PRE-VENTURING WEEK IN TRONDHEIM, SEPTEMBER 01-05
MONDAY
13:00 -- 16:00 Welcome & Proposal Presentations (Kunstarken, KiT)
TUESDAY
10:00 - 12:00 Politics of Collective Venturing, Part 1 (Kunstarken, KiT)
Revisiting concepts of collective code-cracking & action -- (Lumbung as systemic shift?) -- Reading, Listening & Debate Session with examples & methodologies of organising, presented by Liza Walling & Annett Busch
13:00 -- 16:00 Time for Roaming and Self-Organising (together with KiT students)
WEDNESDAY
10:00 - 12:00 Politics of Collective Venturing, Part 2 (Kunstarken, KiT)
Scaffolding Structures, Background-Foreground & Creative Accounting in times of permacrisis -- Time for reading & listening & debating & reflections, facilitated by Liza Walling & Annett Busch
13:00 -- 16:00 Time for Roaming and Self-Organising (together with KiT students)
THURSDAY
10:00 - 12:00 Visit at Kunsthall, hosted by Joe Rowly, adding insights & experience
13:00 -- 16:00 What happened so far ... how did plans and proposals develop? (Kunstarken, KiT / LW & AB) -- If needed: more time for Roaming and Self-Organising
FRIDAY
10:00 - 12:00 Time to discuss exhibition & communication practicalities & distribute tasks & responsibilities (Kunstarken, KiT / LW & AB)
RECOMMENDED READING & LISTENING
ELVIA WILK: The Art of Decolonization
Artists and curators in St. Louis are negotiating the return of a sacred Indigenous site. Can art world resources be leveraged for more than symbolic statements?
Counterpublic is a triennial exhibition reimagining the possibilities of art in public life.
CHARLES ESCHE: The First Exhibition of the Twenty-First Century—Lumbung 1 (documenta fifteen), What Happened, and What It Might Mean Two Years On
RONALD KOLB: documenta fifteen’s Lumbung: The Bumpy Road on the Third Way: Fragmentary Thoughts on the Threats and Troubles of Commons and Commoning in Contemporary Art and Knowledge Production >> on curating
The Question of Funding Collective
How did funding impact the institutions’ infrastructures and modes of production? What culture does the donor economy create? Is culture organic and does it represent political power structures? Whose discourse does culture claim to speak for? How did cultural producers turn into employees within this infrastructure? Is there such a thing as unconditional funding? Can we work without funding?
Yazan Khalili and the Crisis Economy_a podcast conversation, hosted by Candela Cubria and Sepp Eckenhaussen. Yazan Khalili is an artist, architect, and cultural activist living in and out of Palestine. Some of Yazan’s many roles are: PhD candidate at the Amsterdam School of Cultural Analysis, co-founder of Radio Alhara (since 2020), and co-founder of The Question of Funding-collective (since 2019). Our conversation focuses on crisis and the crisis economy as a defining force in the arts. We also discuss the practice of infrastructural critique, or how to build alternative art institutions from the bottom up. And, of course, we talk about Palestine.
networkcultures: art in permacrisis -- podcast series
Art in Permacrisis is a podcast on the organization of art workers in the face of the ever-growing stack of crises. How can artists make a living without selling their souls? Can we imagine and practice a sustainable art economy beyond precarity? How should we transform the circulation of artworks, the curriculum of art and design academies, the exhibition programs of museums, and the organization of collectives and unions?
ruangrupa.org —— ruangrupa (always written in lowercase and without spaces) is a contemporary art organization founded in 2000 by a group of artists in Jakarta. As a nonprofit entity, ruangrupa actively fosters the development of artistic discourse within urban context and the broader cultural landscape. This is organized through exhibitions, festivals, art laboratories, workshops, research, and the publication of books, magazines, and online journals.
Cloë Ashby: Five things we learned about artist collectives
1. The idea of the lone genius is a myth. 2. Artist groups have existed throughout history. 3. Collaboration is often the key to success. 4. The Turner Prize shortlist solely featured collectives in 2021. 5. The art world is still catching up
ARRAY Collective —— are a group of individual artists rooted in Belfast, who join together to create collaborative actions in response to the sociopolitical issues affecting Northern Ireland. Array’s studios and project space in the city centre acts as a base for the collective, however the participating artists are not limited to studio holders.
ASSEMBLE —— is a London-based organisation who design and make buildings, artworks, gardens, playgrounds, furniture, exhibitions and events. We develop business plans, project strategies and create organisations. We design, construct and manage workspaces. We curate, teach, write books, publish research and lecture publicly. Each of these activities form an interconnected body of work.
The GUERRILLA GIRLS —— are anonymous artist activists who use disruptive headlines, outrageous visuals and killer statistics to expose gender and ethnic bias and corruption in art, film, politics and pop culture. We believe in an intersectional feminism that fights for human rights for all people. We undermine the idea of a mainstream narrative by revealing the understory, the subtext, the overlooked, and the downright unfair.
enough room for space —— does not conform to the logic of an institutional space, but aims to create a fluid space where life and work intertwine.
Jubilee — a platform for artistic research, run by a group of artists and other researchers
Owen Griffith —— is an artist, curator workshop leader and facilitator. Using participatory and collaborative processes, his socially engaged practice explores the possibilities of art to create new frameworks, resources and systems.
PAPER TRAIL, PAPER TRIAL: THE ART HISTORY OF THE CV
On the shadow side of nearly every artistic practice, a PDF looms. Hidden in folders, on email servers, saved as monthly versions, this file often exists as multiples, each with a specific function. It is a document that is deeply individual to each person who maintains one, referring mostly to personal achievements and creative undertakings. It is also a type of work that nearly every artist performs, free of charge, yet it conditions access to funding, sales, and other monetary opportunities. It contains mostly two to three pages, summarising exhibitions, awards and prizes. This format is of course otherwise known as the CV.