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https://studiovoltaire.org/about/

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Studio Voltaire is one of the UK's leading not-for-profit arts and education organisations. Championing emerging and under-represented artists, we commission and produce exhibitions, collaborative projects, artist development programmes, live events and offsite projects.

Studio Voltaire is a registered charity and part of Arts Council England's National Portfolio. We fundraise for our work through the kind support of individuals, sponsors, public funders, charitable trusts and foundations, and sales of our renowned limited edition artworks from House of Voltaire.

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About Studio Voltaire, Contact Us, Staff and Trustees, Opportunities, History, Networks, Hire

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Residency date week #1 3rd June.

Residency date week #2 17th June.

Open event Friday afternoon. tbc.

with

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Shallal would like to invite you to join them for a Sharing this Saturday 1-4pm for coffee and cake after another great month in Back Lane West

Shallal is excited to be back!
"Back Lane West residency is always a highlight of my year" Jo Willis creative director
A chance to explore and deepen our processes, collaborations and opportunities. To immerse ourselves in cross art forms and collaborations.
To have more time to explore and 'play.'
This year we are pleased to be part of Flamm with Rise and Fall showcasing Janet Holland's vibrant work, with film, music and dance inspired by and surrounding it.
Saturday 26 October 12-6pm https://flamm.creativekernow.org.uk/event/rise-and-fall-shallal-artists/
with dancers response from 1-1.30pm
With residency artist Anna Willis https://www.instagram.com/anna__sophronia/?hl=en
we are researching artistic relationships, process and materials for our Tate St Ives Winter Festival commission, which has come from explorations from our 2022 residency https://www.youtube.com/watch?v=39Vqu-AjK2s
We are enabling solo artists to have more studio time ie: Bobby Johnson who is the Roy Ray legacy winner for St Ives School of Painting https://shallal-arts.blogspot.com/2023/10/back-lane-west-2023-yay-and-some-news.html
Along with so much more and we hope the '50 Coats' will get an airing!
We aim to have a Sharing during the weekend of 28/29 October, times tbc.

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We are a non-profit, artist-led residency, project, and meeting space in Redruth, Cornwall. If you are an artist or organisation seeking space please see our opportunities page for details.

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Writing in response to Resonating Bodies show

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Writing in response to Resonating Bodies show

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29th November - rethinking the format and our plan/aims for this.

We have:

1. narrative writing around key themes: care, labour, breaking, slowness.

2. short essay on labour

3. images from the show

4. art work created at BLW in response

5. diagrams from show

6. Emma cocker writing

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1. To create a publication (printed and digital) that captures/responds to the in-betweenness/cross overs of the Res Bods exhibition

2. To identify, and apply, for funding to cover the production of the printed publication and copy edit.

3. To disseminate the publication through conferences, larger publications, JAR, Aprja and ???.

4. To identify spaces to (1) develop and (2) show and work that explores the: in-betweenness; liveness; practice of care and repair;

5. Practice-as-research: to make work...to explore these shared ideas/interests through making

6. To collaborate... for collaboration sake

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Write a  300 word framing statement/abstract

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Write a  300 word framing statement/abstract

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A celebration of creativity

Programming designed to inspire, challenge and entertain

The Levinsky Gallery exhibition series opens with Resonating Bodies, exploring the complexities of relationships between humans and machines. The exhibition responds to the fragility and uncertainty that we face in our increasingly digital and automated world. At a time when our sense of being is in a state of flux, the artists, Karen Abadie and Laura Rosser, lean into this unknown through the materiality of the machine.

This interactive exhibition has inspired related programming across film, with Ghost in the Shell, Friends in High Places and Brian and Charles. In addition to its own series of Bitesize gallery talks, many featuring University of Plymouth academics across a range of disciplines and research areas, there's opportunity to flex your own creativity, taking part in workshops with the artists.

Later in the spring and into the summer the Gallery will host The World Illustration Awards 2023 Touring Exhibition showcasing all Award-Winning and Highly Commended projects across ten industry-relevant categories and including material that tells the story of the ideas, processes and artists behind the work. Next we welcome Trinity Buoy Wharf Drawing Prize , now in its 30th year, and widely regarded as the most prestigious open exhibition dedicated to drawing in the United Kingdom.

The Musica Viva concert series continues with the January visit of The London Gershwin Players, with Mark Forkgen, conductor and Robert Taub, piano, an unmissable upbeat celebration of Gershwin and the 100th anniversary of Rhapsody in Blue, followed by the Kleio Quartet in March, fresh from their First Prize and Commission Prize awards at the 2023 Carl Nielsen International Chamber Music Competition performing two stunning works for string quartet, Mozart's Quartet in G major K.378 and Bartok fourth String Quartet, followed by Brahms' mighty Piano Quintet, a collaboration with pianist Robert Taub. We're also delighted to host the University Orchestra and Choral Society for their concerts this spring.

Our talks, readings and screenings once again have an interesting and topical series from The Historical Association including The Christopher Durston Memorial Lecture: Remembering the Reformation by Historical Association President Professor Alexandra Walsham, Emmanuel College, Cambridge. Artists Karen Abadie and Laura Rosser will be in conversation with writer-artist and Associate Professor in Fine Art, Nottingham Trent University, Emma Cocker for Uncertain Encounters: Embracing the Unknown, exploring themes of the current exhibition Resonating Bodies.

Our film programme includes the popular Celluloid Psychology series, devised by Dr Alastair Smith, School of Psychology. Celluloid Psychology is an antidote to the usual depictions of psychology on our screens. Each of the carefully selected films are curated and introduced by a specialist in human behaviour whose expertise sheds unexpected light on the psychological questions being explored.

In performance, The House hosts a diverse range of acclaimed companies with a celebration of creativity across dance and performance. Rendez-Vous Dance transport us to 1930s Paris for The Monocle, an immersive contemporary dance experience featuring the voluptuous jazz chanteuse Imogen Banks, telling the untold story of a notorious lesbian cabaret and with the performance coinciding with LGBT+ history month. Award-winning Vamos Theatre, the UK's leading full mask theatre company, present Boy on the Roof, the story of an unlikely friendship, where acceptance, understanding and love find their way to centre stage, created through Community Conversations across the UK, gathering people's experiences of ADHD, loneliness, aging, hearing loss, connection and community. Internationally renowned company, Richard Chappell Dance present Hot House, a passionate response to the cost-of-living crisis sharing the frustration currently felt by many, turning that intense energy into a powerful celebration of collective generosity. This new show features a soundscape influenced by Chinese, Indian and European classical music, rearranged and performed by violinist Enyuan Khong and electronic music duo Larch. Beyond The House we continue our support for SOAK's Live Art series , taking place at Leadworks and curated by Dr Sarah Blissett and Kerry Priest.

The Arts Institute is the curated public arts programme of the University of Plymouth which plays a pivotal role in building culture and art in the city and South West region, supporting established, new and emerging artists from around the world.

It comprises The Levinsky Gallery, a space for engaging, contemporary artworks; the Jill Craigie Cinema which screens a diverse range of classic films and contemporary cinematic masterpieces; a cutting-edge theatre and dance programme in The House; musical performances and concerts, and a year-long series of fascinating talks that open up a world of art, literature and history.

The Arts Institute's public programme promotes audience engagement, access to the arts, and directly supports emerging and established artists' careers. Please consider a donation to support development and delivery of our programme.

Donate

Thank you.

World Illustration Awards 2023 Exhibition

The WIA2023 Touring Exhibition is a fascinating, inspiring survey of the breadth and diversity of current illustration practice. The exhibition showcases all Award-Winning and Highly Commended projects across ten industry-relevant categories and includes material that tells the story of the ideas, processes and artists behind the work.

Historical Association talks

13 February - 14 May 2024

The Historical Association is a national charity supporting the study and enjoyment of history. The Plymouth branch has linked up with the history department of the University to deliver a joint programme of talks within The Arts Institute public programme.

We are proud to have hosted a diverse range of contemporary art and culture supporting established, new and emerging artists from around the world.

Animal Condensed by Jennet Thomas, Revolutionary Inventions season, 2018

The Arts Institute, Roland Levinsky Building, University of Plymouth, Drake Circus, Plymouth, Devon, PL4 8AA

The Levinsky Gallery, Monday-Friday 10:00-17:00, Saturday 12:00-17:00, Closed Sundays and Bank Holidays
@TheAIPlym TheArtsInstitutePlymouth

The Arts Institute and the University of Plymouth take your privacy very seriously. Please see our Data Privacy Policy for further details.

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The Arts Institute - public arts programme

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The Arts Institute with the University of Plymouth. Plymouth's Centre for art and culture open to the public all year round.

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New contemporaries / was Camden art centre

info@newcontemporaries.org.uk

Emailed 22/3/24

No responce yet

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EMAILED BEN 22/2/24

No response yet

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BLW - confirm dates for opening event and send image /text to Liam and Patrick

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BLW - confirm dates for opening event and send image /text to Liam and Patrick

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Rykes Amsterdam (Mike Nelson) residency 

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Rykes Amsterdam (Mike Nelson) residency 

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https://www.rijksakademie.nl/en/residents-advisors-team/mike-nelson

one or two year residencies in Amsteradam

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Current residents, guest residents, tech fellows, advisors and team members. For an overview of Rijksakademie alumni, visit our database.

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For then we will:

1. Update our websites

2. Do some reflecting on where we are.

3. contact BLW

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For then we will:

1. Update our websites - LR done some off

2. Do some reflecting on where we are - LR to do

3. Contact BLW - LR done

We discussed:

1. Emma Cocker meeting on 3rd May.

1. In that meeting with Emma we will discuss:

1. a timeline

2. what is it?

1. printed publication

1. folded page of 3

2. map

3. fold out model - french fold

4. folding out, in, with

2. diagrammatic? dialogic?

3. word count

3. what will we do with it? What does Emma want?

1. Research catalogue

2. JAR

3. APRJA

4. Funding

5. Payment for Emma

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Collaborative writing Etherpad 17th February

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Collaborative writing Etherpad 17th February

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find and read texts about care/slowness/labour

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find and read texts about care/slowness/labour

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Labour references:

https://www.sternberg-press.com/product/work-work-work-a-reader-on-art-and-labour/

Cocker, E. (2016) 'Performing Thinking in Action: The Meletē of Live Coding', July 2016. International Journal of Performance Arts and Digital Media. 12(2):102-116. Available online at: DOI: 10.1080/14794713.2016.1227597

On the Hostility to Handicraft, Aesthetic Labour and the Politics of Work in Art ; Author: Dave Beech ; ISBN: 978-90-04-32151-9

Hardt, Michael and Negri, Antonio. Assembly. Oxford: Oxford University Press. 2017. Pdf.

https://parsejournal.com/article/bureaucracys-labour-the-administrator-as-subject/

https://www.furtherfield.org/discussing-playbour-work-pleasure-survival-with-dani-admiss/

https://www.itsnicethat.com/features/arts-and-labour-creative-industry-290424

https://www.on-curating.org/files/oc/dateiverwaltung/old%20Issues/ONCURATING_Issue16.pdf

https://parsejournal.com/article/artistic-labour-as-a-form-of-class-solidarity-and-contributive-justice-revisiting-mierle-laderman-ukeless-work/

https://parsejournal.com/article/dis-art-this-labour-transfiguration-in-the-age-of-precarity-and-disposability/

https://www.e-flux.com/announcements/107109/despite-efficiency-labour/

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Work, Work, Work: A Reader on Art and Labour
Book launch and discussion:
November 30, 2012, 8:30pm

Pro qm
Almstadtstraße 48-50, Berlin

www.sternberg-press.com
www.iaspis.se

Describing the relationship of art to work and the conditions of artistic production has long engaged many. Work is a broad concept, the meaning of which has changed radically as a result of the social and technological transformations that have taken place over the past century. What, then, is work today and what is its relation to art? What is the position of the artist if creativity has become a commodity? How can the artist's conditions of production be described, and what role can art and architecture play in societal change?

The texts in this reader provide perspectives on the questions above emerging from a series of seminars conducted during the late autumn of 2010 at Iaspis, the Swedish Arts Grants Committee's international program for visual art, architecture, crafts, and design in Stockholm. The seminars brought together visual artists, architects, theoreticians, curators, and writers with diverse backgrounds and experience. They were arranged into three themes: the relationship between art and work, the current conditions of production and the organization of work within the field of visual art, and the role of art and architecture in politics and society.

Contributions by Pierre Bal-Blanc, Franco "Bifo" Berardi, Ana Betancour, Jonatan Habib Engqvist, Annika Eriksson, Kirsten Forkert, Catharina Gabrielsson, Ingela Johansson, Lars Bang Larsen, Maria Lind, Sarat Maharaj, Making A Living (MAL), Michele Masucci, Helena Mattsson, Nina Power, OTCOP, Pratchaya Phinthong, Raqs Media Collective, Judith Revel, Lisa Rosendahl, Joanna Sokołowska, Hito Steyerl, Mladen Stilinović, Nina Svensson, Cecilia Widenheim

Co-published by Sternberg Press and Iaspis / the Swedish Arts Grants Committee. Edited by Cecilia Widenheim, Lisa Rosendahl, Michele Masucci, Annika Enqvist, and Jonatan Habib Engqvist. Design by Medium. 16.5 x 23 cm, 287 pages, 52 colour and 9 b/w ill., softcover.

Iaspis is the Swedish Arts Grants Committee's international programme commissioned to support international exchange for practitioners in the areas of visual art, design, craft and architecture. Iaspis' activities aim to enable practitioners based in Sweden to develop artistically and improve their working conditions by establishing international contacts between artists and institutions, professionals such as curators and critics and others active in the field.

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Work, Work, Work: A Reader on Art and Labour - Announcements - e-flux

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Work, Work, Work: A Reader on Art and Labour Book launch and discussion: November 30, 2012, 8:30pm Pro qm Almstadtstraße 48-50, Berlin www.sternberg-press.com www.iaspis.se Describing the relationship of art to work and the conditions of artistic production has long engaged many.

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Banner Repeater?

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Come and join us in celebrating 7 years of working with some of the most exciting contemporary artists today! Somerset House studios 8th November

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Trisha Hersey’s Rest is Resistance: a manifesto (2020)

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In the meeting we will:

1. Reflect on meeting with Emma

2. Plan how to approach residency at BLW for:

1. writing week

2. practice week

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Discuss possible funding for publication

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Discuss possible funding for publication

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Up to £10,000. Deadline 5th June, LR's birthday, so a good omen!

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Please take care to review and complete your personal details accurately. Errors in this section can cause difficulties in the processing of your application.

You can update your personal details by checking 'my account' and selecting the link to 'my contact details' and 'my organisation' and ensuring the relevant details are up to date.
Employing Organisation Please be aware that it is your responsibility to ensure that you complete your application in time for your employing institution to process it and provide their approval by the closing date.
Please select your current employing organisation (or independent scholar if appropriate). The majority of appropriate establishments are registered in the system. If your employing organisation is not there, however, please contact the institution's research support services, or equivalent, and ask them to provide the Research Awards Department with contact details of an appropriate person in the organisation to act as an approver on its behalf.

All applications must be approved by the employing organisation authorities e.g. research grants office, finance department, etc. The approving department will receive email notification once you have completed your application and submitted it. They will be asked to provide approval and then submit the application to the British Academy. The deadline for this round is the deadline by which approval must be given. Remember that the application cannot be submitted for approval before the referee has submitted their reference, so it is essential to obtain the reference well before the deadline.

It is strongly recommended that the applicant maintains an open dialogue with the approving department at your employing institution as the British Academy cannot be held responsible for emails being caught in spam filters or not being received.
It is recommended that you allow at least five working days for this process. Once they have checked your application, they will contact you if any changes are required, please note if changes need to be made these will have to be done before the deadline as they cannot be done afterwards. Co-Applicants
Please note that all applications must have one lead applicant, although applications on behalf of more than one person are welcome. Please note that all correspondence is sent via the system only to the individual in whose name the application is submitted on the British Academy FlexiGrant® GMS.

The applicant is responsible for notifying any other parties. If there is more than one applicant, or the research involves other partners, please complete this section, and the relevant sections of the co-applicant personal details and co-applicant career summary. A 'co-applicant' is a joint director of the project with equal responsibility for the academic management of the project.
For the Small Grants Research grants scheme up to a maximum of two co-applicants can be named.
Postgraduate students are not eligible to apply for grant support from the Academy, and applicants (and co-applicants) are asked to confirm in the personal details section(s) that they are not currently working towards a PhD, nor awaiting the outcome of a viva voce examination, nor awaiting the acceptance of any corrections required by the examiners.

Other participants in a project, whose involvement does not equate to being a 'co-applicant' should be named in the relevant section (other participants) in the Research Proposal section.

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BA/Leverhulme Small Research Grants 2024 guidance notes

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Please take care to review and complete your personal details accurately. Errors in this section can cause difficulties in the processing of your application. You can update your personal details by checking 'my account' and selecting the link to 'my contact details' and 'my organisation' and ensuring the relevant details are up to date.

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When things break, they reveal their true nature. When they’re fixed they are re-enchanted.  Urban theorist Nigel Thrift has drawn attention to the “remorseless work of repair and maintenance” that keeps cities humming.

Can repair also be social and political? Repair is a constant need and a constant choice. As things break and break down, from toasters to cars to roofs to laptops, we can choose to repair or replace. The economical and environmental choice is to repair, but the choice to replace is more convenient. Repair is also a critical theme to explore in an age of waning resources and exponentially growing environmental issues, many caused by excessive waste.

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When things break, they reveal their true nature. When they're fixed they are re-enchanted. Urban theorist Nigel Thrift has drawn attention to the "remorseless work of repair and maintenance" that keeps cities humming.

Can repair also be social and political?
Repair is a constant need and a constant choice. As things break and break down, from toasters to cars to roofs to laptops, we can choose to repair or replace. The economical and environmental choice is to repair, but the choice to replace is more convenient. Repair is also a critical theme to explore in an age of waning resources and exponentially growing environmental issues, many caused by excessive waste.

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DesignInquiry: Warsaw 28 July - 2 August 2024

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Forms of writing:

Contiguous writing: writing alongside... parallel/adjacent. comes from fragments of thoughts in note books, and research/reading about.

Transcription mode: Recorded conversations reflecting on open conversation about an idea/subject. then pray-ceed (sp?).

Karen has the recording from the conversation we had at Res Bods which we can share.

Paragraph based (eg.8) and each one has a particular concern

Part prose

Format:

An artefact:

Printed form, map based.

Materiality, bodily form of reading/engaging with, diagrammatic, discursive

Performative reading / un-folding / tears, creases

Also develop as a Research Catalogue with moving image

Sleeve for the map(s) and maybe booklets - sleeve as a care/protector, to hold things together. to contain layers. unfolding of it. the sleeve can be mute.

Could be a separate card of writing from Emma.

we would like Emma to interlope - to weave in.

Ideas:

doubling, two, doubling between me and Karen.

the in- betweenness could be Emma's voice - an intervention.

Nodes of thought in the map. Matters of care. With some ideas expanded on into longer texts perhaps.

*turn-taking - recorded conversations. tape over camera. Karen and i can do this. trusting that something will come.

Timeline:

Keep momentum - particularly for KA/LR

over the next calendar year aim to complete it

Next meetings:

June weeks at BLW: KA and LR do note taking ahead of the 26th with Emma. We can think about our other writing alongside.

26th July 8am (UK TIME) *turn-taking with Emma.

11th October 8am writing with Emma

After that April / May is Emma's next free writing time.

Aim for summer 2025.

KA and LR write alongside at the same time.

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Who holds the stone?

The third pillar combines approaches concerning the conditions of production and consumption rendered by platforms and services of our daily usage. The focus is on the concept of labour and the exploitation of the human body. The discussion is nourished, for example, by notions of embodiment and feminist theories. The complex relationship of dependence between human self-perception and technical devices in the sense of techno-intimacy or moments of identification are also examined.

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Discussion about BLW residency

Week 2 Thursday 20th+21st, or 21st.

Public facing event -

Week 1:

Monday pm (12-5) - settling in

Tuesday am (10-2) - half day 1

Wednesday am (10-2) - half day 2

Thursday pm (10-2) - half day 3

Friday not in

nb. we could put together something small about what the open event might be for insta etc. and send to Liam and Patrick.

Week 2:

Monday (11-3) - half day 1

Tuesday am (10-2) - half day 2

Wednesday am (10-2) - half day 3

Thursday pm (10-2) - half day 4 (open event tbc)

Friday open event tbc.

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LABoral Art and Industrial Creation Centre

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LABoral Art and Industrial Creation Centre

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or perhaps for us: LABoratory of slow labour?

this link is not so relevant for us - more the idea of a lab of labour that could be interesting?/

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LABoral Centro de Arte y Creación Industrial

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workcount: KA to research what the word count of the article needs to be: JAR, APRJA, plus others. And check with REF knowing person.

Folders on Sharepoint: LR to set up a folder for each Labour, Care, Breaking and Slowness. And add the text to the Labour folder.

KA/LR to write 5-600 words of a theoretical reflection on our text on LABOUR. Each to work into a separate document (with the labour text), Labour KA or LR. This could be in one block or in segments reflecting on elements of the text written at BLW.

To write this by 22nd July, meeting 9:30 UK, 10:30 Spanish.

Going forward plan for completion:

We thought writing in 2 week blocks would be helpful but acknowledged that the first one might take the longest.

KA to draw up a proposed timeline.

Working to completing draft by test space in mid September.

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"350,000 Leaks" by Aram Lee repair Lab:  return, repair, and reconciliation.

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"350,000 Leaks" by Aram Lee repair Lab:  return, repair, and reconciliation.

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The Repair Lab takes the form of a live radio broadcast, operated by online radio Ja Ja Ja Nee Nee Nee. As Pressing Matter artist-in-residence, Lee has been working with the Wereldmuseum collections since December 2022 to create new work to reimagine different froms of return, repair, and reconciliation.

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The Repair Lab "350,000 Leaks" will launch a temporary installation of a live radio broadcast from inside the museum depot's freezer. The institutional ecology, the extremely controlled, secured and sealed site will leak. Restricted spaces within the museum that form the institutional climate of objects, such as freezers, climate control rooms, depots, and water pipes, will have a voice on live radio.

The project is inspired by Masachi Adao's Fukerion (landscape) theory of Japanese radical cinema of 1968, which explains that the power state is located in the scenery of ordinary daily life. The soundscape of "350,000 Leaks" will allow the listener to follow the route in the depots and freezer of the Wereldmuseum Amsterdam. We will listen to sceneries that objects in the depot hear and release them from the temperature dissonance between their original and current landscapes through sounds. The session will uncover invisible institutional power structures and associated rhetorics of temperature to extend them to sensually recognizable political ones.

During this live soundscape, the motif of movement, the audience will remotely participate in this walk through sounds and deep listening in site-specific locations, the immortal device, while the session is held onsite in minus 20-25 degrees Celsius. It will create an open space, where we can have temporary moments of belonging to the space and its histories, and ask how a hegemonic climate identity has been established through uprooted bodies and what kinds of temperature we can set up in between us.

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REPAIR LAB | 5 JULY 2024 | 15:30-15:50 | LIVE RADIO As part of the research project Pressing Matter, we are pleased to present the Repair Lab "350,000 Leaks" by Aram Lee. The Repair Lab takes the form of a live radio broadcast, operated by online radio Ja Ja Ja Nee Nee Nee.

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Part Time Commitment Series. Chapter 1–4. Labour, Time, Resources, Solidarity

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Part Time Commitment Series. Chapter 1–4. Labour, Time, Resources, Solidarity

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June 14, 2024–February 2, 2025

Lothringer 13 Halle
Lothringer Straße 13
81667 Munich
Germany
Hours: Tuesday–Sunday 11am–7pm

info@lothringer13.com

www.lothringer13.com
Instagram

June 14–August 11, 2024
Part Time Commitment Series. Chapter 1–4. Labour, Time, Resources, Solidarity

otc—Observant Thick Conversation (Rahel grote Lambers, Alexander Klaubert, Francis Kussatz, Julia Lübbecke), Arbeitslabor (Susanne Beck, Karen Modrei, Julia Richter), Verena Hägler & Nicola Reiter, Klasse für Quereinstieg/ Artists Pedagogy AdBK München (Sofia Gold, Nikolai Gümbel, Judith Hagen, Sophie Kindermann, Luisa Koch, Angelika Lepper, Jonas Rall, Mirja Reuter, Ivo Rick, Ursula Rogg, Adrian Sölch, Matt Wiegele).

How do we use our time? What is the relationship between the time and resources required to earn a living, and the opportunities and demands for social, cultural, and political participation? The Part Time Commitment Series investigates the role of work in our current and future models of society. Beginning June 13, the question of how time is allocated to various activities on a daily basis (which also includes a biographical perspective) is examined in four chapters. Where are the boundaries and contradictions between social engagement, self-employed work, dependent wage labour, political engagement, cultural production, self-care and self-sufficiency? What is the relationship between working collectively or as a group and the sustainable use of resources and solidarity-based cooperation? The chapters are conceived as open-ended installations, working laboratories, and shared spaces for research, discussion and exchange. Curated by Lisa Britzger. Learn more.

September 6–October 19, 2024
Dirty Care
Artists: Cordula Schieri, Marios Pavlou, Sophia Köhler, Tanja Hamester, Silvia Gardini, Carolina Cappelli, Nora Byrne

Dirty Care is a transdisciplinary format by international FLINTA* artists that addresses the spectrum of protection. The term Dirty Care, as coined by Elsa Dorlin, describes a form of care arising from personal experiences of oppression and the consequent need for self-defence. In order to feel safe in society FLINTA* often has to take up this form of care-work. “Dirty care” therefore means being nice and caring out of fear of being threatened or hurt. The artists will work with local collaborators to develop a format that deconstructs and reconstructs, (re)appropriates, and rethinks concepts of protection, transforming Lothringer 13 Halle into a space for sculptural, installational, and performance intervention. Curated by Tanja Hamester.

September 6–October 13, 2024
Sophia Mainka: Notes on Roommates (a dog, a parrot, a whale and a canal)

We participate in nature and nature participates in us: in her art practice, Sophia Mainka has always been open to strange encounters with animals, plants and minerals. The work created during her stay at the Fondation Fiminco in Paris deals with the coexistence of different species within an urban space. Parrots fly across the city, a whale swims up the Seine and dogs walk on paved streets. Mainka responds ethologically, allowing the animal encounter to affect the way she acts.

Notes on Roommates is a series of video sculptures. To produce her fictitious gathering of animals, she builds a room for them: industrial material is bent into organic shapes and upholstered with fabrics featuring botanical patterns. Here we see her become dog, her painted fists becoming paws; we see her as the whale, in the murky river water, rising up to breathe. Curated by Magdalena Wisniowska (GiG Munich).

November 29, 2024–February 2, 2025
Nina E. Schönefeld: NO FUTURE HOPE

Nina E. Schönefeld works as an interdisciplinary video artist. The future scenarios in her work are closely linked to current political, ecological, and social issues. The video installation NO FUTURE HOPE revives radical activism in response to our increasingly disillusioned times, portraying a spirit of rebellion, defiance, and a profound yearning for radical change. In addition to the installation, the exhibition features five separate video works from 2020 to 2024. Schönefeld’s practice addresses the political shift to the right in Europe and the threat to the freedom of the press. She uses the alienation of post-apocalyptic cinematic aesthetics to tell site-specific, actual stories, revealing their hyperstructures. Curated by Dîlan Z. Çapan & Gina Penzkofer (Habibi Kiosk, Münchner Kammerspiele)

For further information, please contact our press office or visit our website.

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We need to digest the submission guidelines but three important things:

1. we submit via researchcatalogue so both need updated bios etc on there

2. 3 deadlines a year, next 2 are 30th September and 31st January

3. length - must take reviewer no longer than an hour to read/review, but anything much shorter will be rejected based on not being rigorous enough - go figure!!

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Recently, I was contacted by an author with questions regarding our journal's stylistic preference. Does JAR prefer non-linear layouts? Do we favor media players to auto-play when a page is opened? Do we like the first person singular? My answer to these questions was the one I usually give: 'No, we don't expect particular formal choices.

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Recently, I was contacted by an author with questions regarding our journal's stylistic preference. Does JAR prefer non-linear layouts? Do we favor media players to auto-play when a page is opened? Do we like the first person singular? My answer to these questions was the one I usually give: 'No, we don't expect particular formal choices.

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So this seems to be, if I am reading it correctly, a rather more convoluted process of acceptance. The link above takes you to the page where they say that process. Or, is there another process that is more straightforward that I might be missing?

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APRJA is an open-access research journal that addresses the ever-shifting thematic frameworks of digital culture.

The journal's title APRJA stands for " A Peer-Reviewed Journal About " and invites the addition of a research topic to address what is considered to be a key aspect of contemporary digital culture - and thereby to complete the title of each journal issue. We take a particular interest in aesthetic production and artistic research in relation to the broad field of software studies (including media archaeology, platform politics, and interface criticism).

APRJA takes a fresh perspective on digital culture by including the work of a younger generation of researchers as reflected in the workshop model that generates contents for each issue ( see previous workshops and newspapers). The journal seeks to publish new research that promotes a culture based on sharing, open distribution and the on-going exchange of ideas, but without losing sight of rigorous academic conventions of peer-reviewed publication. Since 2014, all submissions are anonymized and distributed to independent qualified experts via our advisory board and extended networks.

APRJA believes that research remains a powerful force in shaping our understanding of the world and the institutions through which we operate. It has an ongoing collaboration with transmediale - festival for art and digital culture, berlin, and thereby places an emphasis on the work of researchers working both within and outside the academy. The annual festival themes act as a point of departure for each journal issue.

As an open-access research journal, APRJA is freely available without charge to the user and his/her/their institution. The author(s) retains the copyright to the published text, and unless stated otherwise, all articles are publshed under the CC license: 'Attribution-NonCommercial-ShareAlike', meaning that users are allowed to read, download, copy, distribute, print, search or link to the full text of the articles in this journal for non-commercial purposes without asking prior permission to authors or the publisher (under a creative commons license).

APRJA does not charge authors for Article Processing Costs.

Authors retain the copyright of their articles, and are allowed to deposit versions of their work in an institutional or other repository of their choice (both submitted, accepted, and published versions).

APRJA is archived by Tidsskrift.dk - the Royal Danish Library's portal for the publication of professional, scientific and cultural journals in digital full-text. Tidsskrift.dk is also part of the Danish National Strategy for Open Access, which is supported by the Ministry of Education and Research in Denmark.

REVIEW PROCESS:
The review process is divided into three phases.

Firstly (fall), APRJA publishes an annual open call in collaboration with key partner institutions, including Digital Aesthetics Research Center, Aarhus University (the publisher of the journal); Center for the Study of the Networked Image, London South Bank University, transmediale festival for art and digital culture, Berlin, and shifting partner research institutions. Around 15-20 of ca. 60-80 submissions are accepted for the second phase.

Secondly (winter), all accepted participants are asked to share a 1,000 word essay. Both the accepted participants and researchers from the partner institutions respond to these essays online, as well as in person at a three-day common research workshop. At the workshop participants not only engage with key research questions, but also (as indicated in the titles of the journal issues) with the nature of producing research, including the hybrid nature of research (how it exists in written/oral/other/short/long formats), the nature of sharing and reviewing, its mechanisms of in/exclusions, its institutions, its infrastructures, and more. As part of this, the participants collectively produce a joint " newspaper" to be presented and launched at transmediale festival.

Thirdly (spring/summer), the participants are invited to submit full length articles for APRJA. This final stage of the review process ensures that all articles adhere to the highest academic standards for scholarship, and that they provide significant contributions to the journal's field of research. The articles are reviewed by APRJA's editors as well as by one external reviewer (in a double-blind review process) selected from the journal's list of external advisors/reviewers or their extended networks.

All reviewers of APRJA hold a PhD degree within the journal's subject area.

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APRJA is an open-access research journal that addresses the ever-shifting thematic frameworks of digital culture. The journal's title APRJA stands for " A Peer-Reviewed Journal About " and invites the addition of a research topic to address what is considered to be a key aspect of contemporary digital culture - and thereby to complete the title of each journal issue.

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We are working towards a publication that orbits around the Res Bods show:

The show acts as provocation for our shared work.. folding forward, looping cycling forwards

Identify the central point - AHRC bid? Thematics?

our writing pivots around the show, and looking ahead.

Who is the audience?

Timeline:

(1) Work towards the publication on thematics, with Emmas voice alongside ours or as as an interruption.

(2) Then the application for a curiosity award for slow labour camp

Publishing:

Self publishing - more autonomy. works well with artist books/artefacts.

Non academic publisher s - Emma uses these for art writing

Publishers - more guided by them especially academic pubs.  We would beed to find the right publisher for artist book format.

Next steps:

1. KA/LR write draft for September

2. Submit for JAR etc. when ready

3. Edit down for publication

4. Send draft with images and information on the shape of publication early December to Emma (with images, writing, layout, paper choices, etc.)

5. Emma can then work out whether it’s an intervention or an along-sideness.

6. Emma goes to Mexico 20th over Early January.

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FRAUD

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In her article, Katja Praznik deconstructs the idea of artistic work as an expression of individual creativity independent from the economy and its processes. She demonstrates that this persistent ideology of autonomy of the arts contributes to the precarious position of artists and the exploitative working relations in the arts sector. Instead, she suggests to look at artistic work as labour, embedded in economy and subject to the economic relations. Taking inspiration from the arguments for the recognition of invisible labour put forward by Marxist feminists, Praznik calls for a demystification of creativity and supports the imperative of artistic remuneration, as a necessary step towards a broader goal of redefining value and labour in our society.

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Wages for and against Art Work: On Economy, Autonomy, and the Future of Artistic Labour

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In her article, Katja Praznik deconstructs the idea of artistic work as an expression of individual creativity independent from the economy and its processes. She demonstrates that this persistent ideology of autonomy of the arts contributes to the

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Art as Occupation (from Work, Work, Work)

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Art as Occupation (from Work, Work, Work)

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One of the essays from Work, Work, Work, in Laura's references. Hito Steyerl.

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I want you to take out your mobile phone. Open the video. Record whatever you see for a couple of seconds. No cuts. You are allowed to move around, to pan and zoom. Use effects only if they are built in. Keep doing this for one month, every day. Now stop. Listen.
Lets start with a simple proposition: what used to be work has increasingly been turned into occupation.

This change in terminology may look trivial. In fact, almost everything changes on the way from work to occupation. The economic framework, but also its implications for space and temporality.

If we think of work as labor, it implies a beginning, a producer, and eventually a result. Work is primarily seen as a means to an end: a product, a reward, or a wage. It is an instrumental relation. It also produces a subject by means of alienation.

An occupation is not hinged on any result; it has no necessary conclusion. As such, it knows no traditional alienation, nor any corresponding idea of subjectivity. An occupation doesn't necessarily assume remuneration either, since the process is thought to contain its own gratification. It has no temporal framework except the passing of time itself. It is not centered on a producer/worker, but includes consumers, reproducers, even destroyers, time-wasters, and bystanders-in essence, anybody seeking distraction or engagement.

Occupation

The shift from work to occupation applies in the most different areas of contemporary daily activity. It marks a transition far greater than the often-described shift from a Fordist to post-Fordist economy. Instead of being seen as a means of earning, it is seen as a way of spending time and resources. It clearly accents the passage from an economy based on production to an economy fueled by waste, from time progressing to time spent or even idled away, from a space defined by clear divisions to an entangled and complex territory.

Perhaps most importantly: occupation is not a means to an end, as traditional labor is. Occupation is in many cases an end in itself.

Occupation is connected to activity, service, distraction, therapy, and engagement. But also to conquest, invasion, and seizure. In the military, occupation refers to extreme power relations, spatial complication, and 3D sovereignty. It is imposed by the occupier on the occupied, who may or may not resist it. The objective is often expansion, but also neutralization, stranglehold, and the quelling of autonomy.

Occupation often implies endless mediation, eternal process, indeterminate negotiation, and the blurring of spatial divisions. It has no inbuilt outcome or resolution. It also refers to appropriation, colonization, and extraction. In its processual aspect occupation is both permanent and uneven-and its connotations are completely different for the occupied and the occupier.

Of course occupations-in all the different senses of the word-are not the same. But the mimetic force of the term operates in each of the different meanings and draws them toward each other. There is a magic affinity within the word itself: if it sounds the same, the force of similarity works from within it. The force of naming reaches across difference to uncomfortably approximate situations that are otherwise segregated and hierarchized by tradition, interest, and privilege.

Occupation as Art

In the context of art, the transition from work to occupation has additional implications. What happens to the work of art in this process? Does it too transform into an occupation?

In part, it does. What used to materialize exclusively as object or product-as (art) work-now tends to appear as activity or performance. These can be as endless as strained budgets and attention spans will allow. Today the traditional work of art has been largely supplemented by art as a process-as an occupation.

Art is an occupation in that it keeps people busy-spectators and many others. In many rich countries art denotes a quite popular occupational scheme. The idea that it contains its own gratification and needs no remuneration is quite accepted in the cultural workplace. The paradigm of the culture industry provided an example of an economy that functioned by producing an increasing number of occupations (and distractions) for people who were in many cases working for free. Additionally, there are now occupational schemes in the guise of art education. More and more post- and post-post-graduate programs shield prospective artists from the pressure of (public or private) art markets. Art education now takes longer-it creates zones of occupation, which yield fewer "works" but more processes, forms of knowledge, fields of engagement, and planes of relationality. It also produces ever-more educators, mediators, guides, and even guards-all of whose conditions of occupation are again processual (and ill- or unpaid).

The professional and militarized meaning of occupation unexpectedly intersect here, in the role of the guard or attendant, to create a contradictory space. Recently, a professor at the University of Chicago suggested that museum guards should be armed. Of course, he was referring primarily to guards in (formerly) occupied countries like Iraq and other states in the midst of political upheaval, but by citing potential breakdowns of civic order he folded First-World locations into his appeal. What's more, art occupation as a means of killing time intersects with the military sense of spatial control in the figure of the museum guard-some of whom may already be military veterans. Intensified security mutates the sites of art and inscribes the museum or gallery into a sequence of stages of potential violence.

Another prime example in the complicated topology of occupation is the figure of the intern (in a museum, a gallery, or most likely an isolated project). The term intern is linked to internment, confinement, and detention, whether involuntary or voluntary. She is supposed to be on the inside of the system, yet is excluded from payment. She is inside labor but outside remuneration: stuck in a space that includes the outside and excludes the inside simultaneously. As a result, she works to sustain her own occupation.

Both examples produce a fractured timespace with varying degrees of occupational intensity. These zones are very much shut off from one another, yet interlocked and interdependent. The schematics of art occupation reveal a checkpointed system, complete with gatekeepers, access levels, and close management of movement and information. Its architecture is astonishingly complex. Some parts are forcefully immobilized, their autonomy denied and quelled in order to keep other parts more mobile. Occupation works on both sides: forcefully seizing and keeping out, inclusion and exclusion, managing access and flow. It may not come as surprise that this pattern often but not always follows fault lines of class and political economy.

In poorer parts of the world, the immediate grip of art might seem to lessen. But art-as-occupation in these places can more powerfully serve the larger ideological deflections within capitalism and even profit concretely from labor stripped of rights. Here migrant, liberal, and urban squalor can again be exploited by artists who use misery as raw material. Art "upgrades" poorer neighborhoods by aestheticizing their status as urban ruins and drives out long-term inhabitants after the area becomes fashionable. Thus art assists in the structuring, hierarchizing, seizing, up- or downgrading of space; in organizing, wasting, or simply consuming time through vague distraction or committed pursuit of largely unpaid para-productive activity; and it divvies up roles in the figures of artist, audience, freelance curator, or uploader of cell phone videos to a museum website.

Generally speaking, art is part of an uneven global system, one that underdevelops some parts of the world, while overdeveloping others-and the boundaries between both areas interlock and overlap.

Life and Autonomy

But beyond all this, art doesn't stop at occupying people, space, or time. It also occupies life as such.

Why should that be the case? Let's start with a small detour on artistic autonomy. Artistic autonomy was traditionally predicated not on occupation, but on separation-more precisely, on art's separation from life. As artistic production became more specialized in an industrial world marked by an increasing division of labor, it also grew increasingly divorced from direct functionality. While it apparently evaded instrumentalization, it simultaneously lost social relevance. As a reaction, different avant-gardes set out to break the barriers of art and to recreate its relation to life.

Their hope was for art to dissolve within life, to be infused with a revolutionary jolt. What happened was rather the contrary. To push the point: life has been occupied by art, because art's initial forays back into life and daily practice gradually turned into routine incursions, and then into constant occupation. Nowadays, the invasion of life by art is not the exception, but the rule. Artistic autonomy was meant to separate art from the zone of daily routine-from mundane life, intentionality, utility, production, and instrumental reason-in order to distance it from rules of efficiency and social coercion. But this incompletely segregated area then incorporated all that it broke from in the first place, recasting the old order within its own aesthetic paradigms. The incorporation of art within life was once a political project (both for the left and right), but the incorporation of life within art is now an aesthetic project, and it coincides with an overall aestheticization of politics.

On all levels of everyday activity art not only invades life, but occupies it. This doesn't mean that it's omnipresent. It just means that it has established a complex topology of both overbearing presence and gaping absence-both of which impact daily life.

Checklist

But, you may respond, apart from occasional exposure, I have nothing to do with art whatsoever! How can my life be occupied by it? Perhaps one of the following questions applies to you:

Does art possess you in the guise of endless self-performance? Do you wake feeling like a multiple? Are you on constant auto-display?

Have you been beautified, improved, upgraded, or attempted to do this to anyone/thing else? Has your rent doubled because a few kids with brushes were relocated into that dilapidated building next door? Have your feelings been designed, or do you feel designed by your iPhone?

Or, on the contrary, is access to art (and its production) being withdrawn, slashed, cut off, impoverished and hidden behind insurmountable barriers? Is labor in this field unpaid? Do you live in a city that redirects a huge portion of its cultural budget to fund a one-off art exhibition? Is conceptual art from your region privatized by predatory banks?

All of these are symptoms of artistic occupation. While, on the one hand, artistic occupation completely invades life, it also cuts off much art from circulation.

Division of Labor

Of course, even if they had wanted to, the avant-gardes could never have achieved the dissolution of the border between art and life on their own. One of the reasons has to do with a rather paradoxical development at the root of artistic autonomy. According to Peter Bürger, art acquired a special status within the bourgeois capitalist system because artists somehow refused to follow the specialization required by other professions. While in its time this contributed to claims for artistic autonomy, more recent advances in neoliberal modes of production in many occupational fields started to reverse the division of labor.The artist-as-dilettante and biopolitical designer was overtaken by the clerk-as-innovator, the technician-as-entrepreneur, the laborer-as-engineer, the manager-as-genius, and (worst of all) the administrator-as-revolutionary. As a template for many forms of contemporary occupation, multitasking marks the reversal of the division of labor: the fusion of professions, or rather their confusion. The example of the artist as creative polymath now serves as a role model (or excuse) to legitimate the universalization of professional dilettantism and overexertion in order to save money on specialized labor.

If the origin of artistic autonomy lies in the refusal of the division of labor (and the alienation and subjection that accompany it), this refusal has now been reintegrated into neoliberal modes of production to set free dormant potentials for financial expansion. In this way, the logic of autonomy spread to the point where it tipped into new dominant ideologies of flexibility and self-entrepreneurship, acquiring new political meanings as well. Workers, feminists, and youth movements of the 1970s started claiming autonomy from labor and the regime of the factory. Capital reacted to this flight by designing its own version of autonomy: the autonomy of capital from workers. The rebellious, autonomous force of those various struggles became a catalyst for the capitalist reinvention of labor relations as such. Desire for self-determination was rearticulated as a self-entrepreneurial business model, the hope to overcome alienation was transformed into serial narcissism and overidentification with one's occupation. Only in this context can we understand why contemporary occupations that promise an unalienated lifestyle are somehow believed to contain their own gratification. But the relief from alienation they suggest takes on the form of a more pervasive self-oppression, which arguably could be much worse than traditional alienation.

The struggles around autonomy, and above all capital's response to them are thus deeply ingrained into the transition from work to occupation. As we have seen, this transition is based on the role model of the artist as a person who refuses the division of labor and leads an unalienated lifestyle. This is one of the templates for new occupational forms of life that are all-encompassing, passionate, self-oppressive, and narcissistic to the bone.

To paraphrase Allan Kaprow: life in a gallery is like fucking in a cemetery. We could add that things become even worse as the gallery spills back into life: as the gallery/cemetery invades life, one begins to feel unable to fuck anywhere else.

Occupation, Again

This might be the time to start exploring the next meaning of occupation: the meaning it has taken on in countless squats and takeovers in recent years. As the occupiers of the New School in 2008 emphasized, this type of occupation tries to intervene into the governing forms of occupational time and space, instead of simply blocking and immobilizing a specific area:

Occupation mandates the inversion of the standard dimensions of space. Space in an occupation is not merely the container of our bodies, it is a plane of potentiality that has been frozen by the logic of the commodity. In an occupation, one must engage with space topologically, as a strategist, asking: What are its holes, entrances, exits? How can one disalienate it, disidentify it, make it inoperative, communize it?

To unfreeze the forces that lie dormant in the petrified space of occupation means to rearticulate their functional uses, to make them non-efficient, non-instrumental, and non-intentional in their capacities as tools for social coercion. It also means to demilitarize it-at least in terms of hierarchy-and to then militarize it differently. Now, to free an art space from art-as-occupation seems a paradoxical task, especially when art spaces extend beyond the traditional gallery. On the other hand, it is also not difficult to imagine how any of these spaces might operate in a non-efficient, non-instrumental, and non-productive way.

But which is the space we should occupy? Of course, at this moment suggestions abound for museums, galleries, and other art spaces to be occupied. There is absolutely nothing wrong with that; almost all these spaces should be occupied, now, again, and forever. But again, none of these spaces is strictly coexistent with our own multiple spaces of occupation. The realms of art remain mostly adjacent to the incongruent territories that stitch up and articulate the incoherent accumulation of times and spaces by which we are occupied. At the end of the day, people might have to leave the site of occupation in order to go home to do the thing formerly called labor: wipe off the tear gas, go pick up their kids from child care, and otherwise get on with their lives. Because these lives happen in the vast and unpredictable territory of occupation, and this is also where lives are being occupied. I am suggesting that we occupy this space. But where is it? And how can it be claimed?

The Territory of Occupation

The territory of occupation is not a single physical place, and is certainly not to be found within any existing occupied territory. It is a space of affect, materially supported by ripped reality. It can actualize anywhere, at any time. It exists as a possible experience. It may consist of a composite and montaged sequence of movements through sampled checkpoints, airport security checks, cash tills, aerial viewpoints, body scanners, scattered labor, revolving glass doors, duty free stores. How do I know? Remember the beginning of this text? I asked you to record a few seconds each day on your mobile phone. Well, this is the sequence that accumulated in my phone; walking the territory of occupation, for months on end.

Walking through cold winter sun and fading insurrections sustained and amplified by mobile phones. Sharing hope with crowds yearning for spring. A spring that feels necessary, vital, unavoidable. But spring didn't come this year. It didn't come in summer, nor in autumn. Winter came around again, yet spring wouldn't draw any closer. Occupations came and froze, were trampled under, drowned in gas, shot at. In that year people courageously, desperately, passionately fought to achieve spring. But it remained elusive. And while spring was violently kept at bay, this sequence accumulated in my cell phone. A sequence powered by tear gas, heartbreak, and permanent transition. Recording the pursuit of spring.

Jump cut to Cobra helicopters hovering over mass graves, zebra wipe to shopping malls, mosaic to spam filters, SIM cards, nomad weavers; spiral effect to border detention, child care and digital exhaustion. Gas clouds dissolving between high-rise buildings. Exasperation. The territory of occupation is a place of enclosure, extraction, hedging, and constant harassment, of getting pushed, patronized, surveilled, deadlined, detained, delayed, hurried-it encourages a condition that is always too late, too early, arrested, overwhelmed, lost, falling.

Your phone is driving you through this journey, driving you mad, extracting value, whining like a baby, purring like a lover, bombarding you with deadening, maddening, embarrassing, outrageous claims for time, space, attention, credit card numbers. It copy-pastes your life to countless unintelligible pictures that have no meaning, no audience, no purpose, but do have impact, punch, and speed. It accumulates love letters, insults, invoices, drafts, endless communication. It is being tracked and scanned, turning you into transparent digits, into motion as a blur. A digital eye as your heart in hand. It is witness and informer. If it gives away your position, it means you'll retroactively have had one. If you film the sniper that shoots at you, the phone will have faced his aim. He will have been framed and fixed, a faceless pixel composition. Your phone is your brain in corporate design, your heart as a product, the Apple of your eye.

Your life condenses into an object in the palm of your hand, ready to be slammed into a wall and still grinning at you, shattered, dictating deadlines, recording, interrupting.

The territory of occupation is a green-screened territory, madly assembled and conjectured by zapping, copy-and-paste operations, incongruously keyed in, ripped, ripping apart, breaking lives and heart. It is a space governed not only by 3D sovereignty, but 4D sovereignty because it occupies time, a 5D sovereignty because it governs from the virtual, and an n-D sovereignty from above, beyond, across-in Dolby Surround. Time asynchronously crashes into space; accumulating by spasms of capital, despair, and desire running wild.

Here and elsewhere, now and then, delay and echo, past and future, day for night nest within each other like unrendered digital effects. Both temporal and spatial occupation intersect to produce individualized timelines, intensified by fragmented circuits of production and augmented military realities. They can be recorded, objectified, and thus made tangible and real. A matter in motion, made of poor images, lending flow to material reality. It is important to emphasize that these are not just passive remnants of individual or subjective movements. Rather, they are sequences that create individuals by means of occupation. They trigger full stops and passionate abandon. They steer, shock, and seduce.

Look at your phone to see how it has sampled scattered trajectories of occupation. Not only your own. If you look at your phone you might also find this sequence: Jump cut to Cobra helicopters hovering over mass graves, zebra wipe to shopping malls, mosaic to spam filters, SIM cards, nomad weavers; spiral effect to border detention, child care and digital exhaustion. I might have sent it to you from my phone. See it spreading. See it become invaded by other sequences, many sequences, see it being re-montaged, rearticulated, reedited. Let's merge and rip apart our scenarios of occupation. Break continuity. Juxtapose. Edit in parallel. Jump the axe. Build suspense. Pause. Countershoot. Keep chasing spring.

These are our territories of occupation, forcefully kept apart from each other, each in his and her own corporate enclosure. Let's reedit them. Rebuild. Rearrange. Wreck. Articulate. Alienate. Unfreeze. Accelerate. Inhabit. Occupy.

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Art as Occupation: Claims for an Autonomy of Life - Journal #30

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Artists: Stephanie Comilang, Steven Eastwood, Jeneen Frei Njootli, Sheena Hoszko, Kwentong Bayan Collective, Hazel Meyer and Cait McKinney, Raju Rage, Laakkuluk Williamson Bathory

Curator: Christine Shaw

Ten artists exhibiting for the first time in France question how activism, mutual aid, feminism, indigenous knowledge, queer desire, creative survival, and a closer relationship to the land can contribute to a better recognition of care as a powerful social and cultural force.

Because care is a political and artistic issue, the Art Centre is presenting a reflexive and practice-based collective exhibition on care. The artists in this exhibition offer new perspectives on the precariousness of artistic labour, gendered and racialized carework, economic crises, mass incarceration, mobility and migration, queer and non-conforming bodies, death and dying, and environmental stewardship.

Introduced in the academic and medical worlds in France, this notion is beginning to resonate across many other fields. In a French and global context of "care crisis," it is important to revalue and politicize care by exploring the new forms and relationships it can engender. As part of the Letters and Handshakes duo, Christine Shaw developed a year-long program at the Blackwood Gallery with residencies, workshops, exhibitions, and publications involving over 150 artists, researchers, activists, curators, and care workers confronting the crisis of care. Take Care at la Ferme du Buisson is a newly configured group exhibition based on this transversal project. In inviting a Canadian curator to present this exhibition, we are interested in mobilizing the questions activated by artists working elsewhere in the world, and examining how they could introduce new tools for exploring care in the French context.

The shared political proposition of these artist projects pivots on care as a possible nodal point among a multitude of actions, struggles, and visions. Extended by a series of performances, talks, and workshops, Take Care asks if an expansive conception of care can open common discursive ground toward linking multiple struggles locally and globally.
Related program
Sunday, March 3, 3pm
Opening & meetthe artists Kwentong Bayan Collective, Steven Eastwood, Sheena Hoszko, Hazel Meyer, Raju Rage and the curator Christine Shaw
La Ferme du Buisson

Saturday, April 13, 5pm
Kitchen table conversation with Raju Rage
La Ferme du Buisson

Saturday, April 13, 1-7pm
TaxiTram excursion
Centre photographique d'Ile-de-France > Ferme du Buisson > frac île-de-france - le plateau

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Resonating Bodies explored the complexities of relationships between humans and machines. The exhibition responded to the fragility and uncertainty that we face in our increasingly digital and automated world. At a time when our sense of being is in a state of flux, the artists, Karen Abadie and Laura Rosser, lean into this unknown through the materiality of the machine. The interplay of human and nonhuman machine bodies are messy and challenged through the corporeality of the work. The machines resonate, clatter and converse in the space, through an entangling of analogue and low-fi technologies, celluloid, paper and ink. Each artist embraces the errors, slip-ups, scratches and ruptures that emerge through working with old, often broken, or malfunctioning technologies. The collective artworks posed questions around political, cultural and societal breaking down, which instead might be seen as a means to repair, renew, regenerate and refresh. The artists’ interdisciplinary practices challenge misconceptions of analogue machines as ‘obsolete’ or ‘outdated’ and reimagine human and nonhuman relationships in these precarious times.

Abadie’s practice explores what it is to be an embodied being in collaboration with the machine. The imagery presents apparently opposing embodied states that float and bounce around the exhibition space. The artwork offers a repositioning of these states with leaky messy boundaries as these materialities interweave, converse, entangle and collide. The celluloid film interacts with the heavy mass of the analogue machines, its tender surface becoming worn, scarred, scratched and even broken. The collision between human and nonhuman undeniably articulated by this apparent violence.

Rosser’s practice draws on expanded understandings of error to reimagine our relationships with machines, systems and online spaces. Working with her collection of dot matrix printers and printed ephemera, she creates live text-based installations that embrace liveliness as potential for unforeseen creativity, signalling a move away from conventions of logic and order. This work creates opportunity for diverse voices and new relations to emerge. Her playful use of language and translation disrupt – and interrupt – rational thought and digital structures; preferring the misadventurous and crooked path.

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13th Dec - making the layout for the map

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13th Dec - making the layout for the map

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What content we have:

1. short essay on labour

2. art writing on each element

3. images from the show

4. video of the show (online RC version?)

5. images from the residency

6. instructions from developing

7. instructions from man working

8. test space images

9. Emma cockers writing

Question: Who is the publication for?

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Residency at BLW, 3rd – 7th and 17th – 21st June

Twoing

What we did

WEEK 1

Collaborative writing:

Labour

Care

Breaking

Slowness

Identified a method of writing:

·      Sticky notes: from diagram from Resonating Bodies exhibition and took the words that still felt pertinent.

·      Created a diagram with sticky notes, expanding on key words – selecting 4 to write from.

·      We typed key words and phrases focussing on one word on typewriter

·      Then typed for 10 minutes on our own.

·      Read them aloud.

·      Swapped laptops and responded to the other’s text.

·      And read aloud again.

WEEK 2

Day 2

Reread Labour text

Set out dialogue to distinguish separate voices

And printed, and printed

Filmed printer action

Day 3

KA processed film

LR wrote down labour

LR photographed and highlighted text to recreate instructions

KA processed rest of film later at DKs

Day 4:

Hung lengths dialogues in twos, in entrance : focussing on twoing and slowing down audience as they enter space.

Began to think through install of film

Day 5:

Looped film and sited projector

Had a break

Said hello Liam and Patrick

Began to make Pamphlets:

Pamphet 1 on labour.

Thinking through the design – how to use the text and image, the format, what’s it purpose, what for.

What we learnt

That we can write together

Identified 3 registers of writing:

1.     Collaborative art writing

2.     Instructions and recreated instructions

3.     Academic voice

That we can work together with practice

Twoing – eg the dot printer and projector have a direct conversation evidenced by the film.

Inbetweenness of the film, the void and inbetweenness.

What next

Write journal article: over summer: Meet next to discuss and agree method and time-line for writing article

Meet at end of August to make pamphets

We will create 4 pamphlets:

1               labour

2               slowness

3               care

4               breaking

with instructional accompanying text, as insert or wrap or sleeve.

Slow Labour Camp: consider Curiosity award – KA look up timings

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FRONT: edit background image to remove gap - to test

FIND or COMPILE full narrative texts

EDIT: narrative texts

LABOUR: critical essay text - check and reorder (went out of sync in moving)

SOURCE IMAGES: labour care breakdown and repair

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Jobs for Karen and Laura:

(1) finalise written content:

KA put narratives in one file per theme.

edit down to similar length

find some quotes that feel relevant

(2) select images 300 dpi images under themes

(3) organise files for Favi

(4) LR re create diagrams from AI show

(5) do a sketch of what we want / where and what style, and what images where. explain hand drawn notes will come later.

(6) later - make notes on white paper with black  pencil

(6) next week - Booths contact re map printing - 50/100/250 etc.

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things to discuss for next meeting before we send things to Favi

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things to discuss for next meeting before we send things to Favi

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1. Could this work as a title for slowness or care: Rest as Resistance

1. YES: perhaps we consider names for these sections that have a resonance with each other....I'll take a closer look at our text.

2. LR - redo repair diagram with emphasis on not restoring, but reimagining repair

3. LR/KA - Labour essay needs final amends

4. KA - write note for reader to essay - borrow from AI show??

5. LR - read through KAs creative writing accept edits

6. LR - photograph typewritten texts from BLW

7. LR/KA add photos to files

8. LR/KA meet to edit image file

9. LR/KA meet to do layout on thursday

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Inscription: The Journal of Material Text – Theory, Practice, History

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Inscription: The Journal of Material Text – Theory, Practice, History

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Inscription: The Journal of Material Text – Theory, Practice, History a peer-reviewed open access journal featuring work by practitioners – book artists, printmakers and writers – alongside academic discussion. Creative content of each issue is licensed under the Creative Commons Attribution-NonCommercial License.