Since the beginning of PIIGS_An Alternative Geography of Curating, one of the most important part of it has been the decision to constantly share links, materials, articles about artists or past exhibitions, essays on different issues, and, as most important thing, some books everyone has found as relevant for the researching aspects and discursive evolution of our project. So we decided to gather all them into one common bibliography which will, at the same time, define and represent our conceptual frame where working on together. We would say that “sharing” is one of the word of this project, this is also the reason why we activated the blog talking PIIGS as a tool of collective reflection for creating something that very soon is going to be materialized. Continue reading “Sharing books as a way to fight the crisis”
PIIGS_An Alternative Geography of Curating is not only an exhibition, neither is only an intensive program of talks, conferences, debates, presentations, discussions. It combines the two formats, working on a different level: re-desing the exhibition space as a study-space while confronting each other, discuss and grow. It is like you, as visitor, were allowed to enter in to a curator’s mind.
Along this intensive format goes a great screening program both on Friday and Saturday afternoon. The screening program will be held in the AUDITORIUM in Fondazione Sandretto Re Rebaudengo.
Oliver Ressler (Knittelfeld, 1970), artist and filmmaker, lives and works in Vienna. Since 1995, he has exhibited in museums and art institutions all-overs the world, in ar/ge kunst (IT), Berkeley Art Museum (US), Museum of Contemporary Art of Belgrade (SCG) and he has taken part in many biennials such as in Prague, Moscow and Taipei.
His artistic practice is characterised by a complex and political use of video, from films applying different documentary formats to multi-channel video installations. His artistic methodology is based on an in-depth sociological analysis of the new challenges triggered by neoliberalism and on a clear final result. Several works focus on the contestation of the new economical and anthropological forms allowed by neoliberalism. Continue reading “Oliver Ressler”
The critical economic situation that the art system and the art market are going through, the precariousness of the artists’ work and their need to adapt to these new conditions gives us a new dimension that must be evaluated. From the Spanish universities of Granada and Nebrija, professors Marta Pérez Ibáñez and Isidro López-Aparicio are developing a research project which aims to analyze the current economic situation of the plastic and visual artists in our country. This is the first time in nearly ten years that a survey of this size is being held in Spain, a survey that so far has involved 1,100 artists, the most important primary source of information about the economy of the artists in our country, and a good example of the situation of this sector in Southern Europe. This research study aims to let us know what the situation of the artists currently is, how they are suffering from the economic recession, how they have changed their relationships with the art market and how their work is supporting the structures of the art system.
One of the crux of PIIGS An Alternative Geography of Curating project is certainly the debate; the tool of comparison between different point of view, different practices and curatorial education, different cultures and languages.
Through the on-line platform, TalkingPiigs, we attempt to create shared language and a code that, in the course of time, became the common field where to reflect on. During the meetings of November and through discussions, talks and projections this dialogue will carry on; it will materialize in a concrete form also through an exhibition that in a dialogical way will try to create a narrative between the different curatorial project presented by each of the five nations involved. Continue reading “Cesare Pietroiusti. The “economy” of language”
The conclusive day will be devoted to the pursuit of a common PIIGS Code. Thanks to the research of Marianna Liosi we will analyze the “spectatorship of the crisis”, while Emanuele Guidi and Oliver Ressler will discuss the artistic practice of Ressler. Next up, Mauro Folci will present an idealistic possibility of a human life bereft of capitalist accumulation’s, later, Cesare Pietroiusti’s workshop will focus on a plurilinguistic communication, despite different languages.
Saturday morning is devoted to the introduction of the latest researches and to the work of some of the artists involved in the project: Giorgio Cugno, Giulio Delvè, Sofia Dona, Anna Lascari, Fiona Marron e Serena Osti. Next up, Marta Pérez will introduce her latest research on the material and economical circumstances of spanish contemporary artists.
The afternoon session of talks will focus on theoretical aspects of each countries current economical system: Sinéad Hogan deals with the “debt issue” with a phenomenological approach. After that, Count(er) Glossary will develop, with the contribution of Federico Montanari, a crisis lexicon analysis from the most unclear anglicism to the well-known lexicon used in economical context. Next up, Giovanni Leghissa, Luigi Fassi, Giandomenica Becchio and Manuel Couret Branco, in different moments, will open a discourse with the purpose to provide an in-depth analysis of the contemporary economical system in order to propose a deconstructive way of thinking.
TAKE_ACTION is a curatorial installation, concerning about political and aesthetic judgment, understood as action taking, in a plural and democratic fashion. We intend to argue that curatorship, besides selecting, exhibiting, translating and producing a discourse about artworks, can also promote, through a semi-fictional apparatus or a curatorial installation, the conditions for real action taking, and therefore for true political commitment by the audience. Hence, more than allowing a process of intellectual commitment to the themes related to the hegemony of capitalism and the economic crisis, we will assemble the necessary conditions for the viewer to act, indeed, in the world. To accomplish this purpose, we will implement a participatory exhibition process and apparatus (a specific form of network), achieved through the mediation of the aesthetic judgment, understood as political action (in the arendtian meaning of the terms), and therefore instigating political action itself. Continue reading “Take_Action”
Friday talks are devoted to previous exhibitions about economic crisis in PIIGS countries. The first debate will be held by activists and artists from Escuela Moderna and the curators of PIIGS_An Alternative Geography of Curating. The second debate will be held by Michelangelo Corsaro, assistant curator for dOCUMENTA 14 and Laura Preston, editorial assistant for dOCUMENTA14.
On Friday afternoon we host a section devoted to artists that will last till Saturday morning. With You’ll never work alone. Life, Art, Company and Project, Clara Madaro, the collective Apparatus22 and Parasite 2.0 deal with the idea of project inside contemporary artistic practices. Following that, Irish artists Fiona Marron presents her video After Automation (2013).
Oliver Ressler (Knittelfeld, Austria, 1970) will have a prominent role in PIIGS’ public program (4 to 6 November, Fondazione Sandretto Re Rebaudengo, Turin) and he will give his point of view on the economic crisis in its various aspects in dialogue with Emanuele Guidi. During the last months Italy has dedicated special attention to him through a series of exhibitions that allowed the Austrian artist to expose his line of research. Everything Under Control was the first solo show in an Italian institution, ar / ge kunst Bolzano (26 February to 30 April 2016), an exhibition that primarily highlights the importance of video as a medium of a narrative that focuses on the ambiguity of the language used by the capitalist system to hide the effects of the crisis – not only economic – and the disparities between North and South. The exhibition reached its climax with Occupy, Resist, Produce (2014-2015), a three-channels video installation that in centralized on the meetings of workers of factories which had been already abandoned by their legal owners (Milan, Rome, Thessaloniki), their voices from the inside compare one to another and try to propose alternative social systems. The Visible and the Invisible (2014), also exhibited in Bolzano, is the last video of Transnational Capitalism Examined: Dancing on Systemically Important Graves, at the Fondazione Pastificio Cerere in Rome (27 September to 26 November 2016). This artwork tells the thorny reality of the commodity trade, particularly in Switzerland which is the main actress in a wild trading that acts only virtually as the products never pass through the Swiss territory. Ressler opposes to this invisibility the often catastrophic, visible, exploitation of the mining areas and of human labor in the South. The images flow marked by a smoky layer, a metaphor for the deadly toxic emissions that have anything to do with the calm, almost anonymity of Swiss commodity trading headquarters, authorized companies that contribute heavily to increase the gap between the northern few enriched and misery of the South. The exhibition in Rome proposes four other videos, the graphic rendering of an installation and a small bibliography that emphasizes on the one hand the Ressler’s documentary attitude, on the other his belief of art as sharp critical tool. In The Bull Laid Bear, made in collaboration with Zanny Begg (2012), those governments that have tried in every way to push through the banking crisis as collective economic crisis, contributing to the worsening of the global situation. The work includes four interviews with economists and activists which alternate a series of humorous cartoons of gangster bankers and corrupt courts. The Ressler’s survey is completed by Transnational Capitalism Examined: Border as Method, the second part of the roman project curated by Mike Watson, exhibited at The Gallery Apart (28 September to 26 November 2016).