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Master-Symposium 2020

Haute école d'art et de design – Genève / HEAD

Qui parle ? – Le peuple qui manque 

Qui parle ? Politiques et poétiques de l’énonciation à l’âge de l’Anthropocène

Le peuple qui manque 

 

After the cancellation of Master Symposium’s physical encounter, the invited curators and guest speakers developed a digital form for this series of presentations and talks.

Videos of the speakers invited by le peuple qui manque for the Geneva part of the Master Symposium are uploaded here: 

http://www.lepeuplequimanque.org/qui-parle-master-symposium

The password will be shared with you by your master orientation. 

 

***ENGLISH BELOW***

Depuis quelques années, une vaste littérature théorique envisage de redonner des droits à la Nature, et d’y reconnaitre des sujets à même d’entrer officiellement sur la scène politique. Mais cette sorte de précipitation à vouloir faire parler ceux qui, littéralement, ne parlent pas, ceux qui « conjuguent les verbes en silence » comme le dit le poète Jean-Christophe Bailly, ne peut se faire sans convier de nouveau cette question, tout droit héritée des années 60, à savoir « qui parle », « qui » peut prétendre « parler pour » et suivant quels dispositifs de relations, question qui a émergé à la fois dans le sillage de la mort du sujet prononcée par Foucault ou Barthes puis radicalisée par Spivak, et à la fois dans le sillage de la résurgence des sujets, de leur « seconde vie », à pouvoir se dire « pour eux-mêmes », sans instance de représentation, des subaltern studies aux féminismes et aux épistémologies postcoloniales. Lorsque l’on se demandait « Qui parle ? », une scène théâtrale s’ouvrait avec ses protagonistes, interrogeant les instances qui structurent la parole démocratique et ses dispositifs, mais aussi l’histoire du cinéma documentaire, les pratiques de l’autofiction, la psychanalyse ou l’ethnographie. De cette histoire paradoxale entre vie et mort du sujet, a émergé un grand corpus d’œuvres littéraires, plastiques, filmiques et il en est de même aujourd’hui, alors que c’est la voix silencieuse du monde qui nous rattrape, les stratégies mises en place par de nombreux artistes aujourd’hui se font le lieu d’une négociation sur les formes d’échanges et de nouages avec les non-humains. Du reste, alors que le modèle dominant pour penser politiquement la voix des non-humains demeure le dispositif parlementaire, celui de la représentation et du porte-parolat (depuis Bruno Latour, Politiques de la Nature, 1999), à quelles autres politiques de la nature-culture nous invitent aujourd’hui ces propositions formulées depuis l’espace de l’art ? C’est des poétiques et politiques énonciatives et des controverses contemporaines qui traversent le monde de l’art et de la pensée aujourd’hui dont il sera question durant ce Master Symposium.

Aliocha Imhoff & Kantuta Quirós

 

Who speaks? The politics and poetics of enunciation in the Anthropocene Age

In recent years, a vast theoretical literature has been considering giving Rights to Nature, and thus recognizing non-humans subjects who could officially enter into the political arena. But this kind of haste to make those who literally do not speak speak, those who « conjugate verbs in silence » as the poet Jean-Christophe Bailly puts it, could not be done without once again inviting this question, straight from the 1960s, that is to say « who speaks », « who » can claim to « speak for » and according to what kind of relations – a question that emerged on the one hand in the wake of the death of the Subject pronounced by Michel Foucault or Roland Barthes and then radicalized by Gayatri Spivak, and on the other hand in the wake of the resurgence of subjects, of their « second life », to be able to speak « for themselves », without any instance of representation, from subaltern studies to feminisms and postcolonial epistemologies. When one wondered « Who speaks? », a theatrical scene was opened with its protagonists, questioning the instances that structure the democratic devices, but also the history of documentary cinema, the practices of autofiction, psychoanalysis or ethnography. From this paradoxical history between the life and death of the Subject, a large corpus of literary, artistic and cinematographic works has emerged, and we could argue that it is the same today, when it is the silent voice of the world that is catching up with us, the strategies deployed by many artists nowadays become the site of a negotiation on the forms of exchange and ties with non-humans. Moreover, while the dominant model for thinking politically about the voice of non-humans remains the parliamentary system, that of representation and spokesmanship (since Bruno Latour, Politics of Nature, 1999), to which other nature-culture politics invite us today these proposals formulated from the space of art? It is the poetic and political enunciatives and contemporary controversies that cross the world of art and contemporary thinking today that will be discussed during this Master Symposium.

Aliocha Imhoff & Kantuta Quirós

 

Guest speakers :

  • Christian Alonso (art historian, curator, University of Barcelona)
  • Mabe Bethonico (artist, Geneva)
  • Lonnie Van Brummelen (artist, filmmaker, Amsterdam)
  • Zuleikha Chaudhari (artist, stage director, New Delhi, via Skype)
  • Matthieu Duperrex (philosopher, writer, artist, University of Toulouse)
  • Moderation and introduction: Aliocha Imhoff (curator and theorist, University of Paris I)

Un programme proposé par Aliocha Imhoff & Kantuta Quirós(curateurs et théoriciens, le peuple qui manque, Paris) sur une invitation des orientations de master hes-so CCC, TRANS– et Work.Master.

A programme proposed by Aliocha Imhoff & Kantuta Quirós (curators and theorists, le peuple qui manque, Paris) on an invitation by hes-so master programs CCC, TRANS— and Work.Master.

École de design et Haute école d'art du Valais / ÉDHÉA

work in progress – a symposium on art and work

Wednesday March 25, 2020, 9.45 - 17.30
A proposition by MAPS – Master of Arts in Public Spheres, EDHEA
Château Mercier, Sierre
Meeting point Sierre train station 9.45

Workshops with: Mirjam Bayerdörfer, Mabe Bethônico, Anne-Laure Franchette, Patricio Gil Flood, Zen Marie.

Inscription is mandatory! (The symposium is providing a lunch for everybody)
Deadline: March 20. Please confirm your participation and your choice of workshop to: aurelie.strumans@edhea.ch

The MAPS proposal for the 2020 Master Symposium expands on last year’s discussions on forms and formats of working and studying art. And while last year the notion of "studying" was at the center of the symposium, this year we will shift our focus to "working". How do we work and how do we study? Is studying a form of labor?  How can we understand the term "work" or “labor” in the context of the arts? What narratives can be identified around the term? What is implied by the fact that most Swiss art schools are located in former industrial buildings? Are Art schools the new factories in which knowledge/art is produced? Do we produce knowledge/art or what other procedure do we adopt? How can artistic approaches propose re- or dis-orientations of these terms?

The Symposium is conceived as a platform which allows the participants of the different art schools and orientations to meet, discuss and exchange. Five workshops – of which the students can choose one – will address the questions with different approaches and theme foci. A common Risotto for lunch allows to come together again and exchange across the groups.

The Symposium will take place at the Château Mercier in Sierre. Particular sites in and around the castle – such as a former swimming pool, a winter garden– witness the castle’s past and present and serve as a container and backdrop of the working groups. An ongoing film program in the foyer of the Château Mercier will accompany us during the day.

Meeting point: Sierre, train station 9.45h
9.45 – 10.45 Listening walk with Christophe Fellay, to Château Mercier
11 Welcome and group building
11-13h First workshop session
13-14.30 Lunch
14.30-16.30 Second workshop session
16.30-17.30 Feedback round and Farewell

 

WORKSHOPS

 

Reading with Scissors: Wonder and Work

Mabe Bethônico

What is accumulated in daily news is often a persistency of subjects that we became used to. Some important key subjects are diminished as only repetition of the same, they are overlooked and any engagement is postponed or annulated. How can we organize a procedure towards a single voice, like a shout, reaching out understanding and making sense of a single issue out of the accumulation of political, environmental, economic tensions present in daily printed matter?

This is a call to build sense together from newspapers by re-ordering content and dis-orienting pages, for a layout about work and study. Constituting a space of encounter, we wish to speak while reading and looking, observing the vocabulary of labour, work, employment, payment, collective expectations, demands and failures, for a construction, mapping terminology and arranging visuals. How can we act differently together with this material towards producing content and reading aloud about WORK?

 

Mabe Bethônico works in dialogue with archives, libraries, museums, using carious medias such as prints, publications, posters, websites and lectures. She deals with limits between historic material and invention, evidencing how information can be constructed and continuously reworked. She has shown regularly across Brazil and Europe and is a prominent figure in the Brazilian art scene, having won various awards and been supported by research agencies and museums. She is part of the international group of artists and theoreticians World of Matter, initiated in 2010, dealing with issues linked to climate change and resource economies.

 

Workshop
Mirjam Bayerdörfer

A) Was macht eine Tätigkeit zur Arbeit? Und wie verhält sich das, wenn dabei Kunst entsteht? Wir untersuchen (die eigene) Arbeit als ein Verhältinis von Zeit, Sichtbarkeit, Effekt, Auftrag, Lohn. Es geht um Haltung in der Entgrenzung, um geistig-ergonomische Hilfsmittel und um ganzheitliche Lockerungsübungen. 
B) "Of course I am working even if it looks as if I am not working. And even if I am not working and it looks as if I am not working I still might claim to be working and wait for you to work out what objective signifiers point towards a moment of value and work. This is the game of current art." Liam Gillick: Why Work?, Auckland: Artspace Auckland 2010.
C) ??!

 

A) Mirjam Bayerdörfer (*1984), is part of several collective structures. In her work she investigates social permeabilities and forms of self organisation, with artistic means among others. In doing so she is concerned with the following: Inside and outside, spaces, structures and their use, narratives, text, text and image, image languages, feminism, audience, public, the city. Her works include the manual "Teaching for people who prefer not to teach" with Rosalie Schweiker (2017), Sitzungen with Mein Verein (since 2016), and a series of walks called Outside Sundays (since 2015), She currently teaches at the F+F Zurich and co-runs the Shedhalle in Zurich.
B) Mirjam Bayerdörfer (*1984) used to co-run the Neuer Saarbrücker Kunstverein in Germany and teach art to the architecture department of ETH Zürich intitiated the format OUTSIDE SUNDAYS, a series of Sunday afternoon getaways currently teaches at the F+F school of art and design and co-runs the Shedhalle, the exhibition space at Rote Fabrik co-curated the exhibition „abhängig? wer, wie, von wem und wovon“ (dependent? – who, how, on whom or what) co-edited the handbook "Teaching for people who prefer not to teach“ together with Rosalie Schweiker. As an artist and curator, she’s interested in "testing and producing new forms of artistic and cultural practice" that go beyond the usual settings of art spaces and reach out to a more diverse audience.
C) Mirjam Bayerdörfer *1984, betreibt eine Hybrid-Praxis zwischen konzeptueller Einmischung, künstlerischer Produktion und Support-Strategien. Meistens findet die Arbeit zusammen mit anderen und unter uneindeutiger Autorschaft statt. Wissen produziert, organisiert, finanziert sich quer, und schlägt sich nieder in Aktionen, Ausstellungen, Texten und Gesprächen, die gleich gültig sind, es gibt kein Bedeutungsgefälle.

 

Is the future self-organized?

Anne-Laure Franchette

The artist-run ethos is often non-hierachical, non-commercial and based on an exchange of knowledge and resources. Artist-run initiatives, which support and develop experimental or underrepresented forms of practices and discourses, often exist in reaction to the hegemony of art institutions, museums and commercial galleries. Nowadays, the network of alternative spaces is a distinctive and central part of art and culture, proving that there are many different ways to be transformative, acknowledged and significant within the field of art. But to navigate through the power structures of the art market, the institutions, local politics and urban development, is a constant negotiation.

 

Anne-Laure Franchette: Exploring cultural perception, categorisations, cycles of production and misappropriation, my current research looks at the metabolism of cities, their relation to nature and how the political is embedded within the natural in the urban context. I am especially interested in the representations and manifestations of hierarchies of dignity (related to beings, objects or practices). In parallel to initiatives of self-organization and representation such as grassroots movements, collaborative models and DIY practices, which arise out of deficits, circumnavigating established structures and acting as support mechanisms. www.annelaurefranchette.com

 

“Look, this is my work!”

Patricio Gil Flood 

What do we understand by work? Producing something? Having a job? A potentially earning money? Having rights? Do we really want to be workers? These questions typically address relationships of art to work, conditions of living, or the position of the artist today, when creativity is increasingly commodified and creative labour proclaimed as a viable entrepreneurial model. 

The workshop propose to map our conditions of context, to perform our situation, to see how our material living condition could influence our subjectivity living condition, and viceversa.

Languages: Español, Français, English.

 

Patricio Gil Flood (1977 – Argentina) is currently living in Genève, Switzerland. Since a few years his practice and research is around the notions of work and leisure, taking a form of a research in the itinerant project ECOLE DU NON TRAVAIL. He is active participating and creating collective experiences related to performance and edition, walks and discussions, experimental exchange of goods, historically migratory traits and drifts.  Some examples are: Practicas de Periferia, MACACO Press, Los Individuos Radio, La Dispersión, AAS (Agencia de Asuntos Subtropicales), Artistas Organizados, CIA Centro, and the micro-society of artists Proyecto V.

 

Worlding at the edges of the art work
Zen Marie

The kind of labour, the form of work that being an artist includes has been transformed by both the radical energies of 60’s and 70’s but also by the forms of service based economy, marked by google hubs, communal workshare spaces and remote offices. The age of the freelancer or short term contract worker is upon us. In this sense, the work or labour of an artist has opened up to a variety of forms that have increasingly complex and critical relationships to the very idea of art itself.

Worlding at the edges of the art work invokes interactions between multiple players, human, non-human, virtual, abstract and flesh and blood. Following Donna Haraway, it’s about a becoming with "a world in which; "natures, cultures, subjects and objects do not pre-exist their intertwined worldings". kunsthalle / commercial gallery / university or art school. This workshop will take these ideas as a starting point, in order to open up a discussion that engages with work, the art work, and the worlding of the work that makes the art world/work.

 

Zen Marie is an artist who works in a variety of media. Core to his practice is a concern with how meaning and possibilities are produced through material and immaterial site, space and place. While working from a position that often begins with photography and film making this extends into performance, sculpture, graphic processes and writing. His areas of focus have included international sport, identity, nationalism, public infrastructure, food, urban space, aesthetics and forays into undisciplined decolonial philosophy. The links between these diverse areas is around the relationship between desire, power, agency and their subversive or revolutionary potential. Marie currently lives and works in Johannesburg, South Africa, where he is a Lecturer in Fine Art at the WITS School of Art. He is also a PhD candidate at WITS, with a focus on areas of art and theory in relation to what he calls situated aesthetic practice.