you will never be able to not see this asterism again. This is the great transformational power of cooperation between fiction and reality. In Vamoose all cacti jut torrid nites publication, Azul Jacinto Marino is assigned with the number 8 in the floor plan of the exhibition, right in the center of it, even if it is not corresponding to any work present inside the space. AJM is the publication, and it signs it.
And the publication works as the rug present in the exhibition space. One disappears while the other is revealed at the last page of the publication. I jet multi jaca revolutas to zona torrida cosmical inn Jinn animism juts aleatoric lizard calc-tattoo over u iztac and tiltic jalousie jets a narco moonlit rumor.
Azul Jacinto Marino a été conçu comme une plateforme, ou un territoire, une entité aux frontières mouvantes. Nous voulions concevoir un projet relativement vaste qui demandait une surface opérationnelle tout aussi vaste. Depuis, Azul Jacinto Marino vit sa vie, comme entité polysémique, comme une surface, un personnage. En ce cas est-ce que AJM peut se transformer à chaque projet? Une sorte de shapeshifter?
Oui on peut le voir comme un shapeshifter ou un trickster. Quelque chose qui peut aller quelque part, revenir totalement transformé, et raconter une histoire différente. Une boucle avec de possibles brèches et zones de non-droit. Oui, Antonio García Barón a vraiment existé, de même que la jungle autour de lui et son micro-Etat anarchiste, avec la forêt pour arrière-plan. Mais cela nous offre un territoire sur lequel opérer et Azul Jacinto Marino revendique ce territoire, il est ce territoire.
Parlons des hypothèses personnelles que vous pouvez faire à partir de ces lectures, plus particulièrement des éléments historiques et de la manière dont la tradition orale est transmise. Quelle sens la tradition orale prend-elle dans votre travail? Nous étions très intéressés par ce qui définit le processus manuel. Et cela les emmène toujours ailleurs.
Une sorte de cartographie de la pensée. Et vous ne pourrez jamais ne plus voir cette constellation. Azul Jacinto Marino incarne la publication et en même temps il la signe. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 5.
Rometti Costales, Dedos de Antonio García Barón Fingers of Antonio García Barón , cactus, concrete cast of a coral fossil, concrete cast of a succulent plant, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 8. Rometti Costales, Artefacts Travelling in the Depths of Marble Surface , ten framed C-prints and one C-print glued to aluminium and laminated, ; exhibition view of Azul Jacinto Marino at la synagogue de Delme, 10, 11, Outside view of la synagogue de Delme, Photos: The Book Society 02 Space: We have been working independently on the spaces and on the exhibition project; later, during preparation, there was dialogue and listening between the two projects.
I would define our collaboration as a mutual influence on narrative fiction. What is your opinion on this? Alessandro di Pietro I would say that our cooperation has had, from the outset, a predisposition not to be explicit. Both projects are based on the appropriation of pre-existing narrative structures: The floor separating us seems to have worked as a filter that has allowed us to meet the expectations of our work. At the same time it must have produced some information that created a connection between us on a sign level: The rest of the group does not believe what the man saw, but that night was a particularly dark and cold one.
How do you expect people to orientate themselves between the textual information partially concealed inside what you call fictional carpets? The story is divided into three phases, which are represented by transparent and black resin casts of hands.
The hands are open in the act of picking up, and relate to round-shaped objects. The CAB is located in a defensive stronghold, on top of a mountain, mainly accessible through a strange spherical cableway. Do you think that the location of the CAB affected the narrative process?
When arranging the props in space I definitely tried to exploit the grotto-like space on the first floor of the CAB. For this reason, all the props were exhibited on a modular display made with vertical concrete, steel and foam elements hanging from above like stalactites, exploiting the various heights of the vault of the ceiling.
The arrangement does not follow a hierarchy of importance or a real narrative chronology, and the props are not the remains of an action which has already taken place, but are prospectively active. They are raw elements of a story that will take place soon and that will be a re-enactment of the last part of A Zed and Two Noughts. Until recently, I had the feeling that working on cinema or literature could create a misunderstanding as regards the intention of creating a tribute or a monument to the director or to the wonderful story.
Now I view that concern as very generic, and I recognize that the fiction reacts to its perception so naturally that it can be mistaken for a landscape.
What do you think about this? How do you move among the signs that a story offers you? What is the distance you put between yourself, your practice and the story object? I like the idea of landscape, and in the case of the CAB we could talk of a view. In the days I was working, I observed how individuals or the groups of tourists that stroll around the summit to observe Grenoble from above are comparable with the relationship we have with images, language and representation.
I wonder how in front of this vastness of relationships one could define a common gaze. The signs of history are hence countless like the facets of a view. For this reason I chose this story by Howard Fast that highlights how the main character feels different in front of a vision which he perceives as a common experience. The killing of the Sun by a hand remains an image on hold from where I started and cyclically return to. As regards the constant fruition within the imaginative process, we could say that this was also the central theme of two workshops, which we conducted in parallel, with a few young Grenoble artists.
With their imagination, we worked starting from two strong images from the stories we had taken as a reference: Cosa ne pensi a proposito? Entrambi i progetti si fondano su appropriazioni di strutture narrative pre-esistenti: Il piano che ci ha diviso sembra aver funzionato come un filtro che ci ha permesso di rispettare le aspettative sul nostro lavoro.
Allo stesso tempo deve aver rilasciato delle informazioni che ci hanno messo in connessione a livello segnico: Come mi hai raccontato, in Not with a Bang di Howard Fast un uomo vede una mano che spegne il sole; torna a casa, ne parla con la moglie e i vicini durante una partita serale di bridge.
La storia è divisa in tre momenti che sono raffigurati da calchi di mani in resina trasparenti e neri. Il CAB si trova dentro una roccaforte difensiva, sulla cima di una montagna per lo più accessibile grazie a una strana teleferica dalla forma sferica. Pensi che il luogo del CAB abbia influito sul processo narrativo?
Come ti muovi tra i segni che una storia ti propone? Mi chiedo come davanti a tale vastità di relazioni sia possibile definire lo sguardo comune. I segni di una storia sono quindi infiniti come le sfaccettature di un panorama. Per questo motivo ho scelto questo racconto di Howard Fast che mette in luce come il protagonista si senta diverso davanti a una visione da lui percepita come esperienza comune. A proposito della fruizione costante nel processo immaginativo, potremmo dire che questo è stato anche il tema centrale di due workshops , da noi condotti in modo parallelo, con alcuni giovani artisti di Grenoble.
Con la loro immaginazione abbiamo lavorato a partire da due immagini forti provenienti dalle narrazioni da noi prese come riferimento: Jacopo Miliani , Alessandro di Pietro Project: From Both Sides of a Mountain Space: First in terms of its history, and then its architecture, and especially its location in a rural area.
In your view, what are the strengths and weaknesses of this context? The weakness could be its isolation in a rural area within a village of residents, 35 km from the towns of Metz and Nancy. But this isolation is relative: Delme is three hours by car from Brussels, Basel and Frankfurt, and Paris is only one-and-a-half hours from Metz or Nancy by train.
This region of eastern France has strong connections with other art scenes in Belgium, Holland, Luxemburg, Germany, Switzerland and other countries. Making the trip to Delme and finding yourself in this landscape — with fields as far as the eye can see — is part of the experience you get from the visit. It turns this visit into a special moment. As for the place itself, its history and architecture have a magnetic power. This historical depth is what makes it so complex and interesting. Unlike the white cube and its supposed neutrality, a place like the Synagogue de Delme conceals infinite resources and questions, and this is what makes it so fascinating.
Where does Delme sit in the context of the overall French art policy? In a context of fiscal austerity, culture is jeopardised. Delme is a very small cog in a very large chain of cultural institutions that are going through major upheavals in terms of cultural policy.
In contexts like this, these ambitions should be supported all the more: The reality is more subtle and nuanced. Working collectively and as a network has always been an essential aspect of my way of conceiving my work as a curator and organisation director. I very naturally wanted to take part in PIANO because this platform further develops this spirit of collaboration and networking.
Moreover, the meeting with Peep-Hole in Milan was decisive. This question of books as places of experimentation and research was also explored at Peep-Hole this summer with the second instalment of their project The Book Society. Selon vous, quelles sont les forces et les faiblesses de ce contexte? Mais cet isolement est relatif: Quant au lieu lui-même, son histoire et son architecture dégagent une force magnétique.
Les artistes ne peuvent venir avec un projet clef en main mais doivent se saisir des spécificités du lieu. Comment situer Delme dans le contexte de politique artistique général français? Le volet médiation est extrêmement conséquent au vu des moyens alloués et il est pratiqué avec un engagement total au quotidien.
La réalité est plus délicate et nuancée. Ce sont des laboratoires, tant de la création que des modes de transmission à tous types de publics.
Le message est parfois difficile à faire entendre dans le contexte actuel, qui prête davantage au repli sur soi et aux peurs de tous ordres. Par ailleurs, la rencontre avec Peep-Hole à Milan a été déterminante. The Book Society 02 Protagonists: Marie Cozette, Rometti Costales. Performance Tuesday, October 27, 7. Simon Fravega , Mathilde Chénin Performers: A tutti i tipi di uccelli. Quelli che parlano, quelli che annunciano, quelli che cantano, quelli che ballano, quelli che non fanno nulla, quelli che si riuniscono in gruppi, quelli che migrano, quelli che non si vedono più.
Auguri, ornitologi e artisti hanno probabilmente in comune proprio questo: Simon Fravega e Mathilde Chénin. Il progetto di Simon Fravega e Mathilde Chénin è stato sviluppato in una residenza di ricerca presso Viafarini tra il 29 Settembre e il 29 Ottobre A ottobre , Viafarini accoglie per une mese di residenza di ricerca, un workshop e un evento performativo gli artisti francesi Emilie Parendeau, Simon Fravega e Mathilde Chénin.
Simon Fravega et Mathilde Chénin. Simon Fravega , Emilie Parendeau. Whilst we have certainly seen a merging, or crossover of practice between curators and artists over the past ten or twenty years, an artist curating is a different beast to a curator curating. Artists will always take more risks, because they are interested in that stuff of mistakes and failure as a means to begin an artistic process. It is often within the hic-cups and stumbling inherent to mistake making that contact-points are made in order to generate new ideas and work.
It is impossible to define what happened, although suggestion of a few words may get us some of the way there — quickness, slowness, intuition, experimenting, co-opting, co-authoring, collaborating, worrying, discussing, conversing, socialising, talking, listening, hearing, making, helping, suggesting, thinking, knowing, not knowing, never knowing, producing, co-producing — many times all these things at once. As with anything produced creatively, therein lies a contribution that ignites further conversations and thinking, a tributary to a landscape of discussion, unconcerned of becoming actualised by becoming something tangible and accessible.
The programme regularly perceived the exhibition as one multi-authored artwork rather than a space in which to show separate hermetic works, bringing a greater sense of authorship to exhibition making. The following questions acted as research for the programme: Can we become our own public s?
Each artist produced and presented new work in the gallery space at different times during the exhibition, choosing either to use or disregard what had gone before them. Each artist took on the gallery as a temporary workplace akin to that of a studio, in which they found things which they must work with in some way. Despite the artists being in a group exhibition together, they did not personally meet during the exhibition, due to the applied curatorial structure concentrating on time rather than space.
Urgency, quickness, response, co-authoring of works, audience communication. A reinvention of the solo show. Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist.
The solo artist is still the solo artist. Six curators, one artist, one gallery, three weeks. The focus of Notes for an Exhibition was a move away from methods of teleological exhibition-making toward action, response and production, with an emphasis on collaboration and discussion, association and conversation. I invited in the curators with a proposal: They therefore selected Desmond Church, who is an artist who works with proposals and propositional-based work.
He would send the curators three separate proposals per week over three weeks, which the curators would then translate into works. There was an events programme curated by Limbo neighbouring art space. Four events — a t-shirt sale, a talk, a gig then a screening — occured throughout the timescale of the exhibition, physically and conceptually shifting the exhibition continually, each event leaving a short-term legacy on the spatial framework before the next.
So before each event we would make way for it, by moving and repositioning artworks. After the event, the artworks remained in place, they were not moved back, so allowing for a kind of physical legacy of what had happened each time, shifting the exhibition radically from beginning to end.
The show was not about Punk-rock. More over, the 3 minute punk-rock song was used as a framework in which to align certain artworks and artists together. The works dealt with errors, spasms, glorious hiccups and splutters, reminiscent of our everyday stumblings. They dealt with a certain kind of generosity; a generosity of quickness, urgency, interruption and blurring.
It was a project that concentrated on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing. It attempted to unravel working and thinking and push these often hidden processes public.
This lead to A Way of Doing Things , where notions of the natural evolution of ideas and things become secondary to pragmatism and a sense of wanting to get things done.
