Kategorien Archives: Cooperations as guest / as host

COOPERATIONS: AS GUESTS/AS HOSTS

Salon Populaire collaborates with institutions in the city and elsewhere. We either invite our partners to organize an evening at the Salon or we visit our partners and present the Salon Populaire Program.

#7 – A museum of cruelty 11.04.2012 at 8 pm

Das Museum der Grausamkeit. Ein Ausstellungsmanifest

1. Ausstellungen sollten Medien kultureller Selbstverständigung sein.

Exhibitions should be the medium of cultural self-understanding.

2. Die Institution muss die Auseinandersetzung mit den Gesetzen und Zwängen des Museums selbst führen und darf diese nicht allein der Kunst oder dem Künstler überlassen.

The institution has to examine the laws and constraints of the museum and must not leave this to the art or the artist alone. 

3. Die Unterscheidung zwischen Kunstwerk, kultur- und wissenschaftlichem oder Alltagsobjekt sowie das damit verbundene Selbstverständnis der Institution muss aufgelöst werden. Alle damit verbundenen Evidenzen stehen zur Disposition.

The differentiation between artwork, cultural, scientific or mundane objects, as well as the related self-understanding of the institution has to be eliminated. All related evidence is up for disposition.

4. Die Unmöglichkeit einer neutralen Präsentation befreit den Kurator/die Kuratorin nicht davon, diese durch Exponierung der konkreten Ausstellungsbedingungen je und je herzustellen.

The impossibility of a neutral presentation doesn’t free the curator from trying to establishing it through the repeated exposure of the concrete display conditions

5. Ausstellungen sind als Gesamtkunstwerk zu betrachten. Ihre Bedeutung entsteht durch die Wechselwirkung all ihrer Elemente und nicht durch einzelne Werke.

Exhibitions are to be regarded as a total work of art. Their relevance develops through the interplay of all its elements, not through single works.

6. Jede Ausstellung ist wesentlich Vermittlung. Der Kurator/die Kuratorin muss im eigenen Namen sprechen und sichtbar machen, welche Rolle er/sie gegenüber dem WAS, WIE und WEM der Vermittlung einnimmt.

Each exhibition is essentially a mediation. The curator has to speak in his/her own name and has to make visible which role he/she takes in mediating the  WHAT, HOW and to WHOM of the exhibition.

7. Die Auswahl der Exponate darf nicht nur nach immanenten Qualitätskriterien erfolgen, sondern muss den Besucher von Anfang an in die Überlegung einbeziehen und das Verhältnis zu ihm exponieren.

The selection of exhibition material must not only follow immanent quality criteria, but has to include the viewer in its considerations from the start, and to expose its relation to him/her. 

8. Die Idee der Wissensvermittlung darf nicht als sekundär/defizitär gegenüber der Präsentation angesehen werden und umgekehrt. Das Medium ist gesellschaftlich nur durch die Wechselwirkung beider legitimiert.

The idea of knowledge transfer must not be considered secondary/deficient to the presentation, and vice versa. The medium is socially only legitimized through the interplay of both.

9. Jeder Kurator/jede Kuratorin muss sich in seinem/ihrem Tun so angreifbar wie möglich machen. Theoretische Referenzen müssen sich im Medium selbst exponieren und nicht durch Zitate oder Paraphrasen. Sonst hat das Medium Ausstellung versagt.

The curator has to make him or herself vulnerable as much as possible in his/her own actions. Theoretical references must be exposed in the media itself and not via citations and paraphrases. In any other case the exhibition as a medium has failed.

10. Museen und ihre Ausstellungen werden Orte des kommenden Denkens nur dann sein, sofern ihre Agenten dauerhaft bereit sind, gegenüber ihren eigenen Evidenzen grausam zu sein.

Museums and their exhibitions are only then places of coming thought, if their agents are constantly willing to be cruel towards their proper critical values.

An exhibition seminar on the identity of the museum. By Ellen Blumenstein and Daniel Tyradellis

Salon Populaire, 11th-25th April 2012

April 11, Wednesday: 8-10 pm Introduction

April 14, Saturday: 2-4 pm (theory), and 5-7 pm (spatial workshop)

April 16, Monday: 10-12 am (theory), and 1-3 pm (spatial workshop)

April 22, Sunday: 2-4 pm (theory), and 5-7 pm (spatial workshop)

the opening of the exhibition and performative presentation of the project are

April 25, Wednesday 8 pm

Followed by a goodbye party into the summer break and celebration of 2 years Salon

“True culture acts through power and exultation, while the European ideal of art aims to cast us into frame of mind distinct from the power present in its exultation.”

Antonin Artaud, The Theatre and its Double

Based on Artaud’s ‘Theatre of Cruelty’, this two week long project questions how appropriate the concept of ‘cruelty’ is in relation to the museum as an institution. Taking the form of a multidisciplinary experiment, established forms of transferring knowledge and academic teaching will be combined with experiential methods of museum presentation so as to critically question and expose the visible and invisible laws of the museum with regard to its practice of presentation and reception.

In order to do this, two parallel movements, with moments of intersection, will be followed:  In the Salon, we will develop a proposal for a ‘Museum of Cruelty’ based on the collective reading of a lecture by Jacques Derrida (on the occasion of a retrospective of paintings and drawings by Antonin Artaud in the New York Museum of Modern Art (1996)).  This text – titled Artaud Moma – will be the starting, and reference, point of the discussion.  Derrida questions not only the function of the Museum today, but also examines the role of artists and artworks as well as exhibition organisers and the general public. As a result, he develops the beginnings for a new understanding of the social place of the museum.

At the same time, and through collaboration with the participants, various different spatial transformations of the adjoining exhibition spaces will be developed that will consider the questions of the visual, spatial and aesthetic conditions of exhibiting, touched on in the text/seminar, in a practical and visual way.  The exhibits will start by examining the debates surrounding Antonin Artaud’s work, but will soon transcend them to draw on subjects that Derrida, by means of Artaud, transfers to a contemporary context. The exhibits thus bring artistic works, mundane objects and texts into a dialogue with Artaud and Derrida.

The exhibition space will be used as an experimental laboratory, in order to collectively create constellations of objects and works that, throughout the duration of the project, will intensify and mount to an exhibition. In this way the exhibition seminar will show the relationship between exhibition objects (art and non-art objects) and their present time, the correlation between disciplinary boundaries and viewing habits, and between culture and spatial perception – and how they can set thoughts into motion. Here, Artaud’s term of ‘cruelty’ unfolds its meaning as the destroyer of clear differences between, for instance, positive transfers of knowledge and aesthetic-emotional aspects of the reception of art.

The reading part of the project is open to everyone, but pre-registration is necessary.  The developing exhibition will be open and free to the public for the total duration of the project.  A concluding finissage is planned for the 25th April where the content will summarised and discussed.

(Translated from German by Cleo Walker)

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Museum der Grausamkeit. Ein Ausstellungs-Seminar zur Identität des Museums

Von Ellen Blumenstein und Daniel Tyradellis
Salon Populaire, 11.-25. April 2012

Die Termine bauen aufeinander auf, sind aber auch einzeln zu besuchen. Um Anmeldung wird gebeten unter info@salonpopulaire.de. Die Veranstaltungen finden auf Deutsch statt.

Termine:
11. April, 20-22 Uhr (Einführung)
14. April, 14-16 Uhr (Theorie), 17-19 Uhr (Praxis)
16. April, 10-12 Uhr (Theorie), 13-15 Uhr (Praxis)
22. April, 14-16 Uhr (Theorie), 17-19 Uhr (Praxis)
25. April, 20-22 Uhr (Abschlusspräsentation, Ausstellung)

Echte Kultur wirkt durch den Überschwang und durch ihre Kraft, das europäische Kunstideal hingegen zielt darauf ab, den Geist auf eine von der Kraft geschiedene Haltung zu verweisen, die deren Überschwang zuschaut.
Antonin Artaud, Das Theater und sein Double

Angelehnt an Artauds Theater der Grausamkeit fragt das auf zwei Wochen angelegte Projekt nach der Produktivität des Konzepts der ‚Grausamkeit’ für das Museum als Institution. In Form eines multidisziplinären Experiments werden tradierte Formen der Wissensvermittlung und akademischer Lehre mit dem Erproben musealer Präsentationsformen verbunden, um die sichtbaren und unsichtbaren Gesetzen des Museums in Hinblick auf seine Präsentations- und Rezeptionsgewohnheiten zu exponieren und kritisch zu befragen.

Hierfür werden zwei parallele, sich ineinander verschränkende Bewegungen verfolgt: Im Salon entwickeln wir einen Vorschlag zu einem ‚Museum der Grausamkeit‘ ausgehend von der gemeinsamen Lektüre eines Vortrags Jacques Derridas (anlässlich einer Retrospektive der Bilder und Zeichnungen Antonin Artauds im New Yorker Museum of Modern Art (1996)). Dieser Text – mit dem Titel “Artaud Moma” –, in dem Derrida nach der Funktion des Museums heute fragt, die Rolle von Künstler und Kunstwerk wie auch Ausstellungsmacher und Publikum in den Blick nimmt und in der Folge Ansätze für ein neues Verständnis des gesellschaftlichen Ortes des Museums entwickelt, ist Ausgangs- und Referenzpunkt der Diskussion.

Parallel entstehen in Zusammenarbeit mit den Teilnehmern im angrenzenden Ausstellungsraum unterschiedliche räumliche Umsetzungen, die die im Text/Seminar behandelten Fragestellungen zu den visuellen, räumlichen und ästhetischen Bedingungen des Ausstellens erproben und sichtbar machen. Exponate hierfür gehen von der Auseinandersetzung mit den Arbeiten Antonin Artauds aus und weisen darüber hinaus, indem sie die von Derrida behandelten Themen mit mit aktuellen künstlerischen Arbeiten, profanen Objekten und Texten in einen Dialog bringen.

Der Ausstellungsraum wird so als Experimentallabor genutzt, um gemeinsam unterschiedliche Objekt- und Werkkonstellationen zu schaffen, die sich über die Dauer des Projektzeitraums verdichten und zu einer Ausstellung anwachsen. So performiert das Ausstellungs-Seminar das Verhältnis von Ausstellungsobjekten (Kunst wie Nicht-Kunst) zu ihrer Gegenwart, den Zusammenhang von disziplinären Grenzen und Sehgewohnheiten, von Kultur und Raumerfahrung – und wie diese das Denken in Bewegung versetzen können. Artauds Begriff der ‚Grausamkeit’ entfaltet hier seine Bedeutung als Zerstörer allzu gewisser Differenzen wie der zwischen positiver Wissensvermittlung und ästhetisch-emotionalen Aspekten von Kunstrezeption.

#6 – Forum Expanded 2012: Critique and Clinic 09.02.2012

Organized by Arsenal – Institute for Film and Video Art as part of the Berlinale.

This year’s Forum Expanded exhibition at the Kunstsaele Berlin is entitled “Critique and Clinic”. Criticism of institutions and clinical psychiatry in particular played a central role in the political discourse of the 1960s and 1970s, a movement which regarded psychological pathologies as a product of social conditions and the repressive structures of society. Luke Fowler’s film All Divided Selves, which explores the work of psychiatrist and guru of the anti-psychiatry movement RD Laing, forms the starting point for “Critique and Clinic”. The works shown in the exhibition take an in-depth look at the current psychological dimensions of socio-political structures. By examining the relationship between mental states and global structures, the exhibition offers a diagnostic panorama of the “psychospheres” of a form of capitalism which has made life, subjectivity and the psyche into a central resource. Much like the rest of this year’s Forum Expanded programme, the exhibition also raises the question of art’s scope for taking action in both visual and narrative terms.

Artists: Heike Baranowsky (Germany), Duncan Campbell (Ireland), Luke Fowler (GB), Iram Ghufran (India), Virlani Hallberg und Jennifer Rainsford (Sweden), Ken Jacobs (USA), Steffen Köhn und Paola Calvo (Germany), Eline McGeorge (Norway), The Otolith Group (GB), Florian Wüst (Germany)

Program

Barometer (i) von Heike Baranowski (Deutschland)
Arbeit von Duncan Campbell (Irland)
All Divided Selves von Luke Fowler (Großbritannien)
There Is Something In The Air von Iram Ghufran (Indien)
O.G.B.I.P [ Our Global Behaviour is Psychopathic II ] von VirlaniHallberg und Jennifer Rainsford (Schweden)
Seeking The Monkey King von Ken Jacobs (USA)
A Tale Of Two Islands von Steffen Köhn und Paola Calvo (Deutschland)
A World Of Our Own von Eline McGeorge (Großbritannien)
Aanathema von The Otolith Group (Großbritannien/ Frankreich)
Dienst An Der Notwendigkeit (Service To Necessity) von Florian Wüst (Deutschland)

Exhibition 9.2. – 19.2.,
DAILY: 11-20 h

Image: Ken Jacobs: Seeking the Monkey King

#5 – The Living Archive 01.07.2011

In cooperation with the arsenal – Institute for Film and Video Art

The Living Archive – Archive Work as a Contemporary Artistic and Curatorial Practice project has started in June 2011: Filmmakers, artists and curators are developing projects that take the arsenal’s archive’s holdings as a starting point. Public screenings at arsenal are held once a month, the participants are viewing material at the arsenal’s editing tables, and hold discussions at the Salon.
Salon Populaire is developing a series of events which start from the archive – first and foremost from its films, but also from the other vast source material it contains, be it posters, texts, images, past programs, and more. The research in the archive as well as the screenings and discussions form the base from which the series takes shape.

Participants: Madeleine Bernstorff, John Blue, Tim Blue, Ellen Blumenstein, Oksana Bulgakowa/ Dietmar Hochmuth, Vaginal Davis, Martin Ebner, Heinz Emigholz, Entuziazm (Michael Baute, Volker Pantenburg, Stefan Pethke, Stefanie Schlüter), Harun Farocki, Anselm Franke, Nanna Heidenreich, Tobias Hering, Brent Klinkum, Merle Kröger, Eunice Martins, Angela Melitopoulos, Avi Mograbi, Sabine Nessel, Winfried Pauleit, Constanze Ruhm, Susanne Sachsse, Ines Schaber, Philip Scheffner, Stefanie Schlüter, Marcel Schwierin, Marc Siegel, Hito Steyerl, Dorothee Wenner, Ian White, Nicole Wolf, Florian Wüst, Florian Zeyfang. Goethe-Institute Scholars: Madhusree Dutta (Bombay), Darryl Els (Johannesburg), Ala’ Younis (Amman).

For further information please check:

http://www.arsenal-berlin.de/en/collection/living-archive.html

Funded by the German Federal Cultural Foundation

#4 – The Intellectual Work 02.10.2011

A talk with Pavel Büchler, Barbara Casavecchia, Jason Dodge, Tim Rollins

The starting point for this discussion is the exhibition currently on show at Tanya Leighton, and specifically its title: The Intellectual Work.

The evening is organized on the occasion of artist and master of Italian design Enzo Mari’s installation at the gallery. The exhibition presents a selection of paperweights Mari’s been collecting and assembling for decades, which Mari describes as an allegory on the essence of his practice, as much as of the practice of whoever undertakes ‘intellectual work’. The evening brings together three international artists and one curator who share a common interest in Mari and his production, as much as in his attitude.

What does it mean to perform an ‘intellectual work’? Is it useful to follow an ‘ethical handrail’, as Mari claims, whenever inserting anything in the cycle of production and consumption? What is education? These are some of the questions intended for debate.

The event will be held in English.

Providing for the talk, Tanya Leighton Gallery will be open on Sunday 2 October, 2-4 pm

#3 – If it happens, it happens. If it doesn’t, it doesn’t 17.07.2011

The Public School will complete its seminar, “There is nothing less passive than the act of fleeing” with an evening conversation to be held in collaboration with THE OFFICE at Salon Populaire.

There will be no prepared remarks, no program, no introduction or concluding statement. But there will be questions: questions generated from the seminar discussions, questions about the project as a whole, questions that you bring, or questions you have when you arrive (from “Can we really escape?” to “Who cares?” and beyond). The evening’s conversation will simply be our collective attempt to answer, contest, explain, and expand these questions.

We invite you to send questions in advance to this email address thereisnothinglesspassive@gmail.com or bring some with you.

Please join us for what we hope will be a cathartic conclusion to this project by The Public School.

Also, there will be some food and plenty of drinks!

#2 – The Bucolic Genre today: Between a Subtrend of Organic Lifestyle and Provincial Art. (C as host) 22.07.2011

An evening organized by Kaspars Vanags, Juste Kostikovaite and KIM? Contemporary Art Centre Riga.

The long-lived pastoral tradition of focusing on rustic subjects and on the romanticized country life of shepherds and shepherdesses is experiencing a remarkable comeback in contemporary art. This surprising revival is caused by the conservationist movement and awareness to climate change, as well as by the now-mainstream consumer fascination with organic food and healthy lifestyle. On another level, the bucolic genre is a perfect niche for art produced in the peripheries. By adopting “local food” marketing strategies to sell the regional, “provincial art” might have a chance to be noticed and taken seriously.

This week at Salon Populaire, a pastoral event, with a midsummer night’s aftertaste, will focus on the bucolic tendencies in art from the Baltics and will be followed by organic peculiarities of regional gastronomy.

#1 – Salon Populaire and THE OFFICE in Venice 30.05.2011

IL DOLCE FAR NIENTE – A picnic conversation

THE OFFICE and Salon Populaire invite you to a picnic conversation in Venice to celebrate the inauguration of UNDER DECONSTRUCTION by Libia Castro & Ólafur Ólafsson, curated by Ellen Blumenstein, and the release of our magazine THE WORLD ACCORDING TO DORA GARCÍA (Issue #3) edited by THE OFFICE and published by argobooks