Part of Onomatopee Design Week 20-28/10, 2018
Special opening hours:
Sat. 20 to Sun. 28, 13:00-19:00
Except for Friday 26 and Saturday 27 until 20:30
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– Premises –
- if we understand everyone as an amateur in the dynamic face of progressive and experimental contemporaneity;
- If we understand contingency of opportunity a factor of artistic production;
- if we understand art as a dynamic service, rather than a static object only to be judged through a density of texts;
- if we understand the artistic rendition as a key to understanding art as a push for life;
- if we position the poetic momentum as a dynamic factor in engaging our subjective momentum;
- if we understand this dynamic as an open source of possibilities, rather than a paternalistic causal narrative;
>then how should the viewer engage, how should the art world deliver and how should artists position themselves in this arena?
Exhibition# 2 of 2 – Onomatopee Eindhoven
August 25 – October 30
Opening August 25
Featuring artists Philippine Hoegen and Alex Farrar
Being As Becoming asserts the qualities of artistic production in our lives. Onomatopee calls for an attribution of the momentum: a becoming through present knowledge and future possibilities within given circumstances which gives rise to an immediate and new being. This project challenges the situating of ‘contemporary-ness’ in the productive moment of creative and critical engagement.
As all autonomous knowledge and experience gathered by Onomatopee over years expresses, the artistic profession can offer guidance through the natural dynamics inherent to our lives. By forefronting the responsibilities implicit in the creative and critical engagement autonomous and independent minds take on as professionals, we believe that we can offer a widening spirit to a culture that all too easily turns closed and static.
To share in the experience ofthis dynamic quality, visitors can engage in an on-going and on-site correspondence with critics/lecturers Sebastian Olma (writing from NL) and Johanna Drucker (writing from the US), have conversations at selected hours with the artists working on-site, get involved in production and conception and more.
All elements in the exhibition space become dynamic. There are no fixed works, but instead a continuous dynamics in production through having artists’ operations on site. There are no finished texts, but rather ideas by experts, open to correspondence with visitors. The architecture of the exhibition-space situates a walkway that divides two open studios where artists hold residency and produce, and which equally is a platform for anthropological observations of curious outsiders. The artists will install themselves during the opening of the exhibition and pack away during the finnissage, stressing the on-going dynamics of production and being throughout the show. The processes will be documented and shown in a logbook written by local critics, who will describe causes and consequences. The processes will furthermore be visually recorded and shown by means of a stop-motion camera.
Inviting two artists to take the presentation-floor of the exhibition space as both a public site for research and development and a private studio space, in which to convey the process of becoming on site, Onomatopee radically forefronts a dynamics of being over a statics of being. This is no private commercial enterprise and neither is it a museum posing the canon. It is here that we produce the present and push into the futures.
Playing with the engineered being of our inhabited environments, Alex Farrar reveals the habits of the inhabited scene and includes stage props, as a theatrical construct. Anticipating to situations and the objects included, he repositions, reframes, re-articulates and therefore rewrites the inhabited habit wherever he is brought into a circumstances. Viewpoints, habits, conventions and situations all are in process of becoming.
As an artist engaging with issues of objectness and personhood, with a practice consisting of performance, collaborative and performative events and interventions, Philippine Hoegen is conducting an artistic research entitled ’The Self as a Relational Infrastructure in Process’. In this practice-based enquiry, using Onomatopee as a site for research and development, and aware of the existence of multiple versions, she is looking at the production of different versions of ourselves, the technologies and processes used to produce these versions of ourselves, and how to understand the self.
In repositioning the situation wherein opportunities for creative cultural production and imagination move, the project contests the traditional autonomous position of artistic practice, the moral legitimacy of the ethics of modernism in arts and culture and poses an independent alternative to cultural production concerned with monetised artistic circulation. Most important of all, it reconsiders the liberal agenda of cultural civilisation at large.Does art liberate? Can it and/or should it be liberated itself?
Come and join us in the production of our culture, and contribute to dynamically creative and critical participatory humanistic feed into a being we can enjoy and actualize in its becoming!
EDITION 1 OF 2 MELBOURNE
At Melbourne independent art space Bus Projects, the first edition of the rpoject took place (on show April-May 2018). Dutch artists Sanne Vaassen and Tim Breukers will inhabit the space and engage conditions on site. Breukers embraces chance and opportunity in an outgoing, all-embracing manner that challenges ideas on the causality of wonder and opportunity, while Sanne Vaassen gives prominence to the motion of the unremarked, engaging with the fundamental, implicit existence of the natural elements that surround us. The artist will install themselves during the opening of the exhibition and de-install / pack during the finisage, stressing the ongoing dynamics of production and life throughout the show.