Notes on the Endotic Set n.2 | The Institute for Endotic Research

Notes on the Endotic Set n.2

What’s needed perhaps is finally to found our own anthropology, one that will speak about us, will look in ourselves for what for so long we’ve been pillaging from others. Not the exotic anymore, but the endotic.
Georges Perec,‘The Infraordinary’


Narrative Machine Series. Notes On The Endotic Set N.2

Conceived under the idea of an editorial space, Narrative Machine Series is an ongoing project that works as an architectonical device made of movable walls, chairs and displays. It has functioned as the architecture supporting and displaying other artists and curators’ work or presence. The interweaving of objects, displays and programs of activities produced space to reflect upon the social potentialities of the art spheres and to rehearse possibilities of organization of information, perception and bodies. Underlining its editorial nature, it has been released with an ISBN with Broken Dimanche Press.

The next direction in which this project developed was based on a term coined by George Perec, described in his book The Infra-ordinary: the endotic. Contrary to the exotic, the endotic is a very subtle but powerful tool to generate a situated practice from. I consider it subtle because it looks to the imperceptible of the everyday life, to the visible but hidden details of the space and gestures of the bodies around us. It rescues the astonishment from the forgotten obvious, trapped by its naturalization. I find it a powerful tool because it leads us to read and listen to our surroundings, always looking from unexplored stances. From this immanent display, the very local traces a priceless threshold from where to approach the complex global.

The structure supporting this research is a domestic one: the wood used in the previous Narrative Machine Series is transformed into a new structure in my own kitchen. This room will host a series of conversations and performances, and artworks along few occasions. The aim is to investigate the idea of the endotic in collaboration with a group of guests. Our focus will lie on the supposedly insignificant elements of the everyday life.

Notes on the Endotic set n.2 was the continuation of the set n.1.



25th of May – Michelle-Marie Letelier

nspired by juxtaposed historical contexts, the work of Letelier deals with physical transformations of minerals and the landscapes where their exploitation and speculation take place. Exploring commodity compounds, their properties and energy production, her investigative processes enable situations in which the basic structures are carefully combined and led by physical methods into significant states or applied directly into her artworks. Simultaneously, it underlies crucial socio-political overtones; especially in times of unveiled globalization, the increasing scarcity of raw materials and the crisis of the neoliberal model.

“Induction for deduction, with a view to construction” (1)
Three different outputs that encompass a wider and metaphorical notion of Electromagnetic Induction, in regards to the concept of Endotic, will form the basis of this encounter. By reflecting of multiple aspects of copper – from its raw aspect as part of a landscape to its global speculation as a commodity – an audio object will enable an experiencing of the everyday imperceptible electromagnetic fields around the domestic space throughout the apartment.

(1): Isidore Auguste Marie François Xavier Comte, Attributed in John Arthur Thomson, quote at heading of chapter ‘Scientific Method’, Introduction to Science (1911)

8th of June – Lea Porsager

Porsager’s artistic practice is one of speculative fabulation within esoteric and occult systems of ideas. Her mediums include film, sculpture, photography and text. While extensive research into chosen subject matters is a vital part of Porsager’s work, her objective is not to illustrate or explain spiritual concepts but to engage in mental, physical and social experiments. To do and undo through anarchy, entanglement, paranoia, nearness and “mad, non-violent speculation.”

Lea Porsager (b.1981, Frederikssund, Denmark) was educated at the Royal Danish Academy of Fine Arts in Copenhagen and the Städelschule in Frankfurt am Main. She received her MFA from the Royal Danish Acadamy of Fine Arts in 2010. Her recent exhibitions include Monash University Museum of Art | MUMA, Melbourne (2015);Künstlerhaus Bethanien, Berlin (2015); Sorø Art Museum, Sorø (2014); Moderna Museet Malmö, Malmö (2014); Henie Onstad Kunstsenter, Høvikodden, Norway (2013); Lunds Konsthall, Lund, Sweden (2013); The Emily Harvey Foundation, New York (2013); Neue Gesellschaft für Bildende Kunst, Berlin (2013); Contemporary Art Centre (CAC), Vilnius (2013); Museum voor Moderne Kunst, Arnhem (2013); Kunsthal Aarhus, Denmark (2013) and Fotografisk Center, Aarhus, Denmark (2013). In 2014 Porsager was awarded the Carl Nielsen the Anne Marie Carl-Nielsens Art Scholarship. In 2012, she participated in dOCUMENTA (13) with the Anatta Experiment.

15th of June – Market for Immaterial Value (Valentina Karga & Pieterjan Gandry)

Market for immaterial value is an experiment in creating, validating and distributing art in an era of immaterial production. Through posing an alternative, collaborative method for art validation and ownership we aim to open up the possibility for creating surplus art value to everybody, creating an alternative to how the current art market functions: falling under the dictations of few alpha consumers. During our fellowship at the Vilém Flusser Residency Programme for Artistic Research 2015, for the conception and construction of this project, we are doing what we thought might be an engaging form of research, we call it ‘research through discussion’. We have a set of discursive formats, like coffee meetings with small groups, dinner salons with larger groups and one to one skype conversations. All conversations are recorded and will appear online, for the exchange and sharing of ideas, thoughts and reflections on art and economy and the search for new, alternative scenarios about building economically sustainable artistic practices.

On June 15, we will have a dinner salon at The Institute for Endotic Research where we will focus on creating organizations or institutions as artistic practice, as examples of conceptual and entrepreneurial synergy. Can such projects create alternatives for the remuneration of artistic and cultural work and new ways of organizing it? How can these institutions or organizations stand by themselves and how are they different when they are part of existing institutions? How do we deal with hierarchy and review processes in artistic organizations; are there examples that aim for cooperativism?

29th of June –Lindsay Lawson

Three years ago, Lindsay Lawson found a rock for sale on eBay that would change the course of her artistic practice indefinitely. The rock is listed for $1,000,000 because it has an unusual feature making its rarity a cause for an astronomical price tag. On its polished face is an indisputable smiley face; it is the Smiling Rock. During this TEIR encounter, Lindsay will navigate the timeline of events that permanently intertwined her life with that of the eBay seller in a myriad of strange occurrences.

Born in the United States and living in Berlin, Lindsay Lawson received her BFA in Sculpture from Virginia Commonwealth University, her MFA in New Genres from UCLA, and attended the Städelschule in Frankfurt am Main. Her work spans media such as film, video, installation, photography, sculpture, performance, and poetry. Her practice deals with issues of presence and objecthood in virtual and physical spaces. Numerous recent projects investigate states of infatuation with virtual personas and both virtual and physical objects. Her first feature-length film, “The Smiling Rock” is was shot in Berlin and is currently in post-production.

6th of July – Mirak Jamal

Under the smell of comfort we have gathered all
homeboys pointing to
glories of old
leaning, caving
into taller postures
From saggy pants to wetted chests;
“Oo how great mama’s pies were!”
The howling alerts
The waiting concord spreads its wings

Mirak Jamal (b. 1979, Tehran) has recently been part of the shows “An Account of Discovery and Wonder” and “Conflicting Evidence” at 1857 in Oslo, “Windowlicker” at Center; “early works” at Kinderhook & Caracas; and “Deeeee”, all in Berlin; as well as at the Arran Gallery, Tehran; Thomas Erben Gallery, New York; the Marrakech Biennale 4; and the “2011111111111s” project, which traveled from Berlin to Tokyo. With Santiago Taccetti he is a founder of an ongoing collaborative project of outdoor exhibitions called “Stoneroses”. He has lived and worked in Minsk; Cologne; Texas; Minnesota; Toronto; and currently resides in Berlin.

27th of July –Marcus Knupp and Sophia le Fraga

Marcus Knupp is an artist and writer based in Berlin. His paintings have been exhibited at varied galleries including the former Arndt & Partner, Duve Berlin, and Exile. Most recently he participated in the Technosexual Symposium held at the ‘ Crash Pad ‘ an interactive installation by Greek architect Andreas Angelidakis during the 2014 Berlin Biennale. His writing currently explores topics such as Social Media, the modern work place, and post-internet identity – however he does so with the slightest of touch and mild sense of sarcasm.

Sophia Le Fraga is a poet and visual artist based in New York. She is the author of I DON’T WANT ANYTHING TO DO WITH THE INTERNET (KTBAFC, 2012); I RL, YOU RL (minuteBOOKS, 2013; Troll Thread 2014) and literallydead (Spork, 2015), as well as the anti-plays W8ING and TH3 B4LD 50PR4N0. She is the poetry editor for Imperial Matters and teaches at BHQFU, New York’s freest art school. Learn more about Le Fraga’s work online or at Büro Broken Dimanche, where she’ll be exhibiting work starting on August 6th.