Platform for (un)Solicited Research and Advice

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TEMPORARY ART SOUVENIRS

The yearlong project initiated by the Manifesta Foundation called the Platform for (Un)Solicited Research and Advice developed in collaboration with the Dutch Art Institute (DAI) has resulted in a parallel project at Manifesta 8. The Platform for (Un)Solicited Research and Advice was set up as a means to actively involve art students in the discourse of Manifesta and the development of the Manifesta Biennial, by providing a forum to further research into key themes surrounding Manifesta’s projects and to provoke contextualization of topical issues. The primary modus operandi of the platform is based on the so-called ‘brief’, presented each month by an artist, curator, academic or other professional connected to Manifesta. Guest lecturers included: Hedwig Fijen, Marieke van Hal, Barbara Visser, Fay Nicolson, Alfredo Cramerotti, Denis Isaia, Boris Ondreička, Erick Beltrán, and Jeremy Beaudry.

As a result of the project the participants have set out to realize a parallel project at Manifesta 8 called Temporary Art Souvenirs.

Temporary Art Souvenirs from the Netherlands will create a temporary mobile shop during Manifesta 8 in Murcia and Cartagena. They are going to sell specially tailored art souvenirs to as wide an audience as possible. The Temporary Art Souvenir Shop will open exclusively during the opening fortnight of Manifesta 8, appearing between 7th and 17th of October 2010 at a different location each day. They will not only pop-up at the Manifesta venues but also set up the shop on local squares, the shopping mall, migrant neighborhoods and tourist centers.

Temporary Art Souvenirs forms an engaging commentary on the double nature of art as symbolic object and art as commodity and will explore the effects and possibilities of a temporal art event. The shop’s mobility allows it to transverse the boundaries between different social spaces, enabling art and ideas to reach a wide range of audiences.

Temporary Art Souvenirs is devised, organized and run by artists Lauren Alexander, Lado Darakhvelidze, Jimini Hignett, Anna Hoetjes, Jeroen Marttin, Eva Olthof, Julio Pastor and Patricia Sousa.

The Dutch Art Institute (DAI) is the Master’s program in Fine Art of ArtEZ, in The Netherlands. The DAI targets energetic and inquisitive artists with a critical attitude towards traditional art centers and their hierarchies, by providing them with an international platform for exchange and dialogue with peers as well as with established visual artists, theoreticians and practitioners from other disciplines.

for more information on the Temporary Art Souvenirs Project please see: http://temporaryartsouvenirs.blogspot.com/

BRIEF #8

Jeremy Beaudry (Alexandria Contemporary Arts Forum)

Reckoning with Unknown Knowns:

a brief for Manifesta PLATFORM FOR (UN)SOLICITED RESEARCH AND ADVICE

The development of ACAF’s curatorial contribution to Manifesta 8 begins with a quest to identify the ‘unknown knowns’ of the contemporary art system. What do we believe, but don’t know we believe, about contemporary art and curating? And what about politics, human geographies or histories, and the communication of cultural difference through today’s culture infrastructure? What codification occurs along the points where the mundane details of everyday life meet with the industries of politics and culture?

Art appropriated as a tool for a social and political agenda has inhibited us in locating the deep beliefs and knowledge that we are not fully aware of, but which we harbour in our collective unconscious. It is time to begin understanding this collective unconscious of art and locate what might be the actual problems at hand, or even better, what could even offer some solutions.

The Theory of Applied Enigmatics is rooted in an analysis of the condition of art today, and from there looks to operate as a kind of cultural algorithm, leading us towards some resolutions for the questions above. Through its application, the theory should lead towards the emergence of a multi-layered and complex project that while remaining part of what we call the ‘art system’ makes a route to its goal without using most of the widely accepted or highly criticized paths to a ‘successful project’.

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RESPONSE TO BRIEF #7

Platform for (un)Solicited Research and Advice
(Lauren Alexander, Lado Darakhvelidze, Jimini Hignett, Anna Hoetjes, Jeroen Marttin, Eva Olthof, Julio Pastor and Patrícia Sousa)

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BRIEF #7

Erick Beltrán

Dear Friends,

Since we will meet next Wednesday and as a way of creating common ground between us, I would like to propose a very simple though intense game.

1- Could you make the biggest list of fundamental questions that you need to find an answer to?

Let me rephrase it (adding focus): Which are the questions that you really feel should be solved in order to reach a sense of wide contact with the world?

Another rephrasing: As participant of the world who is in a constant interchange within its particles, there are a lot of incomprehensible things, plenty of gaps, hundreds of misunderstandings, infinite false starts and mistakes, seems most of this communication is just guessing a going with the flow. Which are the doubts and questions that if solved would fill up that gap?

Eager to meet you,

Erick

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VISIT

Anna Hoetjes

VISIT

Jimini Hignett

VISIT

Eva Olthof

VISIT

Patrícia Sousa

VISIT

Lauren Alexander

ANSWERS ON THE CONSTITUTION FOR TEMPORARY DISPLAY

Plattform for (un)Solicited Research and Advice

Who are we?

1. Rousseau defines constitutional law as an “expression of a general will.” Whose general will is involved in this case? Who will establish the content of this constitution?

The participating artists establish the content. These artist are currently students at the Dutch Art Institute and the (soon to be ex-) members of the Platform for Unsolicited Research and Advise. FG will be available as a mediator, facilitating and initiating discussion, helping to distill a goal. Artists can ask FG, his role is not fixed or obligatory and he will not participate unless asked.

2. Are these people the artists and curators and invited advisors – during the preparatory phase of the exhibition?

Participating artists can invite advisors, but the invited advisors won’t be part of the constitution.

3. Do we also include other groups and individuals?

No.

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BRIEF #5

Boris Ondreička, tranzit.org

QUESTIONS ON THE CONSTITUTION FOR TEMPORARY DISPLAY

tranzit.org proposes creating  THE CONSTITUTION FOR TEMPORARY DISPLAY to challenge all stereotypes that biennials (and exhibition formats in general) bring.

tranzit.org would like to submit the mechanisms of the biennial (and exhibition formats in general) to the critical consideration of the artists and advisors, with a desire to make the constitutional proclamation happen and to translate it into concrete steps for action.

Who are we?

1. Rousseau defines constitutional law as an “expression of a general will.” Whose general will is involved in this case? Who will establish the content of this constitution?

2. Are these people the artists and curators and invited advisors – during the preparatory phase of the exhibition?

3. Do we also include other groups and individuals?

How do we work?

5. What will be the principle for preparing the CTD?

6. What form and structure of discourse do we establish? And how will the on-site physical dialogue then be conducted during the installation and opening period, and then for the duration of the display? More »

NICE:

Jeroen Marttin

-Yes
-Yes
-Biennials try to tell me what is art, even if it isn’t that nice.

IDEAL MEDIA

Lado Darakhvelidze

Ideal Media, Biennale Cuvee 10

[KODACHROME NR.22]

Patrícia Sousa

I could mention several different things that have surprised me for this or that, for more or less logical reasons. Having to think of one I decided to choose this image. It is for me a beautiful image.

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FOOD AND SMALL TALK

Eva Olthof

After reading this question I was thinking about my road trip to Morocco that turned out to be a road trip through Andalusia, Spain. After my passport was stolen out of our old camper van. In my mind I passed by the cultural buildings I had seen there: la Alhambra in Granada, la Mezquita in Córdoba and el Archivo del Indio in Seville. Interesting things. Cultural things. Nice things. More »

NICE IS…

Lauren Alexander

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Julio Pastor
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Jimini Hignett

Beware of beautiful surroundings. You may be overcome by a sense of melancholy which lurks in the spectacle of such beauty. The melancholy of its impossibility. The beauty of the individual parts, the trees, the grass – her seductive softness, which actually isn’t soft at all but prickly, full of ants and thorns, only the idea of softness – these stir up a longing for a memory in which the grass really is soft, really is green. The sadness has something to do with the impossibility of that memory.

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MAYBE I COULD BE HAPPY PAINTING FLOWERS

Anna Hoetjes

A week ago I was asked for a publication to react visually on the question: ‘What do you like to look at?’ More »

BRIEF #4

Denis Isaia

Respond one question at a time, without thinking of the question that follows. You do not need to respond to all of the questions. If you do not like the question that follows, or if it does not suit you, do not go any further.

- Is there anything nice you have seen? (In a general sense, thinking of your experience, of what you have done, seen, read, or lived)

- Are you interested in knowing if what you consider nice is art?

- In which way can you relate the big biennials with the two previous questions?

The Platform