research areas
Saturday, June 27, 2009
OPEN LAB/ARTIST TALK Everyday and any day: art practices based on daily life
Public presentation of the project
Sunday, June 21, 2009
Day 4
·Discussion about how the participants work with the concept of everyday experience:how do translate an everyday experience into an artwork?
·Discussion about how the participants relate their own work and practises to the wider art world
·Preparation of the Open Lab/Artist talk
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·Discussion about how the participants relate their own work and practises to the wider art world
·Preparation of the Open Lab/Artist talk
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Wednesday, June 17, 2009
Friday, June 12, 2009
Day 2
·Discussion about how the participants relate their own work and practises to the wider art world.
·The participants present the ideas they wish to develop and discuss how they can work within the framework of the laboratory. It is agreed to organise a one day tour of Tokyo. the places visited will be meaningful locations chosen by the participants for the in-situ development of their projects.
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About curating: the role of the curator in this laboratory
For this laboratory, the curator is a collaborator, opposing any hierarchy in relation to the artists with whom she is working. The curator is not someone who merely selects, but contributes, taking part in the creative process, questioning and reflecting on the decisions made throughout the workshop.
The problem with curation is not that it mediates the reception of art (how could the reception of art not to be mediated?) but that it so often adopts a position of expertise in a way that implicitly asserts an authority over art. This is the assigned position of curation within the dominant modes of distribution for art: a practice that deals with cultural capital. But it is not the only possibility for curation. (...) A critically self-aware curation would have to entern into a mutual and dialogical relationship with artists. It might not even be clear that such practice was curation at all. Such practice would have to live with doubt and conflict.
From:
D. Beech, M.Hutchinson, "Inconsequential Bayonets?A correspondence on Curation, Independence and Collaboration", in O'Neill, P. ed. Curating Subjects, London, Open Editions, 2007, p.57
·The participants present the ideas they wish to develop and discuss how they can work within the framework of the laboratory. It is agreed to organise a one day tour of Tokyo. the places visited will be meaningful locations chosen by the participants for the in-situ development of their projects.
---------------------------------------------------------------------------------------------
About curating: the role of the curator in this laboratory
For this laboratory, the curator is a collaborator, opposing any hierarchy in relation to the artists with whom she is working. The curator is not someone who merely selects, but contributes, taking part in the creative process, questioning and reflecting on the decisions made throughout the workshop.
The problem with curation is not that it mediates the reception of art (how could the reception of art not to be mediated?) but that it so often adopts a position of expertise in a way that implicitly asserts an authority over art. This is the assigned position of curation within the dominant modes of distribution for art: a practice that deals with cultural capital. But it is not the only possibility for curation. (...) A critically self-aware curation would have to entern into a mutual and dialogical relationship with artists. It might not even be clear that such practice was curation at all. Such practice would have to live with doubt and conflict.
From:
D. Beech, M.Hutchinson, "Inconsequential Bayonets?A correspondence on Curation, Independence and Collaboration", in O'Neill, P. ed. Curating Subjects, London, Open Editions, 2007, p.57
EXHIBITION Flat Inventory Banys Nous Street 15 3º2ª, Barcelona & Other Works
Artists Annegien van Doorn and Verónica Luyo Torres met when they both moved to Barcelona in 2006. From then, their daily experiences became starting points for their work - the process of dealing with a different culture, a different city and particularly the difficulties of adapting to their new environs.
Using art works based on their daily experiences in Spain, Flat Inventory Banys Nous Street 15 3 2 Barcelona & Other Works is conceived as an interaction between their works and the everyday spaces of Youkobo Art Space in Tokyo, where the exhibition is being presented. Each work is individually related with a specific space within the Youkobo building, while simultaneously retaining connection with the other pieces in the exhibition.
FLAT INVENTORY BANYS NOUS STREET 15 3º2ª, BARCELONA
Annegien van Doorn / Verónica Luyo Torres
A MOMENT FOR YOURSELF / Annegien van Doorn
ACROSS / Verónica Luyo Torres
VARIOUS PERSPECTIVES OF MY ROOM / Annegien van Doorn
IN BETWEEN / Verónica Luyo Torres
Using art works based on their daily experiences in Spain, Flat Inventory Banys Nous Street 15 3 2 Barcelona & Other Works is conceived as an interaction between their works and the everyday spaces of Youkobo Art Space in Tokyo, where the exhibition is being presented. Each work is individually related with a specific space within the Youkobo building, while simultaneously retaining connection with the other pieces in the exhibition.
FLAT INVENTORY BANYS NOUS STREET 15 3º2ª, BARCELONA
Annegien van Doorn / Verónica Luyo Torres
A MOMENT FOR YOURSELF / Annegien van Doorn
ACROSS / Verónica Luyo Torres
VARIOUS PERSPECTIVES OF MY ROOM / Annegien van Doorn
IN BETWEEN / Verónica Luyo Torres
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