September 27. Luis Berríos-Negrón. Anarchive: memory #02 ‘A Crème de Menthe, a Rusty Nail. Why Intransitive?’
Thursday, September 27, 19:00
Anarchive: memory #02 ‘A Crème de Menthe, a Rusty Nail. Why Intransitive?’
…will be an open reenactment and collective planting. I have asked performance artist Callum Harper to reenact with me a dialogue between video artist Paul Ryan and anthropologist Gregory Bateson. In doing so, we will then review with you the moment where Ryan and Bateson come to discuss Ryan’s notion of ‘intransitivity’, one I feel presents significant possibilities for ‘art as research’. We will set the enactment around a table I will be installing with Lorenzo and Ben (co-directors of TIER), using some existing materials and props from previous exhibitions by Lorenzo and TIER. The ‘intransitive table’ will become another social pedestal where, during the reenactment, we will plant seeds and cutlings of medicinal plants (datura, rosemary, brugmansia) harvested in the ANARCHIVE and place them unto the table. The table will therefore become a sort of ‘wardian case’ for new plants to be be incubated and grown at TIER to be later transplanted back to the ANARCHIVE in Denmark by caravan in the summer of 2019.
In regards to ANARCHIVE… Jacques Derrida states in Archive Fever that — “If repetition is thus inscribed at the heart of the future to come, one must also import here, in the same stroke, the death drive, the violence of forgetting, superrepression (suppression and repression), the anarchive, in short, the possibility of putting to death the very thing, whatever its name, which carries the law in its tradition: the archon of the archive, the table, what carries the table and who carries the table, the subjectile, the substrate, and the subject of the law.”
I take forth this dimension of memory proposed by Derrida to be one of a series of works dedicated to the deposition of ‘greenhouse’, as display of natural history, and as superstructure to secure food and survival. Following works such as Earthscore Specularium (2015), Looming Greenhouse (2014), and Immediate Archæologies Two (2008), ANARCHIVE takes the form of a medicinal garden that I am growing in collaboration with my partner, curator Maria Kamilla Larsen and our daughter Freia Pilar from Aug.2018 to Oct.2019 in Denmark. ANARCHIVE, is about questioning the future of natural history. It is about forgetting and remembering global warming as spectral and physical trauma. It is not about dissociating an innovative future of ‘greenhouse’, but about remediating the superreppressed colonial memory within the greenhouse: as traumatic experiences we never lived nor desired; strengthening biodiversity; and resisting the counter-intuitive counter-intelligence that is now amongst us. ANARCHIVE is the final component of my doctoral work at Konstfack / KTH titled ‘Breathtaking Greenhouse Parastructures’ to be disputed and published in the fall of 2019.
Luis Berríos-Negrón (Puerto Rico, 1971*) explores unforeseen forms and forces of global warming through ‘social pedestals’. Most recent exhibitions include ‘Impasse Finesse Neverness’ (Museum of Ethnography and Archeology of Bahia, 2017), ‘Collapsed Greenhouse’ at ‘Undisciplinary Learning’ (District, Berlin, 2016) and ‘Earthscore Specularium’ (Färgfabriken Konsthal, Stockholm, 2015). Previous exhibitions include the 3rd Biennial of Art of Bahia (2014), the 10th São Paulo Biennial for Architecture (2013), as core-collaborator with Paul Ryan at Documenta13 (2012), and “Future Archive” at the Neuer Berliner Kunstverein (2012). He is the founder of the Anxious Prop art collective and the Paramodular environmental design group. He is doctoral candidate and tutor at Konstfack and KTH Royal Institute of Technology, holds a Bachelor of Fine Art from Parsons New School, and a Master of Architecture from M.I.T. Berríos-Negrón lives and works between Copenhagen, Stockholm, and Berlin.
Callum Harper (Australia, 1993) works with notions around LGBT culture, and combines discourse around reality and online life to create dialogue around the disparate differences of communication IRL vs URL. Primarily working with text, video and performance, Harper travels to varied destinations of contrasting political values toward LGBT citizens, and internalises locals opinions and his personal experiences on acceptance and daily life. The amalgamation of this collected experiential information and research data informs the medium and personal responses to experiences within differing contexts. Harper holds a Bachelor of Fine Arts from Monash University in Caulfield, Australia, and a Master of Fine Arts from Konstfack in Stockholm, Sweden. http://callumharper.squarespace.com/
‘OUTCOMES of Anarchive: memory #01’ Herlev DK (2018)
‘Tear do Terreiro / Looming Greenhouse’ Salvador da Bahia BRA (2014)
‘Earthscore Specularium’ Färgfabriken Stockholm SE (2015)
‘Collapsed Greenhouse’ District Berlin DE (2016)
‘Impasse Finesse Neverness’ Salvador da Bahia BRA (2017)
Wednesday, September 26, 16:30-18:00
Encounter with Bisagra
Tangent to their project Fashion Week at Kinderhook & Caracas (22.09–20.10)
Bisagra is a platform that functions as a meeting point in the fragmented world of the visual arts in Lima, creating connections between its different manifestations, as well as other areas of research and creation. Heir to the previous experiences of some of its members on collective work, Bisagra seeks to embrace and circulate ideas, projects and experiments that share our interest in flexible exchanges with a critical and humorous spirit.
Bisagra is a project of Andrés Pereira Paz, Eliana Otta, Florencia Portocarrero, Iosu Aramburu, Juan Diego Tobalina and Miguel A. López.
If you would like to know more information about Fashion Week please visit: www.kinderhook-caracas.com
Tuesday, September 25, from 18:00
Elymus Repens at Bar Babette
With contribution by TIER.space
A proposal by Lucile Bouvard
Silva Agostini, Sarah Ancelle Schönfeld (Very) — Kathrin Sonntag
Benjamin Busch, Lorenzo Sandoval (TIER.space) — Alice Morey
Susanne Kriemann (ABA) — Graham Kelly
Adrien Missika (Belo Campo) — Sâadane Afif
Lin May Saeed (Center) — Emmanuelle Castellan
Maik Schierloh (Autocenter) — Marie Reinert
Hagen Schümann (Åplus) — Philip Newcombe
End of September, Bar Babette will have to leave its legendary building on Karl-Marx-Allee. Over its 15 years of existence, it has become an institution and a gathering place for the many crossing communities of Berlin’s art scene.
In this phase of change and transition, the exhibition Elymus Repens pays a homage to Bar Babette’s relentless artistic activism and furthermore to the vivacity and diversity of Berlin’s off-space flora. The show will gather Berlin-based artists, who have created spaces to initiate dialogues and give visibility to the works of other artists. It will focus on their works as well as on their role as curators, initiators or art activists. Each of them are solicited to invite another artist, who they have previously shown or want to show.
Reflecting the permanent disappearance and growth of off spaces and a selective view, the selection presented includes new and long-established initiatives, as well as former off spaces that have played an important role in the development of the city’s art scene.
Saturday, September 1, 20:20-22:30 Berlin Time
1st International Encounter of Objects Without People
Live stream from Biquini Wax EPS (Mexico City)
TIER.space will be showing a video live stream of the 1st International Encounter of Objects Without People, from 20:20 Berlin Time. We are joining an array of spaces syndicating the Spanish-language broadcast (English translations will be available).
For the following information in Spanish, please visit: http://portavoz.tv/biquini-wax-eps-presenta-el-1er-encuentro-internacional-de-objetos-sin-personas/
The twenty-five objects will be found Saturday, September 1 at Biquini Wax EPS, an interdependent laboratory located in Mexico City. The objects will be presented as part of a collective research around the political stories of the objects. This meeting will be broadcast live at independent spaces in Berlin, Bogotá, Buenos Aires, Guatemala City, Guadalajara, Monterrey, Quito, Santiago de Chile and Tijuana.
Biquini Wax EPS operates a Temple of Subcritical Studies, composed of a series of study and reading circles on contemporary art, in which different matters related to art are discussed. During the months of June and July of 2018, Clara Bolívar and Biquini Wax EPS coordinated the study and reading circle entitled Political History of Objects.
During the nine sessions, the participants read and discussed philosophers, artists and writers who thought and conceptualized the objects from several angles; all of them developed their work throughout the 20th century. The readings allowed to trace the objects’ links between Mexico, Europe and Latin America. Walter Benjamin, Georges Perec, Cecilia Vicuña, John Berger, Sophie Calle, Bruno Latour, Melquiades Herrera, Patricio Pron, Artie Vierkant and Hito Steyerl accompanied the thoughts surrounding the objects. The sessions also included special guests who accompanied the readings: the sociologist Irene Álvarez, the historian Omar Olivares, the artist Juan Obando and the group of subcritical studies, the Yacuzis (with the curators Julio García Murillo and Roselin Rodríguez).
The circle, free and open to the public, had as its only requirement that the participants chose an object that they would investigate over two months. The object allowed different profiles to converge for those whom it is a topic of fundamental reflection: artists, curators, cultural managers, designers, architects and philosophers. The attendees thus participated in a collective investigation based on the following objects: bench, clay block, concrete block, masking tape, bed, chewing gum, skull, spoon, plastic dinosaur, Elegua, balloon, found IDs, syringe, book, sandpaper, light, bread doll, shovel, paper, umbrella, belly button lint, philosopher’s stone, toy gun, laser gun and chair.
This circle already had its first results; the intellectual and affective bonds began and continue to be woven between collaborators, national and international spaces where it will be transmitted. Spaces that will be open to receive the public are: Deslave (Tijuana), Casa Vidrio y Paos GDL (Guadalajara), NoAutomático (Monterrey), MANIFESTO – space (Guatemala City, Guatemala), Maleza proyectos (Bogotá, Colombia), Escuela C.A.P.A. (Santiago de Chile, Chile), 1st Small Art Salon of Buenos Aires (Argentina), Khôra (Quito, Ecuador) and The Institute for Endotic Research (Berlin, Germany).
For more details about the program and spaces (in Spanish), please visit: www.somoslosobjetos.com
Biquini Wax EPS is an interdependent laboratory located in Mexico City. Exhibitions of contemporary art, poetry encounters and discussions on economics, philosophy, aesthetics, politics, art history and other bioalchemical invocations are held. Four hundred people, a turtle and an alien work together as a team.
Monday, August 27, 19:00
Poetry as technique
Reading by Bonaventure Soh Bejeng Ndikung
As part of our inquiry on the notion of technique, we are exploring a series of devices. One of the approaches we would like to think with about this topic is how technique can be considered a way of creating the infrastructure of common symbolic systems, being those institutions, cosmologies, or commonalities, just to name a few. Poetry in that sense is a well-known provider of images with which people can gather around its illuminations. We are interested in how, in many of the projects of Bonaventure Soh Bejeng Ndikung, the title and the images spread craftily through his texts are verses coming from his reading of poems.
Bonaventure Soh Bejeng Ndikung, PhD (born in 1977 in Yaoundé, Cameroon) is an independent art curator, art critic, author and biotechnologist. He is founder and artistic director of SAVVY Contemporary Berlin and editor-in-chief of SAVVY Journal for critical texts on contemporary African art. He was associate professor at Muesius University Kiel, and is currently guest professor in curatorial studies at the Städelschule in Frankfurt. He was curator-at-large for documenta 14, and was a guest curator of the 2018 Dak’Art Biennale in Senegal. As part of the Miracle Workers Collective, he will curate Finnish Pavilion at the Venice Biennale in 2019. Recent curatorial projects include: Whose Land have I Lit on Now? Contemplations on the Notions of Hostipitality, SAVVY Contemporary, 2018; We have Delivered Ourselves from the Tonal — of, with, towards, on Julius Eastman, SAVVY Contemporary, 2018; Every Time A Ear di Soun — a documenta 14 Radio Program, SAVVY Contemporary, 2017; The Conundrum of Imagination, Leopold Museum Vienna/ Wienerfestwochen, 2017; An Age of our Own Making in Holbæk, MCA Roskilde and Kunsthal Charlottenborg Copenhagen, 2016-17.
Friday, August 24, 19:00
Intervention by Sara Pereira and Sofia Lomba
Intervention by Planting Concrete
Sofia Lomba and Sara Pereira bring together two perspectives on body and transformations, staging deformations, mutation and hybrids. Facing with, looking at, being looked at, showing, exploring and showing again, are processes that both works deal with. In their part they propose a classificatory approach. On one hand, Pereira introduces a collection of moments extracted from the forest of everyday life, made of notebooks that track the the fluidity of bodies and the precarious landscapes in which they are placed. On the other hand, Lomba proposes a series of drawings exercising botanical taxonomic systems that consciously confuse the reproductive organs of plants and humans.
TIER.space will also present the results of the Planting Concrete workshop lead by Miguel Prados Sánchez and Pablo Ramón Benitez. The outcomes of the workshop held on August 11 and 12 will serve as a new part of the space’s infrastructure, working on the topic of cultivation through the production of a series of planters (see description and bios for the workshop above).
Sofia Lomba moves between drawing, performance, video and music.
works around and with body identities and transformations.
collaborates with the collective Discoteca Flaming Star, incorporating since 2015 the character Ingrid on video and live.
also worked with João Alves (Thundera), performed with Wojciech Kosma as part of “The Family” and starred in Graw Böckler’s videos, among others. In 2016, founded AVA with Sara Pereira, a non-binary shamanic beat drone blade runner hypnotic lullaby lana keller improvisation band/performance/collective.
Sara Pereira works mainly with sound and drawing. Sara has been producing in collaborative-formats since 2005 in Oporto and 2010 Berlin – Projecto Gentileza, Marvellous Tone CDr-label, PISO collective and Discoteca Flaming Star. In 2014, completes the master program ‘Art in Context’ in Berlin, with a drawing research on collectives. Between 2010-2015 is co-founder-member of Altes Finanzamt projectroom and co-organized event series such as Time Lapse for experimental electro-acoustic music. Since 2016 together with Sofia Lomba and guests, is engaging in explorative musicalities under the name AVA.