DFG-Graduiertenkolleg 1759 der Universität der Künste Berlin "Das Wissen der Künste"
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- DFG-Graduiertenkolleg 1759 der Universität der Künste Berlin "Das Wissen der Künste" (21) (entfernen)
listening / zuhören
(2022)
Listening appears as a research strategy: listening to remember, to
resonate, to fill the gap, to unpack, to participate, to endeavour, to
write, to read, to represent, to witness, to change, to resist, to learn,
to un-learn, to dream, to imagine, to meditate, to fall, to question, to
reveal, to travel, to envision, to feel, to wonder, to ask, to think, to
navigate, to dig, to bind, to murmur, to say loud, to share, to commit,
to repair, to speak out, to meet, to hear, to dwell … in becoming.
Spaces of Collectivity
(2021)
How is it to act collectively when each one of us brings our own
perspective, values, assumptions, and also our own language? How does
from the many become ‘one’? What compromises does one need to make on the
way? These were the questions we explored during the workshop Spaces of
Collectivity. The aim was to collectively experience and enjoy space,
while noticing how different our perspectives on it are, and how being
able to talk about them, is key to any collective act of visioning,
making or caring for space. Maps, as final products, and map-making, as
the process of making these, became the tools to visualise and thus be
able to better discuss these challenges.
What are recent examples of practices in which ‘assembling’ and
‘disseminating’ reconfigure agencies, resources, affects and information
to give rise to new forms of collectivities? This round table brings
together Björn Heerssen and Noel David Nicolaus from the
interdisciplinary collective Clusterduck, and sociologist Serhat
Karakayali to ask about the relationships and interdependencies between
‘assembling’ and ‘disseminating’ as constitutive mechanisms in processes
of collectivization. How do agencies, resources, affects and information
elevate processes of creating collective feelings? Together we discuss
how ‘assembling’ and ‘disseminating’ take shape in each example, leading
to different forms of collectivities; what practicable mechanisms,
interfaces and infrastructures come into play; and how do these two
instances approach possibilities of collective interaction
in terms of
‘sharing’ and ‘learning’.
What practices constitute the commons? What are the conditions of the
situated processes of commoning? What and how do we thereby learn? What
would constitute a new sense of sharing, distributing, partaking? And,
how can we take the idea of relationality seriously and institute
structures of reciprocity between art, academia, and activism? To address
these questions the round table commoning/communing brings together three
projects focusing on urban practices of commoning.
The round table instituting/fleeing addresses collective practices as
forms of resistance against power asymmetries – as activist strategies.
It focuses on the entangled dynamics between fleeing and occupying the
institution and the role institutional critique plays in these dynamics.
We will map out our different collective practices by posing questions,
such as: How can we understand the different ways the institution and the
collectives are linked? How to create collectives within the institution?
How can collectives flee or occupy the institution? Who can flee and
where to? How do institutions appropriate and destroy collective
structures?
In June 2019, I held the workshopcooking, playing and sharing at the
symposium sharing/learning: methods of the collective in art, research
and activism by the DFG-Graduiertenkolleg “Das Wissen der Künste”, Berlin
University of the Arts (UdK), at/in cooperation with District * School
without Center.
I invited guests to explore how to come together spontaneously,
creatively and intuitively for preparing a feast without previously
knowing the recipe and without a recipe. The main idea was how to make a
meal with the ingredients, we would have available, and share it between
the participants of the event. Noncooking Knowledge was required. As it
usually happens in my proposals, the practice has taken other directions.
What are the reasons behind a newfound popularity of collectives within
art economies? Could it be that collective practices are a necessary
answer to the challenges faced by (creative) workers in late capitalist
society? To reflect these questions, we take this text as a starting
point to try to critically assess our own personal history as an internetbased
research collective.
This text was part of the opening to the symposium sharing/learning:
methods of the collective in art, research and activism and was read on
28th June 2019, in English, by two members of the organizing team, as
introductory words. The text deliniates the central questions from which
the two-day gathering arises, as well as its methodologies and actors.
Many formulations originate from previously written concept papers, which
were used to present the project for various purposes. These in turn are
informed by the many conversations that took place within the
organizational team – a group of people whose constellation was shifting
along the way – orally as well as in writing.
In response to this issue’s call to “engage aesthetic processes of
remembering,” this paper analyses Fair Play (2014), a stereoscopic 3-D
cinema installation by Toronto-based filmmaker Ali Kazimi. Produced in
conjunction with the centennial anniversary of the arrival and detainment
of the Komagata Maru steamship in Vancouver, British Columbia, Canada,
the installation engages in an act of critical commemoration by imagining
the lives of members of the South Asian diaspora affected by this
incident. I argue that by centering affect within the formal and
conceptual framework of the installation, Kazimi produces a decolonial
aesthetic that restructures our relationship to this past, bringing to
the fore ways of living and knowing that had previously been devalued and
violently erased by colonial agendas and neoliberal art historical
critiques.
‘Looking Back Forward_Quip Nayr’ is based on the Aymara concept of time
and space called ‘qhip nayr’. As the Bolivian sociologist Silvia Rivera
Cusicanqui refers to it, ‘quip nayr’ is a way of looking into the past to
orient your path to the future. I use this concept to reflect on
processes of change, concerning language, identity and place. Expressing
identity on fabric recuperates my ancestors’ tradition from the Andean
region in Abya Yala (Latinamerica). The layering of textiles is inspired
by Gloria Anzaldúa, who uses fabrics as a synonym to talk about the
construction of identity in her concept ‘Haciendo Caras’.