Domestics

Monilola Olayemi Ilupeju: Eve of Intuition
Commencement: Saturday, August 29, 16:00-21:00 (RSVP by clicking here)
August 29 – October 13, Thursday-Saturday 14:00-18:00

Eve of Intuition is a process-oriented exhibition by Nigerian-American artist Monilola Olayemi Ilupeju. During her presence at TIER, she will use the exhibition space as a studio and casual meeting space to explore ideas related to intuition and uncover strategies to disrupt the flow of maintenance of oppressive systems, through interdisciplinary means. The exhibition space becomes a (re)production territory where the separation between the private studio space and the public qualities of the exhibition are blurred.

Within the period of the show the artist will work in correlation to her upcoming performance project at the Deutsches Technikmuseum Berlin, Wayward Dust. This proposal for the museum is part of a larger project developed in collaboration with Decolonize Berlin and Philip Kojo Metz. The project takes up the difficult task of taking down an installation designed by Hans-Jürgen Buchert, a white German sculptor, in the 90’s that rendered an inaccurate representation of the inside of a slave trade cargo ship. The installation was situated within Lifeworld Ship, the Navigation and Shipping Department of the Deutsches Technikmuseum Berlin, with the well-meaning intentions of introducing the history of the Brandenburg-Prussian slave trade and contextualizing the booming shipping economy within the framework of colonialism. The installation contains 82 life-sized figurines placed behind a metal cage, depicting representations of black people in humiliating and inaccurate ways. The installation was open to the public for 17 years and was publicly criticized for the last several years by a diverse set of voices. Yet, it closed officially just under one year ago, after Ilupeju successfully demanded its immediate closure upon the initiation of the project. Instead of elevating the image of the problematic figurines, Ilupeju is working with the dust that has accumulated in the installation for nearly two decades. While performing an act of maintenance by cleaning the dust, she questions the inherited values that shape the historiography promoted by the institution. She introduces a gesture of reproductive labor that has historically been performed by subaltern labor forces, and particularly women, in the promotion and expansion of capitalism. The process of cleaning also recalls Mierle Laderman Ukeles’ 1969 “Manifesto for Maintenance Art”, where she introduced a series of strategies for putting the reproductive labor of women at the center of the space of enunciation. And, as Mark Fisher writes, “Tradition counts for nothing when it is no longer contested and modified. A culture that is merely preserved is no culture at all.”

The main goal of the performance Wayward Dust is to make visible the physical and intangible particles and processes within dust and within the work of reality-building. Dust consists of sloughed off dead skin cells (among other particles like hair, clothing fibers, bacteria, dust mites, bits of dead bugs, soil particles, pollen, and microscopic specks of plastic), which covers the styrofoam figurines. Every time someone experiences the installation, they leave a piece of themselves behind. The dust is a residue that has been created by the visitors, employees, and workers—and many non-human agents—of the museum over the past 17 years. Next to this record of presence, it also represents the shapeshifting temporal nature of colonial practices. She will be using this dust collected at the Deutsches Technikmuseum Berlin as one of the materials to develop her practice.

Leading from this act of maintenance is Eve of Intuition, Ilupeju’s process-oriented exhibition at TIER. Maintenance can be described as the act of causing something to exist or continue without changing. It is a process of preservation, but also of renovation. In socio-political contexts, the maintenance of white supremacy and other discriminatory systems partially depends on the weakening of our senses and collective intuition, exacerbated by an enforced lack of resources. Eve of Intuition is an attempt to recover intuitions and knowledges that have been compromised or corrupted by colonial, biopolitical and social control structures.

Monilola Olayemi Ilupeju is a transdisciplinary Nigerian-American artist and writer living in Berlin. Recurring points of interest in her work include the political processes of perversion, sexuality and intimacy in relation to desire, trauma, and body image, improvisation, intersectional anti-colonial methodologies, queer mechanisms in liberation pursuits, religion and spirituality, and memory, innocence, and the recovery of child selves. Her main concern as an artist, next to the catharsis of creation, is to look at the frayed edges and ruptures of constructed realities and locate spaces where healing, liberation, and (re)generation can take place.

Ilupeju graduated from New York University in 2018 where she studied Studio Art (Honors Studio) and Social and Cultural Analysis, the latter of which focused on the intersections of race and cultural studies, gender and sexuality studies, philosophy, sociology, and political science. The knowledge acquired in these fields continues to inform her practice today. She is also an alumna of the Skowhegan School of Painting and Sculpture, Class of 2018. In addition to her studio practice, Ilupeju has also done extensive curatorial and editorial work with SAVVY Contemporary and Archive Books, among others.
www.monilola.com

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Amid the ongoing coronavirus pandemic, new constraints are present. Our public program has grown from social closeness in the formats of encounters, workshops and interventions. We charted a course not to work with exhibitions, instead emphasizing the relations between art’s productive and reproductive elements.

With respect to everyone’s health, and abiding by current laws, we take a step back and look at exhibitions as the most convenient format at this moment. Exhibitions can be a powerful collective experience, but one of their constitutive powers is the contemplation of the artworks by the viewer, creating individual readings in shared constellations. It seems to be the best moment to use that capacity in times of necessary small gatherings.We welcome the format of the exhibition, which brings with it certain expectations. We look to the domestic sphere, which has become an especially important site of production in recent months, as a model for institutions, which always depend on reproductive labor. The domestic model also has many problematic aspects, such as exploitation and unrecognition of labor and rights. It is perhaps in the tension between its conflicts and possibilities where the power of the domestic lies. It is also where the possible paths for the reorganization of institutions can be uncovered.

Titled Maintenance! Domestics as Institutional Becomings, acknowledging the work of Mierle Laderman Ukeles, our series of solo exhibitions and online events for the next months will address the domestic from different vantage points related to institution-making. We are preparing a reader on the topic that will be launched soon as well. During this new program of exhibitions, the previous interventions will remain at TIER. In that way we’ll keep working on the space as an editorial device to be renegotiated, and an ecology of artworks, underlining its conception as an inner garden based on principles of cultivation.

Hygienic measures: The space of TIER is 100 m² total, allowing for maximum 5 occupants. Up to 2 guests and 3 staff are allowed inside simultaneously. For the events, please register a time to visit to ensure that you can enter the space (click here). We provide hand disinfectant at the entrance. Please keep the minimum distance and wear a mask that covers your mouth and nose.

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Existing interventions viewable at TIER:

Luiza Prado de O. Martins, In Weaving Shared Soil, 2020–ongoing
In this long-term project, The Institute for Endotic Research will become home to a small garden of plants associated with revolutionary anti-fascist movements. In promoting this encounter, the garden means to nurture discussions around matters of decolonisation, care and affect, reproductive labor and community-building in times of extreme uncertainty and instability.

Josep Maynou, TIME, 2019
Hanging lamp in the workshop of TIER.

Kanako Ishii, Re-Landscape, 2019–ongoing
Painting in four iterations. Intervention in the front window of TIER

Ana Alenso, green and yellow, boom and bust, 2018
Fountain with oil barrel. Intervention in the front room of TIER

Miguel Prados Sánchez and Pablo Ramón Benitez, Planting Concrete, 2018
Concrete planters. Intervention in the front room of TIER

Shannon Garden-Smith, Upright is fine, but downright is where I am, 2019
Microplush polyester curtains. Intervention in the workshop shelves of TIER

Sofia Lomba, Spongy Bodies / Naked Bodies #2, 2018
Painting. Intervention in the bathroom of TIER

The Institute for Endotic Research, Broken Parliament, 2016
Seating and display infrastructure with painted surfaces at TIER

Sara Pereira, Pulso, 2018
Two-channel sound installation. Intervention in the front room of TIER

Luís Berríos-Negrón, Wardian Table, 2018
Table, blackboard and portable greenhouse

Javier Bravo de Rueda, Ritual Containers, 2019
Ceramics for food presentation and other purposes

Stephen Kent, Were we never fish, 2019
Sculptural centerpiece of the TIER kitchen table

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Publications available for download:



DULA: Tastes Like Home
Commencement: Tuesday July 7, 16:00-21:00 (RSVP by clicking here)
July 7 – August 8, Thursday-Saturday 14:00-18:00

Nourishment and connection; a new flavor; a different world; an old memory; an ancestral homeland. Food has always been a bastion of resistance, another form of oral history that connects us to our traditions, ancestors, and embodiment, through textures and flavors. For DULA’s first installation, we share a taste of our stories and our motherlands. An invitation to mindfully address displaced resources and bodies as we ingest history in the form of sweets. Can the act of consuming knowledge through taste prompt us to readdress our place in society, by a broadening of our capacity to empathize, to finally form thoughtful solidarity with one another?

DULA is a diaspora collective based between Berlin and Los Angeles, we believe that care and soft power are revolutionary tools. DULA is Ash Baccus-Clark, Black futurist, speculative neuroscientist, writer; Alexis Convento, Pilipinx-American cultural producer, taste artist; Ludmila Leiva, Guatemalan-Slovak-Canadian multidisciplinary designer, illustrator, storyteller; Chaveli Sifre, Puerto Rican artist focusing on scent as a medium. dula.world

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Amid the ongoing coronavirus pandemic, new constraints are present. Our public program has grown from social closeness in the formats of encounters, workshops and interventions. We charted a course not to work with exhibitions, instead emphasizing the relations between art’s productive and reproductive elements.

With respect to everyone’s health, and abiding by current laws, we take a step back and look at exhibitions as the most convenient format at this moment. Exhibitions can be a powerful collective experience, but one of their constitutive powers is the contemplation of the artworks by the viewer, creating individual readings in shared constellations. It seems to be the best moment to use that capacity in times of necessary small gatherings.We welcome the format of the exhibition, which brings with it certain expectations. We look to the domestic sphere, which has become an especially important site of production in recent months, as a model for institutions, which always depend on reproductive labor. The domestic model also has many problematic aspects, such as exploitation and unrecognition of labor and rights. It is perhaps in the tension between its conflicts and possibilities where the power of the domestic lies. It is also where the possible paths for the reorganization of institutions can be uncovered.

Titled Maintenance! Domestics as Institutional Becomings, acknowledging the work of Mierle Laderman Ukeles, our series of solo exhibitions and online events for the next months will address the domestic from different vantage points related to institution-making. We are preparing a reader on the topic that will be launched soon as well. During this new program of exhibitions, the previous interventions will remain at TIER. In that way we’ll keep working on the space as an editorial device to be renegotiated, and an ecology of artworks, underlining its conception as an inner garden based on principles of cultivation.

Hygienic measures: The space of TIER is 100 m² total, allowing for maximum 5 occupants. Up to 2 guests and 3 staff are allowed inside simultaneously. For the events, please register a time to visit to ensure that you can enter the space (click here). We provide hand disinfectant at the entrance. Please keep the minimum distance and wear a mask that covers your mouth and nose.



Irene Fernández Arcas: Stand By
Conclusion: Saturday, July 4, 14:00-21:00 (RSVP by clicking here)
June 6 – July 4, Thursday-Saturday 14:00-18:00

One of the elements that became quite fundamental during the recent period is the need for self-care. Since a long time, with Audre Lorde we have learned that self-care is an act of political warfare. This time of necessary confinement has shown again and in a new dimension the radicality of her words. The domestic space, as a conceptual and architectural framework, can be seen as a container for life. It is a domain that is demarcated by visible and invisible structures, by interfaces that regulate the flows of information and materials. It is also the inner space of the self, the space of rituals, morning routines, celebrations of joy, practices of health and the rhythms of the body. In her exhibition at TIER, Irene Fernández Arcas introduces installative elements into the space that institute a flow of ideas and resources related to the inner space of the home and the mind. Through a series of activations, including a durational plant cutting exchange that everyone is invited to participate in, the exhibition emphasizes different facets of her practice. She proposes this constellation of materials and affects as a laboratory to develop a domestic ritual, an invitation to create a space of one’s own, a holistic space to connect with processes of commoning. In this way, she recovers elements of joy and astonishment from the forgotten rhythms of life, and indeed before the institutionalization of the domestic space and rationalization of the body as a discrete element separable from the complex whole. Self-care as a counter-disciplinary ritual might be one of the ways the artist is researching to restore those rhythms.

HETY TENXDA is a project that emerged from the personal searches of it’s two members.
As a plastic artist, Luna Carlos Armengod was feeling somehow trapped in the categorisation of the different art disciplines, so in her search for new ways to express her work in a more complete way she decided to include music to her artistic practice.
Isasi Isasi, on the other hand, felt the need to dig deeper in to the artistic and conceptual world and look for new views and solutions to enhance his music production.

So one could say that this project is an attempt to merge both the musical and the plastic world as well as to overcome the boundaries of both.An ongoing search for ways to express what needs to be expressed in the moment, without worrying about it not fitting in.
Without worrying about it not belonging to a predetermined genre or art discipline.

For this particular event HETY TENXDA will show a short video of a house recorded concert. A small selection of the songs they are currently developing; a glimpse to their world and aesthetic.



Amid the ongoing coronavirus pandemic, new constraints are present. Our public program has grown from social closeness in the formats of encounters, workshops and interventions. We charted a course not to work with exhibitions, instead emphasizing the relations between art’s productive and reproductive elements.

With respect to everyone’s health, and abiding by current laws, we take a step back and look at exhibitions as the most convenient format at this moment. Exhibitions can be a powerful collective experience, but one of their constitutive powers is the contemplation of the artworks by the viewer, creating individual readings in shared constellations. It seems to be the best moment to use that capacity in times of necessarily small gatherings. We welcome the format of the exhibition, which brings with it certain expectations. We look to the domestic sphere, which has become an especially important site of production in recent months, as a model for institutions, which always depend on reproductive labor. The domestic model also has many problematic aspects, such as exploitation and unrecognition of labor and rights. It is perhaps in the tension between its conflicts and possibilities where the power of the domestic lies. It is also where the possible paths for the reorganization of institutions can be uncovered.

Titled Maintenance! Domestics as Institutional Becomings, acknowledging the work of Mierle Laderman Ukeles, our series of solo exhibitions and online events for the next months will address the domestic from different vantage points related to institution-making. We are preparing a reader on the topic that will be launched soon as well. During this new program of exhibitions, the previous interventions will remain at TIER. In that way we’ll keep working on the space as an editorial device to be renegotiated, and an ecology of artworks, underlining its conception as an inner garden based on principles of cultivation.

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Irene Fernández Arcas: Stand By
June 6 – July 4, Thursday-Saturday 14:00-18:00
Commencement: Saturday, June 6, 18:00-21:00 (RSVP by clicking here)
Activations: June 12, June 20 and June 25 (see below)

Hygienic measures: The space of TIER is 100 m² total, allowing for maximum 5 occupants. Up to 2 guests and 3 staff are allowed inside simultaneously. For the Commencement on June 6, please register a time to visit to ensure that you can enter the space (click here). We provide hand disinfectant at the entrance. Please keep the minimum distance and wear a mask that covers your mouth and nose.

One of the elements that became quite fundamental during the recent period is the need for self-care. Since a long time, with Audre Lorde we have learned that self-care is an act of political warfare. This time of necessary confinement has shown again and in a new dimension the radicality of her words. The domestic space, as a conceptual and architectural framework, can be seen as a container for life. It is a domain that is demarcated by visible and invisible structures, by interfaces that regulate the flows of information and materials. It is also the inner space of the self, the space of rituals, morning routines, celebrations of joy, practices of health and the rhythms of the body. In her exhibition at TIER, Irene Fernández Arcas introduces installative elements into the space that institute a flow of ideas and resources related to the inner space of the home and the mind. Through a series of activations, including a durational plant cutting exchange that everyone is invited to participate in, the exhibition emphasizes different facets of her practice. She proposes this constellation of materials and affects as a laboratory to develop a domestic ritual, an invitation to create a space of one’s own, a holistic space to connect with processes of commoning. In this way, she recovers elements of joy and astonishment from the forgotten rhythms of life, and indeed before the institutionalization of the domestic space and rationalization of the body as a discrete element separable from the complex whole. Self-care as a counter-disciplinary ritual might be one of the ways the artist is researching to restore those rhythms.

Activations

Durational – Plant Cutting Exchange
Bring your plant cutting and take one from the installation.

June 12, 19:00 – Be healthy, stay now; stay healthy, be now. (online)
A conversation between Irene Fernández Arcas & Maxence Allain – about self care, health, nowness and simple guidelines on staying confident, amid the pandemic crisis and always.
Use this link to join: https://meet.jit.si/TheInstituteForEndoticResearch

June 20 – New Moon Ritual
Spots are limited.
RSVP to hello@irenefernandezarcas.com for information.
We will contact you with details about it.

June 25, 19:00 – Collective Reading (online)
“The erotic, sensuality, mythology and feminism”
With Tarn Rodgers Johns & Irene Fernández Arcas
RSVP to hello@irenefernandezarcas.com
Use this link to join: https://meet.jit.si/TheInstituteForEndoticResearch

Irene Fernández Arcas is an interdisciplinary artist. In her work, she explores new conceptions of spirituality and the healing powers of art. She creates installations, performative rituals, drawing, painting, photography and text. Her artworks are an experiment and a research into personal domestic rituals, womanhood and the process of art itself. They are an invitation into the present moment and the unfolding Now.

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Luiza Prado: In Weaving Shared Soil

In this long-term project, The Institute for Endotic Research will become home to a small garden of plants associated with revolutionary anti-fascist movements. In promoting this encounter, the garden means to nurture discussions around matters of decolonisation, care and affect, reproductive labor and community-building in times of extreme uncertainty and instability.

Initiated by dance curator Elena Basteri, Lorenzo Sandoval and Benjamin Busch (The Institute for Endotic Research), the transdisciplinary project Somatic Charting. The House is the Body develops around the theme of somatics.

Luiza Prado de O. Martins is an artist and researcher whose work engages with material and visual culture through the lenses of decolonial and queer theories. She is particularly interested in technologies and practices related to fertility and contraception, and their entanglements with colonial hierarchies of gender, race, ethnicity, class, and nationality. Her current artistic research project, titled “A Topography of Excesses,” examines the transmission of indigenous and folk knowledges about herbal reproductive medicine in Brazil as a decolonising practice of radical care.



Friday, February 7, 19:00
Interiors
An intervention by Tracey Snelling in the Manual Model Museum

Interiors
Within cities, one can live in close proximity to many people, but often rarely know their neighbours. There can be a sense of isolation which contrasts to the amount of people in an area. Tracey Snelling has always been curious about what people do, how they live, and what happens behind closed doors, and also in public/private spaces, when people are alone. As a guest of The Institute for Endotic Research, she will present 3 small small-scale room sculptures in the Manual Model Museum, a glass vitrine and conceptual device. On February 7th, we will present the mini exhibition, and also have a discussion about the artworks, her process, and the idea of neighbours, privacy, and social and domestic spaces.

Through the use of sculpture, photography, video, and large-scale installation, Tracey Snelling gives her impression of a place, its people and their experience. Her work derives from voyeurism, film noir, and geographical and architectural location. Within this idea of location, themes develop that transport observation into the realm of storytelling, with reality and sociological study being the focus. Snelling has exhibited in international galleries, museums and institutions, including the The Royal Museum of Fine Arts, Belgium; Palazzo Reale, Milan; The Museum of Arts and Design, New York; Kunstmuseen Krefeld, Germany; and El Museo de Arte de Banco de la Republica, Bogota, among other places. In 2015 she received the Joan Mitchell Painters and Sculptors Grant. In 2017, Snelling was awarded a fellowship at the Institute for the Humanities at the University of Michigan, and also completed a permanent sculptural commissions at the Historisches Museum Frankfurt. She was a 2017/2018 artist at the Künstlerhaus Bethanien in Berlin. Her work most recently showed in the Arsenale at the Venice Biennale, sponsored by Swatch, and in the Havana Biennale 2019. Snelling will soon begin residencies at the Cité internationale des arts, Paris, and TOKAS, Tokyo, Japan. She will have solo exhibitions at Cokkie Snoei, Rotterdam; Galleria Giampaolo Abbondio, Milan, in collaboration with Studio la Citta; and in Berlin with H27 Gallery, opening February 1st. Snelling lives and works in Berlin.

Manual Model Museum
MMM space reflects on the potentialities and possibilities of micro-scale exhibition making. It is inspired by Perec’s Life: A User’s Manual, where the writer handled the building as the structure for the book’s narrative.



Thursday, March 7, 19:00
Private Space / Public Space
With Benjamin Busch, Alina Kolar, Àngels Miralda, Maria Ines Plaza, Lorenzo Sandoval and Paul Sochacki

Join us for a pre-celebration of international working women’s day at TIER this 7th of March. We’ll do it through readings of texts related to the relationship between private and public space. Traditionally ascribed as a woman’s responsibility, the private sphere has been related to the realm of the personal. But how separate are private and public realities?
Through open discussion we will debate the interrelated nature of space and question how these terms are being re-defined and theorised in contemporary art. Short readings by Benjamin Busch, Alina Kolar, Àngels Miralda, Maria Ines Plaza, Lorenzo Sandoval and Paul Sochacki will initiate this debate. Join us for a drink, a celebration, and pick up your brand new copy of Art of the Working Class Issue #5!

Organized by Àngels Miralda.





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