“By most definitions, citizenship applies to an exclusive group of people identified by their belonging to a clearly demar cated, well-defined, and well-defended state territory. Nomad citizenship is designed to break with that definition and its territorialization of the concept of citizenship: nomadism, by most definitions, broadly applies to groups that are precisely not identified with state territory; Deleuze and Guattari’s concept of nomadism, as we will see, is broader still. But the point of combining nomadism with citizenship in this way is to smash the State’s territorializing monopoly on belonging and redistribute it globally, in alternative or minor forms of sociality both within and beyond the boundaries of the State”
Eugene Holland in the Introduction to Nomad Citizenship 2011
“Finding out whether or not museums permit this kind of critical conflagration may not be the best way of posing the problem. Unlike what the first generation of institutional critique may have thought, there are no regions of reality that are good or evil in themselves, with a supposedly essential identity or morality that would define them once and for all. We have to shift the givens of the problem, as it has recently started to happen. The focus of the question should be ethical: one has to sketch out the diagram of forces that invest each museum at each moment of its existence: from the most poetic forces to those of the most undignified instrumental manipulation. Between the two poles, active and reactive, a changing multiplicity of forces is asserted, at varied and variable degrees of potential, in a constant reordering of the diagrams of power. (…)
Whether this enterprise is carried out within museological spaces or not depends on their singularity and on the kind of problem that gives rise to it; and if, in certain cases, the museum can be one of the possible sites for such actions, the choice of the adequate institution involves a cartography of the forces at work before one launches any initiative. It is in this way that the properly poetic force can participate in the destiny of a society, contributing so that its vitality can affirm itself in immunity to the seductive call of the market, which proposes an orientation in exclusive accord with its own interests.”
Suely Rolnik: The Body’s Contagious Memory 2007
“Assemblages are ad hoc groupings of diverse elements, of vibrant materials of all sorts. Assemblages are living, throbbing confederations that able to function despite the persistent presence of energies that confound them from within. They have uneven topographies, because some points at which the various affects and bodies Crosspaths are more heavily trafficked than others, and so power is not distributed equally across its surface. Assemblages are not governed by any central head: no one materiality or type of materials has sufficient competence to determine the trajectory or impact of the group. The effects generated by an assemblage are, rather, emergent properties, emergent in that their ability to make something happen (…) is distinct from the sum of the vital forces of each materiality considered alone” (Jane Bennet Vibrant Matter 2010:24)
Material reuse clearly is not just a simple task of force-fitting a material into a building for the sake of reuse: it is a viable, sustainable alternative to incorporating newly created materials, and can be done so in ways that are attractive and appealing.
Uncanny forms and objects in Lea Porsager’s Anatta Experiment. Installation view from the wood house in Karlsaue Park during dOKUMENTA 13. The house and the film is inspired by the Monte Verita experiments - consisting of a microcollective of artists experimenting with the spiritual, nature and art in Schweiz in the early 1900.
Lea Porsager on the Anatta Experiment
from Monoskop via philosophyandtheory
And And And during dOKUMENTA. Interesting to see how the laboratory paradigm of the 90ies ispired by Bourriaud’s ‘relational aesthetics’ have developed into a socio-political workshop paradigm of alternative nows in today’s contemporary art.
Interestingly, artists no longer consider themselves as artist producing art works. Rather they consider themselves as catalysts for social change.
With the words of the artist group AND AND AND: “AND AND AND is an artist run initiative, which has used the time between 2010 and dOCUMENTA (13) in 2012 to consider with individuals and groups across the world the role art and culture can play today and the constituent publics or communities which could be addressed. The series of interventions, situations, and occurrences entitled AND AND AND are part of dOCUMENTA (13) and compose a map of emergent positions, concerns, and possible points of solidarity.”