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Towards a Pedagogy of Autonormativity, Shared Campus: Commoning Curatorial / Artistic Education 2022

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Towards a Pedagogy of Autonormativity

At Goldsmiths in London, in the late 2000s, a group of students from the curating and fine art program came together under the assumption that there was a necessity to collectively rethink the structural and operational differences and overlaps of their respective fields. The intention was not directed towards a universalizing homogenization under a higher-order conceptual meta-framework such as cultural practice but, rather, a careful reading and modeling of porosity and entanglement from a multiplicity of perspectives - of how curatorial and artistic practices are co-constitutive, that is to say, how a novel manifestation and localization of one invariably informs the other. This implied an approach that, while recognizing difference, aspired to leave behind any, if vague, hierarchical and binary notions that necessarily emerge through categorization and classification. It seemed urgent to come together as practitioners to tackle ideas of collective agency and common goals, within and beyond, if never outside, the institution. We probably would have thought of ourselves as self-organized, and perhaps rightfully so: the theoretical framework at the time was heavily oriented towards speculative realism, and the discourse around postanthropocentrism that ensued seemed to us to necessitate new forms of institutional critique, the implications of which particularly pertained to academic institutions, the quasi-pharmacological nature thereof as both facilitating and limiting, and the production of subjects. For us, thus, curatorial and artistic practice, knowledge production and pedagogy seemed inseparable. At the time, there were several precedents that were influential, and in which some of us had been involved, for instance Utopia Station (Venice, 2003), Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices (Stockholm, 2005) and unitednationsplaza (Berlin, 2007).

From a scientific, computationalist perspective, self-organization might be primarily associated with pattern-formation processes, systems, and complexity. And, while such notions are informative for potentially any application and novel creation of the concept and method of self-organization, it was Kant who gave it a pertinent, political underpinning in the Critique of Judgment, as the philosopher Yuk Hui has pointed out, through the affirmation of "community ( Gemeinschaft) and reciprocity ( Wechselwirkung)" (Y. Hui, 2017). Much of the discourse around self-organization and cultural production goes back to this Kantian foundation, to which one might add the commons as the framework within which community manifests and commoning, then, as the politics of how the commons come into being and how they can be sustained and defended. This notion of maintenance is critical, as self-organization is necessarily process-based. As such, it is closely related to autopoiesis, whose frame of reference in the life sciences indicates a system that operates, produces and regenerates out of itself, both in relation to its environment or associated milieu (the Kantian Wechselwirkung) and to "self-determination" (the Kantian Gemeinschaft).

In the following, I propose to explore a third evolutionary concept that stands in close connection to both self-organization and autopoiesis, and which, I argue, might open up new perspectives on and possibilities for radical pedagogies: Autonormativity, which, for Gilbert Simondon, is the logic of how morality and technicity are intertwined and interdependent in their unfolding over time (Simondon, 2015). Technicity is the specific ability of humans to create an operational schema that can act as an interface between human organization and natural potentials: Nature - Technics - Culture

For Mary Kelly, the question regarding pedagogy and feminism, one of the primary associations that one might infer from her larger practice as an artist and educator, is not a question of "content" but, rather, one of "tactic" (Kelly, 2018). This already highlights a critical point that is closely related to what Simondon calls transduction: Structure and operation, substrate and information, that is, form and content/function are never to be considered as separate. It echoes Jean-Luc Godard's (and, by extension, Thomas Hirschhorn's) remark of prioritizing "making films (art) politically" over "political films (art)". And it is likewise at the heart of the political theorist Chantal Mouffe's claim that "all art is political" (though not necessarily critical, that is, intentional) (Mouffe, 2018).

But to come back to Kelly: When she founded the Interdisciplinary Studio at UCLA, listening as "The Method" became a pedagogical strategy, not so much in opposition to, say, Michael Asher's hours-long practice of inquiry at CalArts, but, rather, as prior to it, as preceding and, likewise, circumnavigating the "violence of interpretation" (Kelly, 2018) (in reference to Gayatri Spivak). Take, as an example, pronouns. The act of stating one's preferred pronouns is precisely so as to counteract the liberal notion of individual freedom, in this case, of interpretation, in favor of the right of the subject to assert their gender identity. To be interpreted is, in a sense, to be appropriated. Listening, according to Kelly, is thus not a practice of interpretation but one of decipherment and, perhaps, translation. It has the potential to "acknowledge difference unconditionally" (Kelly, 2018) as a queer ontogenetic strategy that recognizes identities as fluid potentialities. The politics of listening is a feminist approach to education insofar as it highlights voices on the margins, those that are easily silenced because they deviate from the norms and values of the dominant culture. However, listening should not be mistaken as being neutral and receptive only. On the contrary, and this is a lesson to be taken from quantum mechanics, listening, like observing, is an active practice of fact-creation and world-making. Still, while to listen means to actively participate in emergence, it likewise means to relinquish the violence of fact-imposition. From this perspective, curators, artists and educators could equally be understood as "helpmates to emergence" (Kousoulas, 2022).

We do not yet know what Pedagogy can do

If listening as a practice of education and knowledge production is dependent on and implicit of an emergent, process-based ethics, perhaps a rethinking and further development of autonormativity as sketched out before can help integrate it into a larger and more general conceptual framework. A pedagogy of autonormativity attempts to counteract, and, indeed, decolonize "hylomorphic" approaches to education that are underpinned by a mere transfer of "facts", similar to the application of form to allegedly inert and "transparent" matter, as is characteristic of Eurocentric genealogies of creation (transparency in this sense has a colonial underpinning as has been pointed out by Edouard Glissant in his defense of opacity, as in the right of a subject to indeterminacy versus the imperative of the colonizer for it to render itself entirely visible (Glissant, 1997). Trinh Minh Ha has, likewise, argued for an "agential difference" rather than a difference-to-be-assimilated (Minh Ha, 1997)). Autonormativity, in the Simondonian sense, is a generative normativity that is embedded in a process out of which it, in turn, emerges and regenerates. To expand on the initial definition provided earlier, it describes the autogenous morality by which humans create an associated milieu by integrating the alien (nature) in their operational schema. It is localized, inseparable from process and not preexistent: "the norm is derived from the act". It can, thus, be a shared pedagogy that is autogenetic and self-organizing and, thus, a pedagogy of community, commons, and, in particular, one of marginality: a situated normativity outside of the norm. Using an architectural analogy and emphasizing ontogenetic becoming over fact-imposition, it prioritizes notions of growing and emergence over those of building. Ultimately, the assumption is that a pedagogy of autonormativity is closely connected to a pedagogy of immanence, in the Spinozist sense: We do not know what education is, nor do we know yet what it can do; only through the act of engaging in it can it emerge. Pedagogy could then be conceived as being underpinned by a third kind of knowledge, which, for Spinoza, is intuition as the divine perspective of knowing everything all at once. I propose to rethink this third kind of knowledge, that is intuition, through a radical empiricist lens: when the divine becomes the common, and sacredness or love becomes a space of shared purpose, constitutive relationality, encompassing the human and more-than-human, becomes an indispensable strategy. Might this be one way of approaching commoning, or, shall we say, composting?

The developmental and computational biologist Michael Levin has argued that one of the most important questions in biology, perhaps science in general, is how cells cooperate in light of larger-scale goals, such as the regeneration of a limb (Levin, 2022). Regeneration could be understood, in a Deleuzian sense, as the dynamic of autonormativity, but in contrast to a Hegelian model of binary oppositions, it is entirely based on immanence. Simondon uses the example of a hiker lost in the forest: With no sense of orientation and direction, she makes one step, one act that constitutes the emergent norm for those that follow. Each further step, each repetition and regeneration, situates her more firmly in the forest as her becoming associated milieu. David Harvey has referred to the ethics of growth and regeneration, in recourse to Marx, as a "virtuous infinity" - that which might be implied by sustainability if the term had not lost all its meaning (Harvey, 2018). I suggest that both curating and artistic practice are concerned with proposing new ways of life based on such virtuous infinities, and that such an approach needs to be reflected in new pedagogies and a continuous renewal of the institution. However, and this is the challenge, this autonormative dynamic cannot be centered around the human only. Rather, it must be based on the coexistence of a multiplicity of forms of cognition, human and non-human, organic and synthetic, and, perhaps most importantly, the intersections thereof. To do so, it will be necessary, as the anthropologist Eduardo Viveiros de Castro has pointed out, to recognize non-anthropocentric forms of technology, that is, specific technicities of how non-human life develops operational schemas to integrate the world in its own particular ways (E. V. d. C. Y. Hui, 2021). Finding ways of accessing the world in difference and sameness, and to do so productively and in coexistence, might be a first step towards a commoning and a pedagogy beyond-the-human.

Glissant, É. (1997). Poetics of relation. Ann Arbor: University of Michigan Press.

Hui, E. V. d. C. Y. (2021). For a Strategic Primitivism. Philosophy Today, 65, 391-400. Retrieved from https://philpapers.org/go.pl?id=VIVFAS&proxyId=&u=https%3A%2F%2Fdx.doi.org%2F10.5840%2Fphiltoday2021412394

Hui, Y. (2017). Cosmotechnics as Cosmopolitics. e-flux journal, 86.

Kelly, M. (2018). Independent Study Program 50th Anniversary Symposium. Retrieved from https://www.youtube.com/watch?v=pDtxiQlRkaE

Kousoulas, S. (2022). What can Architects learn from Philosophy? - Gilbert Simondon. Digital Futures. Retrieved from https://www.youtube.com/watch?v=CTN0JC6WavM

(2022). The Sheekey Science Show [Retrieved from https://www.youtube.com/watch?v=-Bwq1oOST7

Minh Ha, T. (1997). Not You/Like You: Postcolonial Women and the Interlocking Questions of Identity and Difference. In Dangerous Liaisons: Gender, Nation and Postcolonial Perspectives (pp. 415-419): University of Minnesota Press.

Mouffe, C. (2018). Independent Study Program 50th Anniversary Symposium: Activism and Critique. Retrieved from https://www.youtube.com/watch?v=etviMJNsnwU

Simondon, G. (2015). Sur la technique: Presses Universitaires de France.

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Towards a Pedagogy of Autonormativity At Goldsmiths in London, in the late 2000s, a group of students from the curating and fine art program came together under the assumption that there was a necessity to collectively rethink the structural and operational differences and overlaps of their respective fields.

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优先用-神奇水彩纸纹2【往左2像素】

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As part of #Caring of the New Alphabet School the curators Sascia Bailer, Gilly Karjevsky, Rosario Talevi invited eight scholars and artists to write public letters to Joan Tronto that share their thoughts on the current state of care during this global pandemic. And Joan responded.

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Bailer_Curating Care and Corona_Verlag der Arthur Boskamp Stiftung_2020

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Location: In front of the monument to Ogu Oguebe

Public Intervention:
Reclaiming public space in Kassel with conversations about the politics of publicness.
Scenography: Chairs by Diane Hillebrand

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Maayan Sheleff

Re-curating Documenta was a workshop by Tanya Abraham and Maayan sheleff for the summer school "Commoning Curatorial and Artistic Education"/Documenta 15 (July 3rd, 2022) The workshop "re- curated" Documenta15 as an embodied experience, situated in the personal knowledges of the participants. They were asked to choose works, producing an impromptu route, which we walked together. There, each of them told her or his personal interpretation, creating a collectively guided narrative. profile image by Zhuo Yao

Re-curating documenta fifteen's tracks

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Re-curating Documenta was a workshop by Tanya Abraham and Maayan sheleff for the summer school "Commoning Curatorial and Artistic Education"/Documenta 15 (July 3rd, 2022) The workshop "re- curated" Documenta15 as an embodied experience, situated in the personal knowledges of the participants. They were asked to choose works, producing an impromptu route, which we walked together.

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https://on-curating.org/issue-funding.html

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Symposium

29 June 2022, 10am - 6pm

at CAMP notes on education,
documenta fifteen, Kassel, Germany
Hafenstraße 76, Kassel, Germany

Open to public with limited places.
Please register here:
https://www.eventbrite.co.uk/e/speculations-on-funding-at-documenta-fifteen-camp-notes-on-education-tickets-365810919307

Keynote Speakers: Laura Alexander (Prince Claus Fund), Getrude Flentge, farid rakun (ruangrupa), Antonio Cataldo, Isabelle Graw, Joshua Decter, Niall Smith (TBA21), Marina Vishmidt, Enrique Rivera Gallardo

Participants in the discussion will also include Lumbung members (Arts Collaboratory), documenta fifteen artists and members of funding institutions (ifa, Goethe Institute, ProHelvetia, Alliance Française, Mondriaan Fond, Prince Claus Fond) amongst other independent foundations including TBA21.

Moderation: David Zabel, Dorothee Richter, Shwetal A Patel, Ronald Kolb
Organized by OnCurating.org

Supported by Ifa, Institut für Auslandsbeziehungen

10-12 am CET: farid rakun, Gertrude Flentge, Joshua Decter
1-3pm CET: Marina Vishmidt, Enrique Rivera Gallardo, Laura Alexander (Prince Claus Fond)
4-6pm CET: Isabelle Graw, Antonio Cataldo, Niall Smith (TBA21)

Conference
This day-long conference includes three panels, each with three inputs by the invited Keynote Speakers, followed by an in-depth discussion with the conference participants and the general public. The aim of the conference is to contribute to future funding policy frameworks, systems and approaches that are responsive to the complexity of a globally entangled art world.

The conference aims to address two key questions related to arts funding: Firstly: highlighting funding paradigms and questioning their complicity in the reproduction of unequal relations and the perpetuation of (neo)colonial dichotomies (including new dependency effects, i.e., perpetuating systems of exploitation, representation, asymmetric funding structures, etc.). Secondly: examining funding schemes that favour individual artistic production of reification/objectification (placing an emphasis on the funding of singular artists, thereby playing into the hands of an art market hegemonically structured for an economic system based on speculation), with its need for commodification.

Background
Following OnCurating's long-term research interests, including the history of the biennial phenomenon and similar curatorial projects and their impact on contemporary artistic production and critical discourse, a one-day conference on the theme of „funding paradigm shift" / "Lumbung as Funding Structure" is being planned in Kassel on June 29th 2022.

The conference builds on previous OnCurating research projects and Journal editions, in particular OnCurating Issue 41: "Contemporary Art Biennials-Our Hegemonic Machines in Times of Emergency". The documenta 15 conference will be the basis of a new journal edition "Speculations: Funding and Financing Non-Profits" which will be published following the conference.

In search of possible partners, ifa (Institut für Auslandsbeziehungen) (for conference) and Pro Helvetia (publication fund) are generously supporting this conference and publication. The conference was conceived in dialogue with farid rakun (ruangrupa), and Getrude Flentge of documenta fifteen's curatorial team.

Publication Project
The outcome of this day-long conference will be edited alongside other in-depth articles on the political and economic frameworks of funding to be published in an upcoming OnCurating issue "Speculations: Funding and Financing Non-Profits", to be launched in December 2022 in Kochi, Kerala.

The issue will examine current and past funding scenarios in relation to cultural policies, and attempts to elucidate how arts organisations and arts practitioners can navigate fundraising in uncertain times, whilst maintaining artistic and organisational autonomy. The current project continues five years of research by Zurich University of the Arts (see: OnCurating issue 35, "De-Colonizing Art Institutions"; issue 39 "Draft: Global Biennial Survey"; issue 41, "Contemporary Art Biennials - Our Hegemonic Machines in Times of Emergency", co-edited by Prof Dr Dorothee Richter, Ronald Kolb, and Dr Shwetal A Patel), exploring the biennial phenomenon and its impact on contemporary artistic production and critical discourse. Issues 35 & 41 of OnCurating were accompanied by panel discussions and conferences, at Kunstmuseum Basel (2017) and alongside the Bucharest Biennale (2020).

David Zabel, CULTURAL EDUCATOR, PUBLIC SPEAKER, CURATOR, NETWORK MEDIATOR, develops educational content that reflects on activism,pop culture, sports and his ownmigration story. He explores new ways of connecting and shifting perspectives. He is Freelancer at Cultural Ministry of Hesse and Boardmember Randfilm e.V.

10-12 am CET: farid rakun, Gertrude Flentge, Joshua Decter

Joshua Decter
Epistemes of Sharing, Social Practice, and Collectivity vis-a-vis Art Financialization: A Thicket of Curatorial Contradictions?"

Decter will consider the intersection of alternative funding models and ostensibly decentralized curatorial methodologies in relation to historical examples of exhibition projects wherein attempts have been made to rethink traditional art commissioning & patronage models. For example, how exhibitions can operate as platforms to distribute private and public sector funding to grass-roots art organizations and art collectives not merely for the sake of producing new artworks, but also to repurpose those funds as a means of seeding the sustainable growth of those cultural initiatives beyond the horizon/scope of a temporary exhibition. In relation to this, Decter will also discuss concepts of 'social practice' as emblematic of the desire for art to have agency as a kind of social utility, so to speak.

Joshua Decter is a writer, curator, and art historian. His recent books include Art Is a Problem: Selected Criticism, Essays, Interviews and Curatorial Projects (1986-2012) published by JRP Ringier, and Exhibition as Social Intervention published by Afterall Books. Decter has contributed to many magazines and journals including Artforum, Art Review, Mousse, and Texte zur Kunst, and has authored numerous exhibition catalogues. He has curated exhibitions at MoMA PS1 in NYC, the Museum of Contemporary Art in Chicago, CCS Bard, the Kunsthalle Vienna, Friedrich Petzel Gallery, and Apex Art in NYC, and was a curatorial interlocutor for inSite_05 in Tijuana/San Diego. Decter founded the M.A. Art and Curatorial Practices in the Public Sphere program at the University of Southern California in Los Angeles, and has taught at the University of Applied Arts in Vienna, the MA Curatorial Practice Program at the School of Visual Arts in NYC, The Cooper Union, The Center for Curatorial Studies at Bard College, The School of the Art Institute of Chicago, NYU, UCLA, Art Center College of Design, and Bennington College.

1-3pm CET: Marina Vishmidt, Enrique Rivera Gallardo, Laura Alexander (Prince Claus Fond)

Laura Alexander
Forces of Art: Translations to Practice

The Forces of Art project of the Prince Claus Fund (in collaboration with Hivos and the European Cultural Foundation) represented an attempt to expand our understanding of the different ways in which the projects supported by the Fund transform individuals, communities and societies. We will present an overview of the discussions that have been prompted by and since the Forces of Art project, with a particular focus on the possible roles of affect, solidarity and decentralization within the practices of Funders working at the intersection of arts and social change. These questions have been fed by further explorations together with researchers, artists and other funders across the globe.

Laura Alexander is the coordinator of Monitoring, Evaluation and Learning at the Prince Claus Fund. She began her career at the Prince Claus Fund in 2017 as a researcher, gathering information on artists and cultural practitioners in Africa, Asia, Latin America, the Caribbean and Eastern Europe to inform the decisions of the Fund, and was a core member of the working group for the Forces of Art project. During this time she also completed a master's degree in Philosophy at the University of Amsterdam. She has held her current position at the Prince Claus Fund since January 2021, and she is passionate about developing collaborative ME&L practices that provide real insight into the needs of practitioners working at the intersection of arts and societal change.

Myriam Vandenbroucke works as an independent consultant in the field of impact management, research and evaluations, to contribute to the development of initiatives at the intersection of art, culture and societal opportunities. In the past 15 years, Myriam gained experience as a researcher and project manager in a wide range of sectors and institutions, from the arts sector, to juvenile detention centers, government, trade unions and the UN. She worked in several countries in Africa, the Middle East, Indonesia, and the Netherlands. As a Monitoring and Evaluation officer at the international development organization Hivos (2017 - 2020), she got acquainted with the role of arts in freedom of expression and was a core member of the working group for the Forces of Art project. Myriam was educated as a researcher and gained a PhD in Cognitive Neuroscience in 2008.

Enrique Rivera
Tie time together

In the dark mystery that emerges from the vertigo of transition, time is dislocated with intensity. Monsters appear, poison and antidote, the balance between intuition and pragmatism. In the face of this condition, How to tie time together?, was an exhibition that incorporated kindness and tenderness at the chore of its context. The exhibition, distributed between Santiago, Chile, and Stuttgart, Germany, was a fertile ground where the art works, conceived during the social transformation that emerged in Chile from the October 2019 manifestations, and that lives its culmination process of transition with the constitutional transformation, were thought to provoke the gentle reunion of transformed bodies.

Since 1999 Enrique Rivera has developed a series of installations and curatorial works, experimenting with audiovisual, analog and digital media at the streets, clubs, galleries and museums. Currently he is the director of the arts and science Museo Interactivo Mirador. I am part of the board of the International Biennial Association, and between 2013 and 2022 I was the director of the Chile Media Art Biennial.

4-6pm CET: Isabelle Graw, Antonio Cataldo, Niall Smith (TBA 21)
From Marxist power struggle to institutional structural change

Isabelle GrawWELCOME TO THE RESORT

By capturing some of the recent structural shifts of the art economy this talk aims at a better understanding of how these changes affect the generation of value. I coined the term "resortization" in order to point to two of the paradigmatic shifts that have intensified online and offline since the pandemic: 1) the relocation of many art world interactions to the online sphere (mainly Instagram) and 2) the tendency of mega-galleries like Hauser& Wirth to open their branches in luxury resorts from Monte-Carlo to Aspen. Both developments will be discussed as being symptomatic for a deeper reorganization of the value sphere. The artworld becomes seemingly more accessible (online) and more secluded in the luxury-resorts at the same time. In both cases, an abstraction from actual working conditions takes place and contextual factors recede into the background. "Resortization" will also be shown to imply an absence of Critique because resorts don´t allow for Critique´s (ideally) situative, well argued and nuanced value judgments. I will end the talk by asking what it means for artists and critics to operate under these drastically changed conditions? What happens if one can´t assume one´s former evaluating public anymore? Does one have to aim for the currently celebrated exit from the value-sphere or is such an exit nothing more than an escapist phantasy?

Hyper-professionalization and culturalization based on closed systems of acceptance and normalization entangle funding opportunities. How can we deconstruct such probes under the aegis of unrest challenging the univocal voices setting the ground for what's equality in the politics of representation? A case scenario for change would entail intergenerational and inter-institutional solidarity bound to break boundaries and strengthen trust in art institutions to fulfill these promises.

Antonio Cataldo is an Oslo-based cultural manager and writer holding a Ph.D. in Curatorial Studies. Since August 2018, Cataldo has served as the Artistic Director of Fotogalleriet, Oslo, an independent and publicly-funded institution, the oldest kunsthalle for photography in the Nordic region. Through exhibitions, discourse, and research for several internationally reputed organizations, Cataldo has actively challenged institutional models, their governing structures, and the representational social role of images. Cataldo studied with philosopher Giorgio Agamben in Venice, Italy, obtaining an MA in 2006. Cataldo sits on the boards of The Kunsthalles of Norway [Kunsthallene i Norge] and the Sandefjord Kunstforening Art Award jury.

Niall Smith, Chief Executive Officer | TBA21-Academy
Throw your pearls in the Ocean

Our existing systems are failing, environmentally, socially and economically. The world is confusingly full of proclaimed solutions, none of which appear to consider cultures at all. Neither the cultures they wish to change nor the cultures they want to create. We need investment in culture and cultural practices to create viable alternatives to these broken systems. At TBA21, we seek to develop and strengthen culture's essential role in change and regeneration.

Niall Smith started his career in the Web1.0 boom of the late 1990s, working in broadcast technologies. Over the past 20 years, he has worked in the public-private and not for profit sectors specialising in peer to peer learning, leadership and innovation. For the past 4 years, he has worked with TBA21-Academy Director Markus Reymann and Chairwoman Francesca Thyssen-Bornemisza to promote and grow recognition for the crucial role that contemporary artists have in effectively addressing the critical challenges of our time.

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29 June 2022, 10am - 6pm at CAMP notes on education,documenta fifteen, Kassel, GermanyHafenstraße 76, Kassel, Germany Open to public with limited places.

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https://docs.google.com/document/d/1LFD9IIqnTIqzDK0wx7HeL0kT17uSRQ-PIZVX-kPDJbQ/edit?usp=sharing

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https://docs.google.com/document/d/1LFD9IIqnTIqzDK0wx7HeL0kT17uSRQ-PIZVX-kPDJbQ/edit?usp=sharing

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Workshop 13: Janelle GO + Héloise HAMANA

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Workshop 13: Janelle GO + Héloise HAMANA

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Location: CAMP, Hafenstraße 76
List of materials: –

Let’s Play: Palarojoues

Ruangrupa has based documenta fifteen upon the Indonesian embodied knowledge of lumbung which directly translates as “rice barn” in Bahasa Indonesia. This refers to a communal

building in rural Indonesia where a community’s harvest is stored and distributed. As a concretenpractice, lumbung is the starting point of documenta fifteen: principles of collectivity, resource building, and equitable distribution are pivotal to the curatorial work and entire process of this large scale exhibition. For this workshop, we would like to focus on the theories of Fluxus, nSpeculative Fabulation, and Art as Archive. Based on Speculative Fabulation, the workshop

wants to emphasize on the notion of endless possibilities in both the future and the past; thus going against our fast paced lives. This is in line with the Fluxus Art movement of wanting to change global history – not only limited to the history of art. The ultimate goal of most Fluxus artists was to destroy any boundary between art and life.

Let’s Play: Palarojoues is inspired by the French game “cadavre exquis” (exquisite corpse). Cadavre exquis is an artistic game invented in 1925 by surrealists Yves Tanguy, Jacques Prévert,

André Breton and Marcel Duchamp. In Palarojoues, participants will be asked to create a personal artwork that they think best represents their culture and identity; and render it in three dimensional form. The medium will come from locally sourced materials in Kassel (e.g. clay, wood,

recyclable items). Aside from the materials provided, the participants can look for additional materials within the perimeter of the workshop venue (e.g. leaves, plants, flowers, twigs, insects, etc). Once their individual artwork is complete, the participants will be asked to write about what

they created. Afterwards, the participants will have to create a communal artwork using the individual ones they previously created. Just like “cadavre exquis”, the final output can only be

complete once everything is interconnected. The participants will then be asked to write about their interpretation of the final artwork (what it means to them, how it resonates with them, how they decipher and add symbolisms to the artwork, their overall experience). Within the course of

documenta, the artwork will be documented until it ceases to exist due to the natural flow of ecology and time.

The workshop experience and the communal artwork will live on through the archive — through the audience’s memory of the event, and the documentation of those present. The

educational aspect of this workshop seeks to emphasize that (1) art has no limitations; (2) the

importance of communal effort or the spirit of bayahin; (3) the significance of artistic process over

the output; (4) and that this artwork comes from a multicultural perspective that is learned from

peers. The beauty of the workshop comes from the unexpected, the unfathomable, and the

unimaginable. Ultimately, we believe that the concept of creating together, whilst showcasing our

individual creativity, is a way to celebrate multiculturalism and encourage communal learning.

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In Parallel: Workshop 16: Hsiang-Yu CHENG, Yuli Wu

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In Parallel: Workshop 16: Hsiang-Yu CHENG, Yuli Wu

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Location: CAMP, Hafenstraße 7
An indoor room or a semi-outdoor place with power supply for 10-15 people, chairs and tables.

List of materials:

a projector

a projector screen or a white wall

at least two microphones

chairs and tables for the participants (expected to be around 5-10 people)

The Commoning Sermon

There is no commoning without the commons. The project is a manifestation of the dis-interest in embodying the commons, rather than defining and recruiting the community of the common. Based on the concept of the event, whose effect is much stronger than its cause, the project creates the sermon of an object, much similar to Kafka's "Odradek, as an actant to animate and resuscitate the commons.  Drawing from the inspiration of the Japanese video game, "touhou project, “ developed by ZUN in 1996, the game immediately attracted a large number of fans ( doujin in Japanese)  from streaming and online communities in making illustrations, characters, novels, and etc., as a cult-like antimonious movement. More importantly, until today there is no specific official guidance or regulation in directing the growing number of the doujin, n community. The Commoning Sermon, depending on how disinterested interest of participants,  presents a touhou project of collective assemblage from Improvised music, lecture-performance, short film or comics, etc., with the materials and sources at hand to initiating the autonomous Odradek-like discursive practice.

The actant is the arts- works, music, and stories that are always already circulated, shared, and distributed unexpectedly. The sermon creates particular connections and actants between members and their own affections. Moreover, it is to amass the fictional characters and members to interact with each other through the gathering, consisting of an openwork that can never fulfill its end. Therefore, various works full of vitality continue to emerge, affecting people from different regions and cultural backgrounds, converging into a vibrant matter, an acting-out of an inanimate-objects.

Assignment:

What would it be like if there is a story about an unknowable object known as “Commons”?

Participants take Kafka’s "The Cares of a Family Man” as a sample, creates a 5mins short tale to characterize “Commons”, acting out and shared with others.

Music, lecture-performance, short film (also welcome improvisation), during workshop, we expected to give this object various characteristics through the different artistic method, composing an “exquisite corpse”.

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In Parallel: Workshop 15: Hyunjoo Cho + Sayoko Suwabe 

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In Parallel: Workshop 15: Hyunjoo Cho + Sayoko Suwabe 

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Location: CAMP, Hafenstraße 76

List of materials: Any electrical device where you could access Padlet such as a smartphone, laptop or tablet/Pencils/paper

Script for ‘butsu-butsu mal-mal: a marketplace’

Part 0. Introduction (15 minutes)

1. The facilitators each introduce themselves to the group (3 minutes each)

2. The facilitators briefly lay out the workshop’s schedule and explain the titles and themes of the activities. They give out pencils and paper to be used throughout the workshop.

3. The facilitators notify the participants that the activities will be recorded for archival purposes in both audio and video.

Part 1. butsu-butsu (20 minutes) [Stream]

1. (Prior to the activity, it is crucial to create a Padlet page for each activity that the participants can join.) The facilitator invites everyone to open the Padlet page on their individual devices.

2. When everyone is online, the facilitator uploads an image that signifies any object/idea/thing that they find valuable. Whoever wishes to purchase it should raise one’s hand to express interest and upload an image of any object/idea/thing that they think could be exchanged with what they are trying to purchase.

3. The image uploaded by the purchaser is the next commodity on the market, and the process of purchasing through exchange continues until everyone in the room has participated at least once.

Part 2. mal-mal (30 minutes) [Canvas]

1. (This part will be done as a group but will also have individual moments of participation. The results will be shared with everyone in the end.) The facilitators invite the participants onto the Padlet page.

1. Each participant opens the Padlet page on their own device.

2. When everyone is online, the facilitator uploads a ‘keyword’ to the Padlet page. Using the online platform, the participants can respond to this keyword, by drawing or in words or in images that they can think of. The description does not always have to be definitive–it can be poetic, abstract, or simply responsive. The participant uploads the description to the Padlet page.

3. The participants should be reminded that the idea of ‘description’ in this activity is very loose and liberal. They could create ‘captions’ for drawings, humor everyone with a single-word exclamation, or even pose a question. The focus should be on eventually expanding the conceptual boundary of the initial keyword.

4. The process continues until everyone in the room has participated at least once. Afterward, the participants take turns and reveal to the group the meanings behind their descriptions.

Part 3. a marketplace (30 minutes) [Shelf]

1. On Padlet, each participant writes down three skills that they have and think are exchangeable. These skills can be anything and can range variously from personal to professional.

2. Once everyone has written down, the facilitator invites each participant to introduce the three skills and inquire if anyone would be interested in exchanging their skills with them. Exchanging skills in this marketplace means that the two participants would actually use their skills for each other after the workshop.

3. The process continues until everyone in the room has had a chance to present their skills and acquired an opportunity to exchange.

Part 4. Group Discussion (30 minutes)

1. Gather around, freely, including the online participants.

2. The facilitator invites the participants to be reflective on their experiences throughout the previous activities. How did they feel during the activities? Confused? Satisfied? Refreshing? Were the activities successful as experiments to give back the participants the agency of subjective valuation(evaluation, valorization)? Did they notice anything about their systems of values that they weren’t so aware of previously? The participants may remain silent while focusing on reflection.

3. Open the discussion by sharing comments on the activities.

4. Let the discussion lead itself. The facilitator may intervene to direct the discussion toward more societal reflections on how the capitalist and utilitarian mindset that infers value primarily from price or objective standards has affected our value system.

5. Close the discussion with a final round of comments on how perceiving and expressing values subjectively may be relevant to the central theme of ‘commoning’.

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group– situated in Berlin Tempelhof, Germany –, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Location: CAMP

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Public Talk: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)

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Public Talk: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)

# data[].attributes.body
https://www.curating.org/commoning-curatorial-and-artistic-education/

Citizenship

In June–July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen—a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and  locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events

https://citizenship.zku-berlin.org/about

Location: CAMP, Hafenstraße 76 (maybe outside!)

# data[].attributes.attachment_link.readable_text
Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76
List of materials:

A3 white paper

A4 paper: red, yellow, blue

Scissors

Tape

Coloured fabric - various sizes

Poles: wood/ bamboo – various size

Ropes – various sizes

HAND DIALOGUE

collaboration and participation

Hélio Oiticica (1937 -1980) and Lygia Clark (1920 – 1988) are two of the most innovative Brazilian artists of the twentieth century. Their practice explored collaboration and challenged the traditional boundaries of art, its relationship with life and destabilised  the separation of the art-object from the viewer. Their body of work became a reference of radical artistic production in the 1960s and 1970s and marked the inclusion of Latin American art into ‘global art narratives’ in the following decades.

This workshop draws upon Oiticica’s and Clark’s contributions as a research methodology and invites the participant to engage in embodied knowledge theories and practices.

Workshop (Duration: 3hrs)

This workshop gives a theoretical introduction and practical exercises based on embodied knowledge production that challenges the Cartesian separation of mind and body. The body is the point of departure of investigations that move in opposite directions – Clark worked from the body and the psychology of its interiority, whereas Oiticica worked in dialogue with architecture and public spaces of the world ‘outside’. Artistic experimentations will explore different contexts and modes of collaboration and participation as sites of political life and imagination.

1st Session: Inside

(Onsite and online): duration 1 hour

- Introduction: context

- Activity (LC): Cutting Moebius

- SIides on Lygia Clark

- Video: Lygia Clark (10 min)

- Slides on Hélio Oiticica

- Activity (HO): Folding the frame

- Video: Hélio Oiticica (10 min)

- Discussion

2nd session: Outside

(Onsite): duration 2 hours

- Divide participants in 4 or 5 groups

- Give each group handouts with one of the word-concepts

-    Group internal discussions

-    Group chooses materials to work

-    Group activity

- Each group presents their proposal

- Final group discussion

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Location: CAMP, Hafenstraße 76
List of materials: Text openly available online: https://freefairandalive.org/read-it/#4

A manifesto for the exhibition-playground

Duration: 2 hours (120 minutes)

The workshop will create a space for critical exploration where participants will individually and collectively question the text provided. Following from the main group discussion on the text, participants will be placed into 3 groups to draft a manifesto reflecting the points raised and the questions outlined below. Once drafts are complete, participants will return as one group to combine drafts into a collective manifesto positioning the exhibition as a playground for critical sociality and space of commoning.

Description: The playground is a space of commoning for both participants and spectators • How can curators integrate the playful exploration and identity-formation that happens on the playground into the exhibition space? • How do we as practitioners create a space of play that encourages critical sociality within the exhibition format? • How do we orchestrate and influence participation that happens in this common ground? • How do our biases present themselves in exhibition making and our interactions with participants?

Timeline:

Part 1 Exploration and Criticality

- group introduction (5 mins)

- review of text individually (15 mins)

- group discussion of text (45 mins)

Part 2 Manifesto Writing

- split into 3 group to draft manifestos (25 mins)

- return to group to collaboratively edit into 1 manifesto (25 mins)

- reading/performing final manifesto (5 mins(

Text:

Free, Fair and Alive: The Insurgent Power of the Commons (David Bollier, Silke Helfrich) Chapter 4 -The Social Life of Commoning

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 In Parallel: Workshop 10: Lorenzo Morganti

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 In Parallel: Workshop 10: Lorenzo Morganti

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Start Location: CAMP, Hafenstraße 76

List of materials: Phone

Footnotes (below the main text)
The workshop focuses on the possible visualisation of the marginal situations below the "main texts" of the crises that we are living in and aims at sheding new light on them through a creative output. The participant will create simple visual outputs of their own made of text and pictures by chosing an outdoor location or object and associating it to a relevant quotation (the "footnote") in order to clarify their concept.

The visuals will be uploaded on a digital folder and organized either in form of a ppt presentation or, according to the budget, as a physical exhibition of the printouts to be held at the venue that will host the display and sharing of the outputs in blended modality (with all the participants online and offline).

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In Parallel: Workshop 9: YuJin LIN + Shiang Yun SHEN

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In Parallel: Workshop 9: YuJin LIN + Shiang Yun SHEN

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Location: CAMP, Hafenstraße 76

List of materials: –

Commoning Music Station

We would like to invite you to recommend a song that could be a piece of music, recorded sound, or even a voice memo.  The sound of your recommendation must be meaningful for your upbringing, culture, or country. We will invite participants to present and share the stories behind the sound piece. Therefore the affection, the feeling, and specific cultural and social backgrounds can be shared, and known as the configuration of cultural fields can be explored as well. After that, we will use the songs shared by participants and the recorded narratives to produce a series of podcast episodes, Commoning Music Station, which opens a platform for further negotiation and dialogues.

The score of Commoning Music Station :

Step 1.

All participants will be arranged in a circle. The radio station is in the center. The interviewee will come in the middle where the DJ station is based.  The sharing sequence is clockwise from the 12 o’clock direction on.

Step 2.

Preparing to answer these questions:

1.     Share a sound with participants. It could be a song or voice etc.

2. Where are you from?

What is the place like?

Please introduce yourself.

3. What is the association between this sound among your cultural and social backgrounds?

4. What image could be conceived from the music?

5. Questions can be extended from the interview.

Step 3.

Ask participants in the circle about their reactions and thoughts on the sound piece, composing a sharing transcultural experience.

Step 4.

When done with the circle, the finale of Commoning Music Station will be played.

A series of podcasts will be produced under the heading, Commoning Music Station.

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Location: CAMP, Hafenstraße 76 + outside

List of materials: –

Review “Scuola di Atene”：Collective Movement Learning

Motivation: Art as education evokes our oppressed experience. Many Chinese students, including us, learned about art from painting as an alternative way to the college entrance examination. It recalled Xiu Xiong's memory that the teacher taught her to draw a perfect circle in a way similar to a mathematical formula. Also, Fangyu Jiang has been dedicating research on how interdisciplinary praxis can propose alternatives ways of learning and communicating.

Concept: The idea comes from the fresco “Scuola di Atene” by Raffaello Sanzio da Urbino, the work was commissioned by Pope Julius II in 16th century. Either from its religious context, composition structure or the references of the historic figures, "Scuola di Atene" conveys the idea that knowledge and academy are divine. The painting is admired and worshipped as if it is knowledge per se and eventually becomes a symbol of the power and hierarchy in arts and education system. A certain performativity in the commission ritual with Raffaello continues in nowadays when thousands of visitors come to visit his masterpiece. Therefore, we would like to propose a movement based participatory workshop, aiming to co-create a collective learning experience; to be held on the front steps of the Murhardsche library（Kassel）to give a "Scuola di Atene" context. We believe that pastiche is a system that links difference with difference through the difference itself; we will find similarity and challenge from imitation, as Gilles Deleuze claims. The body experiment is the most direct and initial approach to transformation and communication.

The goal: The goal is to reflect on the formulaic and sanctified artistic education, create a common ground for knowledge exchanging praxis instead of the traditional knowledge posing/banking education as Paulo Freire described in the pedagogy of the oppressed.

Workshop arrangement: The participants will have a chance to explore the embodiment of their critical thinking with movement or performance-based methods, reviewing "Scuola di Atene" as a starting point. First layer of the workshop we would like to invite the participants to "translate" their statement generated during the summer course into a piece of short movement. Second layer will be sharing the movement with each other through imitation, learning others' movements out of their choices. The next potential layer as a wrap up of the workshop, we will be performing this learning experience to the public and if possible engage the audience into the imitation process.

The performance is expected to be 70-90 minutes.

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.

Location: at ruruhaus, Underground

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76
List of materials: –

Commoning Ear

This workshop uses music in multiple languages as a tool to co-create an imaginary communal building that breaks pre-established western approaches to artistic and educational frameworks. This session will also be a platform that celebrates the inclusivity of cultures in a diverse and creative environment. Participants are invited to think through the unfamiliar languages and their effects by making new connections and relations beyond hegemonic western knowledge systems of value. This workshop challenges the rigidity of the western colonial educational structures by using the state of fluidity and in-betweenness that listening to a song or a spoken word in an unfamiliar language could evoke.

This experiment aims to question the followings; Could listening to an unfamiliar language be used as a method in artistic and educational practices to suggest another way of being, thinking and creating? How can we interact and understand each other beyond understanding a language? What are the processes of creating a common and shared understanding of learning and creating? What are the impacts of shared knowledge beyond educational practices?

In ‘The Stateless Exhibition’, an article on documenta fourteen, Paul B. Preciado (An Apartment on Uranus, 2019) calls for an exhibition that can become a platform for cultural activism. He asks for a nomadic process of collective cooperation without identity or nationality. Preciado argues that the documenta is transitioning, and it is forced to go beyond the ethnocentric narration of modern western history and has to open new forms of democratic actions. This workshop follows the footsteps of what Preciado calls methodologies of experimental, anti-colonial, transfeminist and queer pedagogy. Within these frameworks, we can think together of possibilities of similarities and differences that multiple languages offer us by re-establishing other creative ways of communication.

Step One: Introduction; This workshop uses music in multiple languages to question pre-established western approaches to curatorial and artistic education by making new connections and relations that listening to song or spoken word in an unfamiliar language could evoke.

Step Two: Divide participants into groups of four.

(Steps one and two: 20 minutes)

Step Three: Recorded Iranian music and poetry in Farsi will play. In addition to the playlist, Lumbung Radio, as part of Documenta Fifteen, will be played as it operates in no specific time zones and streams multiple languages, music and art.

Step Four: Participants are invited to respond to the unfamiliar languages and their effects and experiment with free-form, nonrestrictive writing practices.

(Steps three and four: 60 minutes)

10 minutes break

Step Five: Sharing thoughts, ideas and feedback in a roundtable discussion. (60 minutes)

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Location: CAMP, Hafenstraße 76 + outside
List of materials: –

Dis-placing and Re-placing Material Constraints

The workshop holds a central concern based on the relationship between object, space, and experience. It examines the ability of materiality to extend notions of time, space, process, or participation. The session as a research space with the property of initiating and instrumentalizing participation as an artistic / knowledge process. This space of action and interventions investigates how shared experience, artistic gestures, material knowledge and situated practice can help to articulate a new spatial discourse.

A cartographic research approach is used in the workshop, which involves walking through Kassel to record the relationship between object, space, and experience. Participates will engage in local fieldwork of visual mapping activities, which include re-arranging found objects (e.g., a discarded Amazon box, found sweater, a shoebox, etc.) and photographing the reassembled object within its space. A simple modification, as placing the found sweater on a park bench, the found sweater is no longer a lost object. Using photography chronicles the reworked object and its space. The images will be uploaded online as part of a digital archive (Padlet).

Reworking the found object sets out to demonstrate the ability to transport the observer beyond the simple and immediate formal perception of the object as an observed element.

The reassembled / re-displayed object and site portrays fragments of their former selves as a fusion of immaterial / material elements that are mapped and archived. As a result, the mapping and archive become a new reference point in ascertaining how ephemeral space defines a new experience by looking at how the found object and space present alternative narratives. In this context, documentation is used to illustrate the narrative of this new spatial dialect that appears. Furthermore, the visual recording, mapping, and uploading expands the site into a hybrid space. This expanded space frames the interactions / experience, the memory of place as a metamorphosis highlighting the contrast between material object, space, and experience.

Using this practice-based workshop to explore the boundaries between abstraction and representation, I ask the question, “What new knowledge / shared experience has this produced? I consider this workshop in a way of engaging with the object, space that unfolds an ephemeral space of shared experienced. This approach presents theoretical paradigms that extend and reformulate preceding ones to communicate something that is not only about the explicit external condition of space.

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Public Talk: Public Movement / Dana Yahalomi

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Public Talk: Public Movement / Dana Yahalomi

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Choreographic Knowledge

Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement’s working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Location: at ruruhaus, Underground

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76
List of materials: Text openly available online: https://freefairandalive.org/read-it/#4

Reenacting and Redefining Public Discussions about Art

What is the role of the public when we talk about artistic and curatorial education? Learning processes should be as inclusive as possible, and they are often aimed at a wide audience but fail to reach beyond art communities or participants already well familiar with contemporary art. The workshop will collectively read discussions about art that actively sought to engage a public audience unfamiliar with contemporary art. Transcripts by art historians Max Imdahl and Claire Bishop as well as artists Joseph Beuys and the Stars Group will be read collectively and performatively as a reenactment. Goals were not only to teach artistic practices but to create a mutual knowledge exchange. Understanding art in its socio-political embeddedness, interactions were (supposed to be) open and the public could share ideas and knowledge as much as the experts did.

Public discussions are one approach to make voices known that often remain unheard. Artists, scholars, and curators instigate such discussions and need to anticipate what people want to learn and share. They need to know how to engage them, create a bridge between art theories and the audience’s knowledge and interests, and how and where to meet them.

The repetition of rereading and reenacting as a group goes beyond a comprehension of historical documents. It is a challenge on how we can learn from good and bad practices in the past to create new discussion formats. Reading and discussing historical debates collectively highlights their formats, settings, and contents. Public discussions are seen in their textual as well as performative aspects. Collective reading is a practice-based approach about conversation. Going further from comprehending the meaning and intention of one author, it is about debating several texts collectively and dialectically.

Transcripts

Four text excerpts will be read:

(1) Max Imdahl’s discussion with workers from the Bayerwerk Leverkusen in Germany in 1982. As a professor of art history, Imdahl debated his concept of visual epistemology. He showed paintings from Josef Albers and Max Bill by asking about the composition of the painting to developing potential interpretations. Imdahl and the workers are in a constant back and forth to discuss the meanings of the fourth dimension, artist hood, and imagination.

(2) Claire Bishop’s interviews with participants of an art intervention in 2010. Bishop went to the Bijlmer neighbourhood in Amsterdam to ask workers about their participation in a Thomas Hirschhorn performance. Her questions are formulated broadly to encourage interviewees to talk about topics in length. Compared to Imdahl, the participants have more time to elaborate but the structure follows a Q&A interview rather than an active exchange.

(3) Joseph Beuys’ public discussion at Museum of Modern Art, New York. Beuys invited anyone interested to a public debate on his concept of social sculpture. He sought to actively engage the audience and was a leading figure in early socially engaged art. Nevertheless, the debate had the structure of a lecture in many ways that only partly fulfilled Beuys’ concept.

(4) The Stars Group public forum in Beijing. The members of the stars group often had no formal training as artists. They held many discussions within their group to discuss the responsibility of contemporary art and how the Chinese art scene should respond to the influence of Western art. During an exhibition that was held in a park outside of the Beijing National Art Museum, they opened their conversations to the public.

Although I have already made this selection of material, I am open for suggestions from workshop participants and the reading list may change prior to the workshop.

Workshop

We are going to read public discussions about art collectively.

Discussions held in factories, parks, on the streets, in museums…

Online and offline

Re-enacting narratives of the “Fine Arts”

Re-enacting artistic practices and local knowledge

(1) Select a paper, find your group and your role within it

(2) Read the text, look at the images, discuss within group

(3) In 30 min, we will read the texts aloud to one another

(4) Finally, let us have a discussion about art and the public. Write down your thoughts and think about questions. You can use the questionnaire as a guidance.

Questionnaire

(1) In which public spheres can discussions take place? What public

sphere would you like a discussion about art to take place?

(2) Choose a quote that you particularly dislike or like.

(3) Do you remember a discussion about art vividly--in public or in

private--that was not recorded or written down?

(4) Consider your earliest experiences of art. Try to recall your

emotions. Do you see a relation to your personal background?

Detailed Workshop Instructions

• Participants choose a [number, colour] when entering the room and divide into groups.

There are four groups by theme related to public discussion about art (open forum,

online/offline, interview, instruction) (10 min)

• Short introduction to texts and themes and check if everyone is ok with their roles. (10

min)

• Reading of texts and discussion within groups (30 min)

• Collective reading of texts (30 min)

• Short break (10 min)

• Discussion (60 min)

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Public Talk: Sandy Hsiu-chih Lo & Hongjohn Lin

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Public Talk: Sandy Hsiu-chih Lo & Hongjohn Lin

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https://www.curating.org/commoning-curatorial-and-artistic-education/

"Multiple Heterogeneous Alliances and Endosymbiosis"

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen “Lumbung” is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the “Lumbung” strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

We affirm the values of hybridity from the ethics of sharing and co-working as the politics of alliance that each group understands under the principle of equality in demonstrating local knowledge upheld by each group and respecting the irreducible heterogeneity of singularities.

Location: Fridericanum (GUDSKUL Area)

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: Reflecting Point Hallenbad Ost (to be confirmed)
Materials: Participants do not need to bring anything (submissions/contributions to be determined in advance)

Towards a Pedagogy of Autonormativity

The proposed framework for this workshop is a pedagogy of autonormativity. A pedagogy of autonormativity attempts to counteract, and, indeed, decolonize “hylomorphic” approaches to education that are underpinned by a mere transfer of “facts”, similar to the application of form to allegedly inert and “transparent” matter, as is characteristic of Eurocentric genealogies of creation. Autonormativity, in the Simondonian sense, is a generative normativity that is embedded in a process out of which it, in turn, emerges and regenerates. It is localized, inseparable from process and not preexistent: “the norm is derived from the act”. It can, thus, be a shared pedagogy that is autogenetic and self-organizing and, thus, a pedagogy of community, commons, care, and, in particular, one of marginality. Using an architectural analogy and emphasizing ontogenetic becoming over fact-imposition, it prioritizes notions of growing and emergence over those of building. Ultimately, the assumption is that a pedagogy of autonormativity is closely connected to a pedagogy of immanence, in the Spinozist sense: We do not know what education is, nor do we know yet what it can do; only through the act of engaging in it can it emerge. Pedagogy could then be conceived as being underpinned by a third kind of knowledge, which, for Spinoza, is intuition as the divine perspective of knowing everything all at once. This workshop proposes to rethink this third kind of knowledge, that is intuition, through a radical empiricist lens: when the divine becomes the common, constitutive relationality, encompassing the human and more-than-human, becomes an indispensable strategy. Might this be one way of approaching commoning, or, shall we say, composting?

On the basis of a set of key concepts such as listening (decoding, transcription, decipherment, translating…), becoming, growth (or de-growth), and ethics, the proposition is for us to come together as “helpmates to emergence” (Kousoulas); a concept that is, likewise, proposed as a possible role of the teacher in a more general sense but might well also find application in curatorial and artistic practices.

Participants are invited to share a “process”: an object that changes over time, a perishable materiality, an exchange, a memory or thought, a performance, a gesture, writing, sound, a video, voice(s), a conversation, an encounter, an identity, a relationship, code, a system, an ecology..., which might have been gathered or identified over the previous couple of days in workshops, lectures or the context of documenta as a whole but could just as well emerge out of any other context. This process should not be explained (except for, perhaps, some technical details) or justified. Rather, can we regard it as a proposition whose decipherment could reveal the ethics of its coming-into-being, and the multiplicity of forces and beings that it depends on and that, likewise, depend on it?

The respective author (individual or group) is invited to share their thoughts first and we will then let the dynamics of all participants’ input unfold for 10 minutes each. Optional: On the assumption that all participants agree, each session will be recorded (audio only) and later transcribed for a small publication (or a contribution to a potential larger publication).

According to the current schedule we will have room/time for three online submissions and nine proposals physically on-site. We can plan and schedule those ahead of the workshop.

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Location: CAMP, Hafenstraße 76
List of materials:
Any painting materials you like to use, such as paper and pencil, watercolour, ipad and apple pencil etc.

Depicting experience and emotions in images

This workshop includes two parts.

Part 1 – 30 minutes

I will share my PhD research and then introduce Visual Metaphor Theory (El Rafie, 2019) and show how I applied it in my illustration practice.

The we will have a short break to prepare for painting practice.

Part2 – about 70 minutes

You will be given 20 mins to try to draw your feelings or emotions. Then you need to upload your work on Padlet and will be divided into small groups to share your ideas with others (15 mins).

After this, I will invite few participants to share your work with all the people and give feedback (from me/others).

At the end, we will discuss: How do you think visual metaphor theory can be applied in your work? Also, I would like to hear your feedback to this workshop/ my research/ anything related to this workshop.

Reference:

El Refaie, E. (2019). Visual metaphor and embodiment in graphic illness narratives. Oxford: Oxford University Press.https://oxford.universitypressscholarship.com/view/10.1093/oso/9780190678173.001.0001/oso-9780190678173

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Public Talk: Dagmar Pelger & Jörg Stollmann

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Public Talk: Dagmar Pelger & Jörg Stollmann

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https://www.curating.org/commoning-curatorial-and-artistic-education/

From the Struggles for Common Land to the Struggles for Spatial Commons.

As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Location: ruruhaus, Underground

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76
List of materials:
-    black boards/white boards / large piezes of paper

-    Amount depends on group size (if we split into groups of 3-4, then each group needs to have access to one white board or large piece of paper)

-    A variety of markers, possibly post-its

Care as Method - Exploring Curatorial Support Structures

The workshop begins with an input by the workshop facilitator which departs from an outline of feminist social reproduction theory, then revisits the etymological root of curating and examines how curatorial labor, like carework, is a highly feminized, invisible, and precarious practice. Building on the discourse of curating-as-care, the curatorial platform CARE (curated by Sascia Bailer in 2019/20 at M.1 in rural Northern Germany) is presented as a “case study”. This site-specific, relational project invites the participants to test how care, in such instances, does not only serves as a theme but can be regarded as a curatorial method to build “caring infrastructures” for the various participants and collaborators.

Through discussions, group works, and possibly collective readings the participants will examine and challenge the “implications of care” for artistic and curatorial practices. In guided exercises, they will be asked to develop concepts/principles/strategies on how to enact “care as method” in their own curatorial practices.

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Location: CAMP, Hafenstraße 76
List of materials: -

Non-exclusive: The common within knowledge cultures

Introduction (30 min)

•    Brief outline of the concept of design as a knowledge culture, based on Claudia Mareis’ text Design als Wissenskultur – ca. 10 min

•    Giving an example for different modes of knowledge, emotional practical and analytical theoretical by a readout of Roland Barthes’ Camera Lucida, Part 1 and Part 2 – ca. 10 min

•    Giving an example of implicit knowledge by discussing Levi Jackman Foster’s Follow – ca. 5 min

•    Closing with emphasizing on Barthes‘ concept of studium and punctum and its relation to practical knowledge cultures – ca. 5 min

Exercise (100 min)

Within Camera Lucida, a central concept Roland Barthes introduces is that of studium and punctum. He discusses, how these two elements are at the core of visual perception (and therefore practical knowledge creation through the visible). The studium indicates a shared, cultural understanding of the visible whilst the punctum describes an individual visible element, which dictates the personal perception. Whilst the punctum produces emotional, individual knowledge that we feel and experience, the studium makes us understand the general narrative, a possible punctum might be part of. Based on the Barthes‘ concept of studium and punctum, we want to explore practical knowledge cultures a little bit further:

Step 1: Choose a visual. This example, might be a photography, a graphic or even an object - it should be though something, that holds elements which speak to you specifically. It of course may come from your own praxis, but as well is very welcome to be taken from places of general inspiration or research.

Step 2: Interpret the concept of the studium and punctum. Where do you experience elements of studium and punctumwithin your example? What is the shared cultural understanding and knowledge in your visual, and what is the emotional knowledge, you personally are taking out of the individual perception of the visible.

Step 3: Discuss & express your thoughts. Following questions are just an inspiration of what might be of interest, though don’t need to be followed: What kind of knowledge did you take out of the studium and what kind of knowledge did you take out of the punctum? How does this knowledge differ to traditional knowledge cultures as humanities & natural sciences? What is the potential of this culture of knowledge? What are the implications for the producers of this knowledge culture, based on your thoughts?

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Start Location: CAMP, Hafenstraße 76 and outside

List of materials: preparation: please wear comfortable clothes for dancing and bring one pen.

Ways of Dancing
This workshop combines the elements of creative dance and contact improvisation, and  is designed for people with different backgrounds.Through the guidance of the instructor, participants can use their imagination to develop their own dance movements. They can both explore the possibilities of their body, and dance freely without limitation.

This workshop is split into two parts. In the first part, the participants will observe the shape and the texture of the plants brought by the instructor, and create movements according to it. The second part involves collaboration, people have to dance in pairs and pay attention to each other while dancing.

preparation: please wear comfortable clothes for dancing and bring one pen.

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Location: CAMP, Hafenstraße 76

List of materials: –

COMMUSICATION
Experiencing, Composing, Telling

My proposal is to start the workshop (3H) with a personal song from every participant. This song represents an experience which says something about the person, a culture, or a lesson. This can be a recording, sheet music, a clip or by reciting.

Through some exercises, well curated by me through years of experience using music and sound in my work with different people, I introduce sound as a language. I incorporate the input of the group, by the methods of improvisation and repetition, thus creating a new and known ‘simple’ language.

The next step of this workshop will be a short glance on (un)conventional notation styles, focusing on composing sound in various ways, inspired by works of David Tudor and others.

After the participants are familiar with using sound as a simple way to communicate, the workshop continues by exchanging the personal songs within small groups.

Within these small groups, the challenge is to use the song to exchange the feeling, the experience (person, culture, lesson, etc.) through the exercises earlier provided.

The last step is to compose the experiences felt and shared by the participants by experimenting with notation styles made their own.

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What will be the outcome?

Learning to share experiences using sound, we can learn things from each other that cannot be learned by conventional ways of communicating. Sound can break language barriers, provoke emotions, and be captured in various ways. At the start of my master, we were asked to make one page about ourselves using text and pictures. With this workshop, I would like to collect the notations about the experiences shared through music as a new way of telling, learning, and remembering about each other.

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Mon 4 July: Jeanne van Heeswijk

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to “radicalize the local”. Her long-scale community-embedded projects question art’s autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Location: ruruhaus, Underground

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76

List of materials: Projector, HDMI cable.

Brief stories of hyginesim, curating sanity.

Colonial looting practices are not only intertwined with the advent of ‘white-cubing’, but wider representation of what’s civilized, western and sane, even modern, whereas the sick, monstrous and othered are taxonomized under carcereal displays of subjugation, spectacularization and too often criminalization. Contemporary art’s clinical aesthetics are parallel and paramount of such processes of cleansing, isolation and alienation.

Yet, commoning back after years of lockdowns prompted by a pandemic allows for a timely scrutiny of the forms and functions of western individualization. Discussing both the idea of ‘safe space’ —which has become widespread in grassroot feminist, black liberation and LGBTQIA+ movements— and its potential to become a blueprint (but not a protocol) for new social fabrics where coexistence, accountability and responsibility allow for difference without tokenizing, standarizing or patronizing otherness as that which cannot be named and foreseen. Embracing ferality and so-called ‘un-learning’, stressing the notion that there’s more to be known by freeing our gaze instead of educating it, opponents of systemic education such as John Holt have gone as far as to say “[...] schools now seem the most authoritarian and dangerous of all the civil inventions of mankind. They are the deepest pillars of the modern slave state, in which most people feel themselves to be nothing but producers, consumers, spectators, and fans, driven in all parts of their lives, by greed, envy, and fear. My concern is not to improve 'education' but to do away with it, to end the ugly and antihuman business of people-shaping and to allow and help people to shape themselves.”

These foucauldian resonances are heavily ecoed by the theories of sexualized production and reproduction of Silvia Federici, Teresa de Lauretis, Rosi Braidoti, Judith Butler, Paul B. Preciado or Donna Haraway, among others, all whom have had a defining impact in the arts of the last decades. This workshop aims to provide a brief history of the invention of public health, along museums and humanism as foundational institutions of capitalism. Moreover, it provides a space as a gathering place for participants to share their anecdotes, connect their strategies and voice their concerns when it comes to navigating these scripted landscapes. Furthermore, it invites everyone to recognize their agency in enacting or dismantling these violences we are all entangled within, through an uncomfortable yet rewarding conversation about the role of representation and its technologies to fabricate realities but also possibilities. The commons at Fridericianum, whose function has shifted from early museum-ized wunderkammer to Germany's first parliament to today’s foremost enclave for the emergence of new cultural ideations serves as tangible testimony of such overlaps. The inherent power of occidental ruins to be repurposed —in the most cyberpunk ways— as sites of revolutionary imagination has likewise been proven in other sites across Kassel in the numerous iterations of the quinquennial exhibition it hosts, such as Renthof, Museum für Sepulkralkultur, Torwache, Wilhelmshöhe Castle, Orangerie, Elisabethhospital, Spohrstr. 7 Tax office, Gedenkstätte Breitenau, Stadtmuseum, Glass Pavilions on Kurt-​Schumacher-Straße, Kulturfabrik Salzmann, Hübner areal warehouses or Henschel-​Hallen.

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Meeting Location to make the guide: ruruHaus

List of materials: Paper and pencil for each attendee, access to a digital device (phone, tablet etc.)Access to a collaborative Padlet for all students.

An Experimental Exhibition Guide

To construct an experimental exhibition guide, based on our shared experiences of the exhibition. Students will spend time walking through the exhibition thinking of ideas or thoughts (songs to listen too, a picnic to have by a work, interviews with visitors, personal stories, drawings etc.) that come to mind whilst seeing different works, then we will come back together to create the guide. The guide should take form in an experimental manner, including things unexpected within an exhibition guide such as playlists, notes on interesting things throughout Kasel. It does not directly have to represent the exhibition as a whole but rather what interested each student through being there, whether that was the exhibition or something entirely different. I imagine this should take half a day at most.

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Workshop 22: Tanya Abraham / Maayan Sheleff

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Workshop 22: Tanya Abraham / Maayan Sheleff

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Start Location: CAMP, Hafenstraße 76 or ruruHaus?

List of materials: –

Untitled (Re- Curating Documenta)

The workshop will “re- curate” the Documenta as an embodied experience, situated in the personal knowledges of the workshop participants. It will treat the curatorial choices and texts of Ruangrupa and their associates as raw materials, in reflection of their concept of Lumbung as a common space to share ideas and (hi)stories. By adding layers of meaning and offering possibilities of interpretation, the workshop will communize the curatorial act further than its own intentions; it will question whether any curatorial narrative is inherently hierarchical and accumulate into an archive of collective and alternative curatorial readings.

The workshop participants will be asked to choose in advance one of the works presented as part of the Documenta. The choices will produce an impromptu route, which the workshop participants will follow and walk through together during the workshop. Stopping next to every chosen work, the participant who chose it will tell her or his own personal alternative version of a curatorial text (prewritten or improvised as they choose). The text could be anything from a personal memory to a comment, a quote, a critique or an alternative explanation.

The spoken text will be recorded and posted online. The audience of the exhibition will later be able to access these voices with QR codes. The recordings will also be accessible to anyone online who could not physically attend the exhibition.

Workshop format: collectively guided tour and a Digital Platform

stages

• Participants- Preselect works, (plus write texts- optional)

• Tanya and Maayan prepare a walking route of the selected works

• Workshop time- walk through and speak the texts, record speaking with phones and

take a picture of the work

• After workshop- Participants send audio files to Maayan and Tanya who upload them to

YouTube/ Vimeo with the cover picture of the work, and produce QR codes

• QR codes printed on stickers and placed next to the artworks

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Public Talk: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB,  Bangkok 2021)

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Public Talk: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB,  Bangkok 2021)

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Not (quite) your Utopia: On the ideological flexibility of the common(s)

Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand’s authoritarian, late capitalist context. Ariane and Lara’s contributions are informed by their experience with organizing the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organizing in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organizing next to the state and the market. However, experience suggests that this third domain of the common is not inherently ‘good’ or ‘inclusive’. Instead, we argue that the common is ‘ideologically flexible’, as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organizer behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Location: CAMP, Hafenstraße 76

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Public Talk: Jennifer Deger (FERAL ATLAS)

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Public Talk: Jennifer Deger (FERAL ATLAS)

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Collaborative formations: the Feral Atlas Experiment

Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities?

Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice—without imposing hierarchies of value and truth from afar.

Location: CAMP, Hafenstraße 76

# data[].attributes.attachment_link.readable_text
Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Workshop 21: Christine Ellison + Erato Tzavara

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Workshop 21: Christine Ellison + Erato Tzavara

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Location: CAMP, Hafenstraße 76

List of materials: –

Please read this in preparation of the workshop
https://uxdesign.cc/user-interface-or-the-placeless-spaces-331c7408d2ba

When did scroll lose its roll?

A performative workshop in which we deconstruct and embody the graphical icons of screen interfaces to critically expose the collective conditioning of these normative cultural systems. The workshop will use discussion, drawing and movement to to engage critical questions around screen interfaces and their conditioning qualities.

Context:

We have been developing an interdisciplinary methodology across interaction design, socially-engaged practice and performance art that draws on the forms and concepts of avant-garde scores to open up critical discourse around the graphical user interface (GUI) -the system of visual icons that enables us to use most digital devices.

The post-digital promises seamless movement between analogue and digital environments. This industry drive towards an effortless user experience makes us blind to the pervasive conditioning of the GUI, currently the normative framework that mediates our (learning) experiences. Through the increasingly ubiquitous GUI we can engage in a multiplicity of functions while our bodies remain almost motionless.

This research asserts the body as central to an investigation of interactive concepts. We argue that the interfaces of our digital devices collapse the distinction between instruction and action in a similar way to experimental performance scores. There is a suggestion of control and agency for the user but the framework is already in place, which, arguably, conditions characteristics of interaction and modes of engagement.

Research Questions:

How can avant-garde scores helps us to critically examine the GUI?

What can we learn through a deconstruction of the GUI and embodiment of its parts?

Aim of this workshop: To collate, deconstruct and re-imagine selected icons from screen interfaces through a series of collaborative activities that enables us to map, and record, individual and shared experiences of the GUI.

Objective:

In this workshop we will consider the GUI as a ubiquitous system -a shared language that enables us to interact. We will use discussion, drawing and movement exercises to engage critical questions around screen interfaces and their conditioning qualities. The ubiquitous GUI becomes a ‘commoning’ tool and point of departure from which to generate alternative forms of interaction.

Methods:

A series of common commands from the interface will be collated through discussion and then interrogated using drawing and movement exercises. Informed by techniques (collaborative exercises and graphic scores) in the experimental handbook for educators, Projects in Sound, by Brian Dennis (1970) as well as the formats and concepts of Fluxus’ Fluxyearbox (1 and 2), we will examine the ‘everydayness’ or common conceptions* of GUI symbols and words. The body is central to the examination. We will use somatic-based exercises to embody commands/icons and to consider how such abstract concepts may influence our physical interaction with space and our perception of time.

Outcome:

We will work towards a collection of visual icons, interpretations and happenings (performative moments), recorded through drawing, text and video.

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A particular book I enjoyed recently is The Spell of the Sensuous by philosopher David Abrams. As an ethnographer, philosopher of phenomenology, academic and writer, Abrams took off during the 1990s to pursue oral cultures and the shaman-mediated relations that those peoples have with nature.

The author lays out a poetic genealogy of how humans have come from an oral culture to a textual culture. From his direct observations and interactions, we find that oral cultures have a deep sense of place. For instance, he recounts Aboriginal oral practices, introducing many concepts, one of which is a topology of time.

For these people, different places on the earth have particular sets of memories intertwined with the events that have happened in their distant past and may be predictive of what could occur again in the future. For example, a cultural tale that indicates a mountain is where a giant lizard is asleep, covered in dirt. This fantastic imagery is indicative of the space. And when retelling about the "giant lizard's mountain" everyone in a vast community would have a shared understanding of the space.

As well, there would be a dialectic involved with the retelling and performance of these stories. Whether it is the birthplace of famous community members, epic battles, or other significant events - if they occurred on the giant lizard mountain, then the place would gain a sense of character, that is dynamic with the way the community interprets the events and peoples who interact with that space.

So how is this a topology of time?

First, forget everything you understand to be true about the linear nature of time. Forget that time is an account of causes and effects. Forget that time is a flow. Forget that time is something constantly becoming. Not so easy, is it?

Now imagine that you move on foot. You have a strong sense of your ancestors and the events that they engaged in their lifetimes. Imagine you know exactly where every major event occurred. Each time you revisit that space you are struck by the deep sense of everything that happened there. Like a haunted house or a Greek monument, you have a sense of awe at the power of what these places meant, what they currently feel to you, and how you believe they relate to what could become.

It isn't all that hard if we think in terms of our own lives. Think of how you feel when you stumble across a place you had a romantic encounter with a lover from your past. You may have even forgotten about that person or the moment, however it is something about once again happening upon that place that sparks the moment. It brings the feelings, the jealousy, embarrassment, ecstasy, hope, and everything else that comes with intense, short-lived experiences. And the place suddenly has an aura that radiates. You may even find yourself with a smile across your face - or a brief heartache. This place has a memory that you are engaging with, and it exists in time, though it is not the present. No, it is the past that has been made present to you, in this moment. Time has a topology.

And yet, Abrams goes forward.

We are no longer this oral culture, relating stories of places, being consistently reminded of the rich, deep experiences of the cultures surrounding us from the past, and the way we feel the space around us will be enacted upon in the future. We are no longer a people of omens. But why?

"Once the stories are written down, however, the visible text becomes the primary mnemonic activator of the spoken stories - the inked traces left by the pen as it traverses the page replacing the earthly traces left by the animals, and by one's ancestors, in their interaction with the local land." (p. 183, author's original italics).

Once the concept of place has been removed from those who have experienced it, or recount it, or from the residual memory of the land itself, then the power of imagination is located within our own minds. The earth is removed from the scenario. It is no longer that we interacted, strove for power, begged for mercy, suffered, or celebrated in the midst of nature. Rather, we create stories of humans doing things through a story arch, written down. When we read we conceptualize a beginning, end, some details we can gleam from the text, but the vast majority of the stories are filled in by our own imagination. And our imagination is supplied by the experiences we have in our own revisionist memories.

If we are abstracted and removed from our sense of things occurring in a real place, then,

"...place is forgotten, superseded by a new, abstract notion of "space" as a homogeneous and placeless void."(p. 184)

We can easily imagine how science and other abstracted ways of meaning-making thrive under these conditions. We desire a clean, universal way to categorize, predict, judge, and conceptualize how the universe works. And it has lead us to amazing accomplishments. It has also removed us from our sense of belonging in the world.

Abrams makes explicit that the act of reading and writing,

"...as a highly concentrated form of participation, displaces the older participation between the human senses and the earthly terrain (effectively freeing the human intention from the direct dictates of the land)."

As well as,

"...writing down the ancestral stories disengages them from particular places."(p. 185)

As the author suggests, the abstraction of space, then, is more relatable than the idea of a specific place. The recalling of mundane things are not as powerful as projecting and ideating upon what could be. Time is no longer something that is connected to the cycle of breathing and the different scents of the seasons; it is something that can be calculated, made more efficient, and conquered.

No. I mean to illustrate a particular aspect of the reality we live in. We desire efficiency, we displace memories for safekeeping within the magic of written text. We design by means of controlling time and our ability to abstract and project possible solutions and problem-spacing.

But where are we going? And should we proceed with caution? What can the remaining oral cultures teach us about relating to the very physicality of the earth and to one another? What might it mean to rethink what it means to be human, instead of constantly attempting to push the boundaries of our own corporeal existence. Instead of going straight through catastrophes, how can we learn to feel the places around us, respect them, and change our behavior to honor them?

Perhaps, as interaction designers, we can start through an implicit cognitive behavioral approach. We flood the world with new and inventive User Interfaces. Sure, there is ubiquitous computing, but now there is ubiquitous screening. We see the world through blogs, Twitter feeds, Facebook posts, and the jealousy-imbuing travel photos of Instagram. And we are competing. We are making more.

We do so to make use of ourselves, and to prove to ourselves how we can create and push our abilities, even influence others on a massive scale.

We can think of it this way: Designing UIs is the act of writing visual books that carry the physical weight of a smartphone, and encapsulate the libraries of the world.

And how might these screens, which we have externalized, become implicitly internalized? It is not too far to imagine that the UX/UI style of presenting a floating, flat screen, with a feathered drop-shadow is a mistake that we just happened upon. I do not think it is too far to hypothesize that as a people who view screens for hours upon a day, we would be inspired to create things we align with or have interalized.

If we want to go somewhere we no longer think of the stories of our parents and grandparents, and wander the trails or roadways which would bring us there, recounting along the way the places that hold meaning interspersing our thoughts. No. We look up good maps. Where the the least traffic? What has the fastest route? What music should I listen to? We are adept at finding ways to remove us from the immediate place that surrounds us, and escaping to a space of distraction, contemplation, or somewhere in between.

Can we be brave enough to re-imagine the way it is good to be human, entrenched in a place. Can we learn to cultivate stories and share our feelings and re-establish relationships with the world in our immediate presence?

Or will we picture our world as a blank canvas, ready to be painted and decorated with screens? White, with black text, inviting us to remove our selves in the moment, lost in thought.

In a computer-mediated world, how might we be reminded to design such that humans mediate a relationship once again to the earth and to our own subject, and to one another?
We must recognize the current lens we have created for ourselves in order to see through our placeless spaces.

Illustration by Author

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User Interface - or the placeless spaces

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A particular book I enjoyed recently is The Spell of the Sensuous by philosopher David Abrams. As an ethnographer, philosopher of phenomenology, academic and writer, Abrams took off during the 1990s to pursue oral cultures and the shaman-mediated relations that those peoples have with nature.

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Listening and Collaborative Practice

This workshop investigates conditions that support collaborative work, proposing ‘collective listening’ as a methodological framework to facilitate creative work in community settings. Through the session, we will test a series of protocols that aim to stimulate criticality, acknowledge different hearings and facilitate the exchange of cultural references.

Workshop participants are invited to bring ‘found sounds’ - recordings made using smartphones around documenta fifteen - for examination by the group, and critically reflect on these sound objects. Participants will consider their positionality in their interpretations and aesthetic preferences, laying the foundations for collaborative working. Following this, the group will be set a creative task to collectively negotiate a group aesthetic for a ‘playlist’ that responds to a topic of shared interest within documenta fifteen.

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Workshop 5: Christopher Kriese + Sabine Harbeke (online)

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Workshop 5: Christopher Kriese + Sabine Harbeke (online)

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Location: CAMP, Hafenstraße 76
List of materials: -

Commoning your research

In this workshop, we will be commoning different ideas and using artistic methods to reflect, rework and unlearn everyone's approach to their research work and their investigation. Revolving around the different research fields and interests we will use several practices out of the methodology of “principles of embodied democracy” and experience the advantage of shared experiences, embodied knowledge, and swarm intelligence.

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Dada Trials to facial recognition

From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Location: CAMP, Hafenstraße 76

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Workshop 19: Tony Maslić, Kay Mei Ling Beadman, Christine M. Kaiser, Michael Leung, Megan Olinger

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Workshop 19: Tony Maslić, Kay Mei Ling Beadman, Christine M. Kaiser, Michael Leung, Megan Olinger

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Location: CAMP, Hafenstraße 76

Participants: If you are attending in person, please bring an object (see Score below).

Until 27th of June: If you are attending by zoom, please send an image of your object to: backpack05@protonmail.com and bring the object to the zoom.

Score: Backpack 0.5

We ask you to bring an object that you would take with you if you had to leave your home, your community, your known surroundings in urgent circumstances. It might symbolise an emotional attachment or bear witness to something that could vanish irretrievably if left behind.

Before the workshop, your object will be put into a single collective backpack and used to facilitate discussions around need, care and sustenance. At the end of the workshop we will collectively decide what happens to the backpack.

Backpack 0.5 envisages a collaboration with practitioners in multiple locations, online and face-to-face. This workshop is primarily based on the unplannable and focuses on the discussion around disruption scenarios. It will be facilitated by a group of curators, artists, researchers and academics.

Reading List

Ursula Le Guin, The Carrier Bag Theory of Fiction, 1986

Harney and Moten, The Undercommons: Fugitive Planning & Black Study, 2013, pp.103…

Yun Guo, Xiaotian Li & (translated by Elaine W. HO), Soeng Joeng Toi: opening fissures towards a platform and a bridge, Inter-Asia Cultural Studies, 19:3, pp.494-504, 2018

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Location: Hübner areal
Participants in the summer school + ca. 10 sobat sobat

List of materials: Printed out maps of the venue, nametags and numbers (tape, markers), 10 bags with questions to start the conversation, material for harvesting (at least: sheets of paper, markers)

Do you want to be my friend? Harvesting with sobat-sobat

We will meet with volunteers from the sobat-sobat, the mediators of documenta fifteen (sobat = Indonesian for friend, companion, sobat-sobat is the plural). The sobat-sobat and the participants will be numbered, they will be given a map of Hübner areal with numbered stations, a bag with prompts and material for harvesting the sessions. Group 1 will follow sobat 1 to station 1, group 2 will follow sobat 2 to station 2, etc. There, they will start a conversation about the respective practices by drawing the prompts from the bags. After 45 mins, group 1 will move to sobat 2, group 2 to sobat 3, etc. After 45 mins, we meet all again at the entrance to collect the harvesting.

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Dinner at Schindelhaus at 7pm
Adress: Mönckebergstraße 46, 34125 Kassel

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Location: Hübner areal

Participants in the summer school + ca. 10 sobat sobat

List of materials: Printed out maps of the venue, nametags and numbers (tape, markers), 10 bags with questions to start the conversation, material for harvesting (at least: sheets of paper, markers)–

Do you want to be my friend? Harvesting with sobat-sobat

We will meet with volunteers from the sobat-sobat, the mediators of documenta fifteen (sobat = Indonesian for friend, companion, sobat-sobat is the plural). The sobat-sobat and the participants will be numbered, they will be given a map of Hübner areal with numbered stations, a bag with prompts and material for harvesting the sessions. Group 1 will follow sobat 1 to station 1, group 2 will follow sobat 2 to station 2, etc. There, they will start a conversation about the respective practices by drawing the prompts from the bags. After 45 mins, group 1 will move to sobat 2, group 2 to sobat 3, etc. After 45 mins, we meet all again at the entrance to collect the harvesting.

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Public Talk: COMMON VIEWS, David Behar Perahia & Dan Farberoff

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Public Talk: COMMON VIEWS, David Behar Perahia & Dan Farberoff

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

Location: CAMP, Hafenstraße 76

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
Please register here for online attendance.

What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
Please register here for online attendance.

Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
Please register here for online attendance.
Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
Please register here for online attendance.
Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
Please register here for online attendance.
Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
Please register here for online attendance.
Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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https://www.curating.org/commoning-curatorial-and-artistic-education/

Inclusionary Effects

The talk’s starting point is curator and theorist Stephanie Bertrand’s observation that “curating’s inclusionary effects create a shortcut between cultural inclusion and social inclusion”. Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art’s relationship with speculation is discussed, bringing in the concept of ‘leveraging’ as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Location: CAMP, Hafenstraße 76

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Curating on the move

Commoning Curatorial and Artistic Education

Summer School and Public Talk series
23 June - 7 July 2022
at CAMP notes on education, documenta fifteen, Kassel, Germany

A format of the cooperation platform Shared Campus
www.zhdk.ch/en/international/shared-campus

Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK)
with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

In Cooperation with
- the Postgraduate Programme in Curating, ZHdK: www.curating.org
- publication platform Oncurating.org: www.oncurating.org
- the PhD in Practice in Curating, Practice-Based Doctoral Programme,University of Reading
- Artis

Summer School
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Public Talks
Additionally the Summer School will organise a public talk each day, at 1pm CET in hybrid form.
If not otherwise declared, the talks will be in the spaces of CAMP notes on education, Hafenstraße 76, Kassel, 2nd floor.
You will find a detailed schedule below.

Thu 23 June: Hammad Nasar
Please register for online attendance.

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff
Please register for online attendance.

Sat 25 June: Jennifer Deger (FERAL ATLAS)
Please register for online attendance.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin
Location: GUDSKUL Area, Fridericianum Please register for online attendance.

Mon 27 June: Gilly Karjevsky (Floating University)
Location: Rotunde, Fridericianum
Please register for online attendance.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics)
Please register for online attendance.

Wed 29 June: Speculations on Funding (Day-long Symposium).
Detailed information here: https://on-curating.org/issue-funding.html

Fri 1 July: Bassam El Baroni (via Zoom)Please register for online attendance.

Sat 2 July: Avi Feldman
Please register for online attendance.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren ( Inappropriate BOOK CLUB, Bangkok 2021)
Please register for online attendance.

Mon 4 July: Jeanne van Heeswijk
Location: ruruhaus, Underground
Please register for online attendance.

Tue 5 July: Dagmar Pelger & Jörg Stollmann
Location: ruruhaus, Underground Please register for online attendance.

Wed 6 July: Public Movement / Dana Yahalomi
Location: ruruhaus, Underground
Please register for online attendance.

Thu 7 July: Oliver Marchart
Location: ruruhaus, Underground Please register for online attendance.

Abstract
The two-week Summer School "Commoning Curatorial and Artistic Education" will be held in Kassel (Germany) as part of documenta fifteen's educational format "CAMP notes on education." It is dedicated to PhD programmes and students from the Shared Campus universities, however a few slots are kept open for external participants.
Participants will share and discuss their experiences of practice and theory in open, experiential workshop formats, performances, exercises with and in the city, "diversity dinners" and a variety of events.

Joseph Beuys' open discussions with the public were influential at documenta; later, Jacques Derrida wrote "The University without Condition," and Paulo Freire emphasised the empowering role of teaching, as did bell hooks with her emphatic message about the empowering force of an anti-racist, feminist education fuelled by love. Lesser known emancipatory teaching environments also exist, as do self-empowering initiatives. Concerning the commoning aspect of this Summer School, we consider theoretical approaches as by the feminist thinker Silvia Federici. She identified commons as the shared goods and knowledges of deviant groups. A renewed thinking about the commons is linked to movements of self-organisation and resistance and is now inspiring, as we see with ruangrupa, different cultural, artistic, and curatorial events. Can the art field introduce together with activist movements, the projection of living together in a communal way, sharing resources and knowledges? Or as ruangrupa would pose the question: how to compost knowledge together and make it fruitful for a multiplicity of partial practices and for a multitude?

Applicants are asked to send in a proposal for a shared moment: workshop, walk, performance, discussion, reading, etc. Based on these proposals, the organization team will co-design the programme. True to the motto of this Summer School, commoning starts here.

Exhibiting Collectivity | Collective Exhibitions
In my presentation I will use the experience of two recent exhibitions - Turner Prize (2021) and the ongoing British Art Show 9 (2021-22) - to consider the challenges of working with collectives and collectivity in contemporary art exhibitions.

Hammad Nasar is a curator, writer, researcher, and strategic advisor. His most recent exhibitions include British Art Show 9 (2021-22), Turner Prize (2021) and Rock, Paper, Scissors: Positions in Play - the UAE's pavilion at the 57th Venice Biennale (2017). He is presently Senior Research Fellow, Paul Mellon Centre (London) and Lead Curator, Herbert Art Gallery & Museum (Coventry). Earlier, he was Executive Director of the Stuart Hall Foundation, London; Head of Research & Programmes at Asia Art Archive, Hong Kong; Principal Research Fellow, UAL Decolonising Arts Institute, and, co-founded Green Cardamom, London. He advises numerous arts organisations internationally, and is a Board Member of the Henry Moore Foundation (UK) and Mophradat (Belgium).

Fri 24 June: COMMON VIEWS, David Behar Perahia & Dan Farberoff.
Please register here for online attendance.

Commoning: Environmental Reconciliation in the Work of Common Views
Common Views present their methodology, of applying a commoning perspective and a social-ecological re-framing of contested issues within the context of arts engagement. They explore how this methodology has evolved over the course of their projects, beginning with their work with Bedouin communities in the Negev desert and continuing with projects in Poland and Germany.

The Common Views collective, formed in 2019 by artists David Behar Perahia and Dan Farberoff, conduct process-based, site-specific projects, addressing contested issues in local context, within a wider social-ecological, commoning perspective. Previous Common Views projects have taken place in the Middle East and in Europe, with upcoming ones planned in Africa and South America.
commonviews.art

Sat 25 June: Jennifer Deger (FERAL ATLAS).
Please register here for online attendance.

Collaborative formations: the Feral Atlas Experiment
Why do collaborative and collective knowledge practices matter more than ever in the Anthropocene? What role do curators have to play in giving form to such possibilities? Co-curator, Jennifer Deger will discuss the making of Feral Atlas, a deliberately layered and sometimes discordant approach to apprehending the Anthropocene in formation. With digital exuberance the atlas holds onto the value of place-based evidence, embracing profoundly different genres and traditions of knowledge to promote composite perspectives and communities of practice-without imposing hierarchies of value and truth from afar.

Jennifer Deger is co-curator of Feral Atlas: the More-than-Human Anthropocene www.feralatlas.org and a Professor of Digital Humanities at Charles Darwin University. She is a founding member of Miyarrka Media, an intercultural arts group based in northern Australia (https://miyarrkamedia.com) and curatorium collective (https://www.instagram.com/c_cltv/), an intergenerational effort to wade through the intertidal zones of art and anthropology.

Sun 26 June: Sandy Hsiu-chih Lo & Hongjohn Lin.
Please register here for online attendance.
Location: GUDSKUL Area, Fridericianum

"Multiple Heterogeneous Alliances and Endosymbiosis"
This event will be conducted by Hongjohn Lin and Sandy Hsiu-chih Lo with guest speakers from Gudskul and other Lumbung members. It's a part of "Summer School: Commoning Curatorial and Artistic Education."

At a time of urgent awareness of the epistemological and ontological issues at stake in contemporary artistic knowledge production, the theme of the documenta fifteen "Lumbung" is an ambitious statement of a progressive expansion of the collective based on its connotation of a social space and a platform for sharing public resources, which in turn retroactively defines what the common is. The meeting is to create a collective discursive situation, which is much similar to the "Lumbung" strategies, embodying multiple heterogeneous alliances and endosymbiosis from within. Through communing the knowledge for the plural epistemologies yet to come, can articulate the marginalized disobedient practitioners and collectives.

The Lumbung members and the Gudskul collectives are groups that have been established for years in their respective regions and countries. In this event, we invite artists, curators, and cultural workers to address the issues on the global Lumbung: How is it possible to negotiate the contradictions in various fields such as knowledge, conviction, politics, and ethics among collectives, and individuals within the collectives? How is it possible to propose the regeneration of episteme and translate the issues uncovered by different perspectives of epistemology into political incentives to challenge the dominant knowledge and practices of existing hegemonic systems? More importantly, how can the participating collectives transform exhibitions and events such as the documenta fifteen into an act of empowerment to allow art to regain its political potential?

Sandy Lo Hsiu-chih lives in New Taipei City, Taiwan, and works as an independent curator, art critic, film critic and filmmaker. Her main research areas include urban studies, philosophical construction of space, gender politics, contemporaneity of indigenous art, and situated knowledge. Curating topography, a curatorial practice method that she has actively used in recent years, uses relative and relational spatial concepts to bring to light different cultural concepts in the pluralistic dialectic concept of place in order to strengthen political and ethical transformation in the becoming of place. She is the co-host of the bilingual online journal "Curatography" which focuses on the study of curatorship in Asia.

Mon 27 June: Gilly Karjevsky (Floating University).
Please register here for online attendance.
Location: Rotunde, Fridericianum

Gilly Karjevsky will talk about the Floating e.V., a self-organised space and group- situated in Berlin Tempelhof, Germany -, where practitioners from a wide range of backgrounds meet to collaborate, co-create and imaginatively work towards futures by what they call Fields of Knowledge and Action: from maintaining and developing the site to gardening, cultivating collaborations and taking care of neighborhood connections.

Gilly Karjevsky is an independent curator who works at the intersection of the ethics of care and the curatorial, looking at languages of practice in relation to site and situation. She is a founding member of Soft Agency and developed the collaborative lexicon process Silent Conversation. Karjevsky lectures internationally and her writings have been published in numerous publications. She is the editor of a forthcoming publication about 72 Hour Urban Action, whose co-director she is.

Tues 28 June: Philip Horst & Matthias Einhoff (ZKU, Center for Art and Urbanistics).
Please register here for online attendance.

Citizenship
In June-July 2022, the Center for Art and Urbanistics (ZK/U) literally raises the roof of its home base in Berlin, and then sail in it to documenta fifteen-a trip of 650 km, fueled entirely by people power! At circa forty stopover points en route to Kassel, the crew and locals have ample opportunities to pool their knowledge, share their schemes for planetary survival, and enjoy a diverse program of events https://citizenship.zku-berlin.org/about

Philip Horst is a visual artist. He is co-founder/director of the artist collective KUNSTrePUBLIK (2006), ZK/U: Zentrum für Kunst und Urbanistik (2012), as well as founding member of the initiative Haus der Statistik am Alexanderplatz (2017) in Berlin.

Matthias Einhoff is co-founder and director of ZKU - Center for Arts and Urbanistics (www.zku-berlin.org), as member of artist collective KUNSTrePUBLIK he has been working in the public sphere exploring the potentials of art to (re)activate social and spatial relationships of individuals and groups usually divided. Matthias is a board member of Haus der Statistik (www.hausderstatistik.org), he is co-moderating the process and has co-directed ‚Statista' (www.allesandersplatz.berlin/en/).

Wed 29 June: Speculations on Funding (Day-long Symposium on-site only).
Detailed information here: https://on-curating.org/issue-funding.html
Places are limited: Please register here for on-site attendace.

Fri 1 July: Bassam El Baroni (via Zoom)
Please register here for online attendance.

Inclusionary Effects
The talk's starting point is curator and theorist Stephanie Bertrand's observation that "curating's inclusionary effects create a shortcut between cultural inclusion and social inclusion". Which is to say that access to representation of marginalised cultures and their visibility through the sphere of art (cultural inclusion) does not sufficiently translate to access to wealth, resources, and opportunities (social inclusion). How can artists, curators, museums, exhibitions, and programmes address this shortcut to rethink the inclusionary effects they produce? To tackle this, art's relationship with speculation is discussed, bringing in the concept of 'leveraging' as key to thinking how practices may pursue a shift from positing an agenda by imagining the world otherwise, to actioning that agenda by capturing a world and translating it into a set of organisational processes embedded into representations and modes of working.

Bassam El Baroni is associate professor in curating at the School of Arts, Design and Architecture, Aalto University, Finland. Formerly, he has lectured at the Dutch Art Institute, ArtEZ University of the Arts, Arnhem and was artistic director of the now folded non-profit art space ACAF - Alexandria Contemporary Arts Forum in Alexandria, Egypt (2005-2012). His current research engages with financialization in relation to artistic practices, artists' engagement with infrastructural futures and histories, and new forms of artist-led activism. Recent curatorial projects include: Infrahauntologies at the Edith-Russ-Haus for Media Art, Oldenburg, Germany, and La Box, ENSA Bourges, France (2021, 2022). He is the author of various essays on artists, art and curating, and editor of Between the Material and the Possible: Infrastructural Re-examination and Speculation in Art (Sternberg Press and Edith Russ Haus, 2022) and co-editor, together with Ida Soulard and Abinadi Meza, of Manual for a Future Desert (Mousse Publishing, 2021).

Sat 2 July: Avi Feldman.
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What's Law Got To Do With That: On the Irrelevance of Law
From the Dada trial of Maurice Barrès (1921) to facial recognition systems in the era of surveillance capitalism, the talk will denote the space and role of legal systems, and conclude by seeking ways in which to act.

Dr. Avi Feldman is the founder of The Agency for Legal Imagination, an independent organization devoted to the investigation of existing and potential relations between legal and artistic imagination, and between visual activism and legal activism. Since 2019, Feldman has been the director of Wannsee Contemporary.

Sun 3 July: Ariane Sutthavong & Lara van Meeteren (Inappropriate BOOK CLUB, Bangkok 2021).
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Not (quite) your Utopia: On the ideological flexibility of the common(s)
Ariane Sutthavong & Lara van Meeteren (inappropriate BOOK CLUB) in discussion with Lee Anantawat

Ariane Sutthavong, Lara van Meeteren and Lee Anantawat critically examine the concept of the common, speaking from Thailand's authoritarian, late capitalist context. Ariane and La-ra's contribution is informed by their experience with organising the inappropriate BOOK CLUB in Bangkok in 2021 (a commoning initiative in the setting of the Bangkok Biennial dis-cussing art and politics), as well as by research into the history of common (educational) organising in Thailand. At the core of these engagements is a critical approach that sees the common as a third domain of social organising next to the state and the market. How-ever, experience suggests that this third domain of the common is not inherently 'good' or 'inclusive'. Instead, we argue that the common is 'ideologically flexible', as it can support various positions. We make these arguments through a discussion of both counter-hegemonic common (art) initiatives, as well as anti-democratic initiatives that have sup-ported the existing hegemony in Thailand over the past decades. In conversation with Lee, art educator and common organiser behind the Bangkok Biennial and the We Take Care of Ourselves group amongst other things, we explore the consequences of these issues for Thailand. In the process, we will also reflect on the increasingly problematic role of art schools and institutions.

Ariane Sutthavong i s involved in curation, writing and translation projects at the intersection of art and politics in Bangkok and London.

Lara van Meeteren lives and works in Hong Kong and Bangkok. She conducts research, writes and co-organises projects. Aiming to make the political nature of art and its events and institutions visible, in her work Lara explores the idea of contemporary art as counter-hegemonic practice. Together with Bart Wissink and Sina Wittayawiroj, Ariane and Lara have founded the inappropriate BOOK CLUB, an ongoing common-based initiative focusing on art and politics.

Lee Anantawat lives and works in Bangkok. She co-founded independent art space Speedy Grandma in 2012 to support local and international artists, and set an alternative for the Thai contemporary art scene. In 2018, with Jeff Gompertz and Liam Morgan, she founded the Bangkok Biennial, an art biennial challenging the 'authority of access' to representation in art and curatorial practices. Lee works as a full-time instructor in the communication design programme at the School of Architecture and Design, King Mongkut University of Technology Thonburi. She focuses on finding ways out of capitalism through teaching.

Mon 4 July: Jeanne van Heeswijk.
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Location: ruruhaus, Underground

Jeanne van Heeswijk is an artist who facilitates the creation of dynamic and diversified public spaces in order to "radicalize the local". Her long-scale community-embedded projects question art's autonomy by combining performative actions, discussions, and other forms of organizing and pedagogy in order to assist communities to take control of their own futures.

Tue 5 July: Dagmar Pelger & Jörg Stollmann.
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Location: ruruhaus, Underground

From the Struggles for Common Land to the Struggles for Spatial Commons.
As soon as one deals with the commons, one must also talk about space. The question of the availability of spatial resources includes the question of their accessibility, protection, economy as well as spatial organisation. After a first overview of historical forms and contemporary theories of commons we want to jointly discuss individual spatial experiences of commoning moments or conventions in order to speculate on the necessary struggle for self-organised art and cultural spaces as spatial commons.

Jörg Stollmann is an architect and urbanist and currently Professor for Urban Design and Urbanization at Technische Universität Berlin. His work focuses on cooperative and collaborative design tools, on mediatization and digitalization of planning and urban everyday life, and on the urban as a common good. He taught at ETH Zurich and UdK Berlin. From 2002 until 2008, he was principal of Instant Architects. Jörg Stollmann was a fellow of the German Academy in Rome, DAAD, Van Alen Institute New York, and Graham Foundation Chicago. He is part of the Collaborative Research Centre "Re-Figuration of Spaces" (DFG) with the sub-project "Smart People: Queer Everyday Life in Digitalized Spaces".

Dagmar Pelger is an architect and urbanist with an interdisciplinary research focus on spatial commons, critical cartography and design methods for cooperative spatial production from neighbourhood to landscape. Her dissertation on Spatial Commons will be published by adocs in 2022. She is currently a guest lecturer in urban design at the UdK Berlin and since 2017 a member of coopdisco, an architecture and planning cooperative based in Berlin.

Wed 6 July: Public Movement / Dana Yahalomi.
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Location: ruruhaus, Underground

Choreographic Knowledge
Public Movement is a performative research body which investigates and stages political actions in public spaces. It studies and creates public choreographies, forms of social order, overt and covert rituals. During the presentation Dana Yahalomi, Public Movement director, will elaborate on the group's theoretical departure point that politics exist within our bodies often as dormant knowledge. We will discuss concepts such as: corporal memory, the art of pre-enactment, social choreographies and the embodiment of politics. Yahalomi will present key examples for Public movement's working methodologies in the creation of site-time-context specific actions, accompanied with visual examples of their recent projects.

Public Movement is working across mediums, in dance and theatre venues, museums and biennials. In 2022 Public Movement created One Day, commissioned by Galeria Arsenal, Białystok, a 12 hours series of performances, interventions, and demonstrations. In 2022, the group activated A Dialogue at 8 Kilometres Per Second, a first of its kind set of performative conversations with an astronaut at the International Space Station. Public Movement has performed in renowned art institutions worldwide including Tel Aviv Museum of Art, Tel Aviv; Guggenheim Museum, New York; Berlin Biennial; Performa, New York; Hebbel Am Uber Theater, Berlin; Asian Art Biennial, Taipei; Australian Centre for Contemporary Art Melbourne; and steirischer herbst Festival, Graz. The group has won several awards including the Essential Art Prize (2021) and Rosenblum Prize for Performance Art (2017) and was nominated for Future Generation Art Prize, Kiev (2014). Dana Yahalomi is the co-founder of Public Movement (together with Omer Krieger) and its director since 2011.

Thu 7 July: Oliver Marchart.
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Location: ruruhaus, Underground

Oliver Marchart (Austria) is a philosopher and sociologist. Since 2016 he works at the Institute of Political Science at the University of Vienna.
Image caption: Workshop, Small Projects for Coming Communities, Zurich, 19th January 2022

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Postgraduate Programme in Curating Zürich

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Summer School and Public Talk series 23 June - 7 July 2022 at CAMP notes on education, documenta fifteen, Kassel, Germany A format of the cooperation platform Shared Campus www.zhdk.ch/en/international/shared-campus Organization: Dorothee Richter, Ronald Kolb (Initiators, ZHdK) with Cedric Maridet (HKBU), ZHENG Bo (SCM), Alison GREEN (UAL), Yatin LIN (TNUA)

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Location: CAMP, Hafenstraße 76
List of materials: –

– Welcome
– Introduction
– Coming Communities Exercises with Dorothee Richter, Ronald Kolb
– Introduction Ekosistem Kassel with David Zabel