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October 2022

A LIVE TV BROADCAST 3, harvest by Joen Vedel

“A Live TV Broadcast” is a series of live-edited TV programs for Offener Kanal Kassel, as part of Joen Vedel’s contribution to dOCUMENTA 15, created in collaboration with Streetbolzer and participants of Offener Kanal’s media literacy program, as well as musicians from the Kassel ecosystem. . The third program was made on August 12th., mixing live-cameras from the streets of Kassel and the TV studio with archival material from the DOCUMENTA archive, as well as footage shot in the days prior to the opening.

A LIVE TV BROADCAST 2, harvest by Joen Vedel

“A Live TV Broadcast” is a series of live-edited TV programs for Offener Kanal Kassel, as part of Joen Vedel’s contribution to dOCUMENTA 15, created in collaboration with Streetbolzer and participants of Offener Kanal’s media literacy program, as well as musicians from the Kassel ecosystem. The second program was made live on July 15th., mixing live-cameras from the streets of Kassel and the TV studio with archival material from the DOCUMENTA archive, as well as footage shot in the days prior to the broadcast.

A LIVE TV BROADCAST 1, harvest by Joen Vedel

A Live TV Broadcast” is a series of live-edited TV programs for Offener Kanal Kassel, as part of Joen Vedel’s contribution to dOCUMENTA 15, created in collaboration with Streetbolzer and participants of Offener Kanal’s media literacy program, as well as musicians from Kassel ecosystem. The first program was made live during the official opening of dOCUMENTA on June 18th., mixing live-cameras from the streets of Kassel and the TV studio with archival material from the DOCUMENTA archive, as well as footage shot in the days prior to the opening.

#lumbungkios#lumbungdotspace

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Sparked during the lumbung building process that occurred along the documenta fifteen in 2022: the lumbung kios is a way, on the one hand to use the opportunity of documenta fifteen where often a lot of merchandise are sold and to bring it to this value-based economy: that is the lumbung economy—where through majelises we can decide ourselves what are the principles of this economy; for example "how it can be fairer shared amongst the members?

#repost#künstlerhaus vienna#loving others#künstlerhaus vereinigung#collective#solidarity#cooperation#exhibition#lumbungdotspace#lumbungkios

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A #repost and translation from https://www.instagram.com/kuenstlerhauswien/ The time has come: today the exhibition LOVING OTHERS - Models of Cooperation opens!⁠ ⁠ 18:00 admission⁠ 19:00 Opening with the curators Christian Helbock & Dietmar Schwärzler and Tanja Prušnik, President of the Künstlerhaus Vereinigung⁠ Following concert by Klitclique⁠ ⁠ Until 20:00 screen printing workshop with ruangrupa in the Salon Karlsplatz⁠ ⁠ Admission free!⁠ ⁠ And if you can't make it to the opening today: thanks to our media partner @w24tv you can visit the exhibition from 13.

“La cosecha en la Documenta 15”, por Sandra Fernández

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The Harvest at Documenta 15, by Sandra Fernández 。。。English translation below 。。。 La resistencia y el reflejo de la otra cara del arte propiciaron un encuentro entre diversos colectivos del mundo. La organización colombiana Más Arte Más Acción reconoció en sus actividades la importancia de juntar visiones hacia el desarrollo sostenible. Con el ánimo de continuar construyendo a favor de la comunidad, haciendo crecer redes y resistiendo más allá de los 100 días de la Documenta 15, que se desarrolló del 18 de junio al 25 de septiembre, los miembros de Lumbung, ahora y más fuerte que nunca, deciden apostarle a la constante lucha por la igualdad.

documenta fifteen: Dreaming of a New Cartography

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In an essay for Arts Equator, Alia Swastika, Director of the Jogja Biennale, offers a bold analysis of ruangrupa’s documenta fifteen, one that frames their artistic direction as an opening of new pathways that are long overdue. 。。。 Indonesian collective ruangrupa successfully introduced the global art world to the value of resource sharing and collective imagination through lumbung, the core curatorial concept at documenta fifteen, which opened on 18 June 2022, and ended two days ago, after it’s 100 day run.

卡塞尔文献展的溢出与溢出治理, 刘伟田

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Spillover and Spillover Governance at Documenta in Kassel, by Liu Weitian 。。。English translation below 。。。 当代艺术的边界在加速扩张,边界本身逐渐失去原有的意义,用于划分领土的界线成为双向侵蚀滋长的浑浊地带。溢出和污染在此处发生。伴随着边界的瓦解,中心与边缘的关系失去了支撑,领域自身的连贯性破裂了。矗立在艺术世界中心位置,继承了辉煌遗产的利益相关者们仍然幻想着对边界和疆域的掌控,尽管他们脚下的地面已经出现裂缝。 我们熟悉的关于“艺术”的知识越来越无法帮助我们理解所处的状况,“艺术作品”或是“艺术创作”这样的词汇愈发显得画蛇添足、不合时宜。敏锐的艺术史学者和艺术批评家尝试理解正在发生的变化,并通过历史和理论写作来修补裂缝、重整秩序。他们看似乐于见到艺术边界的扩张,并积极地参与到这项事业中,可是这样的工作往往建立在对于边界本身的敬意和怀念之上。由此生产出的叙述和理论不足以帮助我们理解事情的全貌。比如,对“艺术介入社会”的历史叙述和号召远赶不上艺术的边界化解于真实世界中的速度。当保护着艺术的壁垒已经形同虚设,“艺术介入社会”只是帮助艺术挽回些许颜面的伪命题。 在一些利益相关者的努力下,新的名词和分类法被源源不断地生产出来,演变成为新的艺术范式进入艺术生产的说明书,同时亮相于艺术市场的标签和图录中。尝试参透并掌握溢出的部分是有价值的,因为新的话语和新的历史建构是争取未来的必要途径。然而,参透和掌握的冲动是值得警惕的,因为这种冲动的驱动力往往是与资本主义相伴相生的驯服-殖民逻辑。这套逻辑支撑着一个强大的防御和生产系统,它试图将一切溢出之物裹挟、削弱、中和、利用,改造为让艺术世界保持活力的养分,而学术研究是这套系统中的重要工具。 所谓“激进”艺术实践的内在矛盾也体现在这里:随着“激进”在艺术话语中被赋予越来越多的价值,艺术系统通过收编那些关于激进思想的作品和展览,将艺术的“激进”从社会现实中剥离开。不难发现,“激进”术语已悄然成为艺术世界的新宠儿,它们在学术论文和艺术市场间穿梭自如,在作品和展览介绍中轮番登场,它们一边为知觉钝化的当代知识人带去自我满足的刺激感,一边为艺术家和策展人提供在当今艺术世界穿行、爬升的信用额度。艺术系统由此升级为一场金融游戏,行动与变革在虚拟的游戏世界里彻底让位于估值与投机。[1] 艺术自主和社会介入的二元对立在今天已经没有意义。艺术的自主性面临的危机被新自由主义管理艺术的先进手段逐一化解。这同时也是一项心理和情感层面的治理术,它将自主性无法完成的使命通过对自我升值和自我实现的执着追求交付给艺术世界的每个公民,使其自觉、虔诚地维护艺术的尊严,由此实现对艺术边界区域浑浊成分的净化和回流。在这个意义上,溢出意味着逃离新自由主义治理术对情感的管理,将艺术公民的虚荣心和羞耻感抛之脑后。 第15届卡塞尔文献展就是一个溢出的艺术现场,溢出与溢出治理在此角力。担任策展人的印尼艺术团体ruangrupa将“lumbung”(印尼语里意为“米仓”)作为此次文献展的核心理念。在印度尼西亚的农村,村民们将收获的多余粮食储存在由大家共同管理、共同使用的粮仓。取义于这一做法的lumbung所包含的意义超越艺术的范畴,它涉及到的包括共同生活和资源分配在内的问题指向对社会结构的思考和实验。 文献展期间,主展场弗里德利希阿鲁门博物馆变身为一座学校,来自雅加达的教育平台和当代艺术生态系统Gudskul在一楼展厅复刻了共同学习项目Sekolah Temujalar。(作者摄) 尽管超越个人主义的集体工作模式在近几年的当代艺术讨论中开始受到关注,现有的对于“艺术团体”的理解却往往只是狭隘地将其视作一种新的艺术形式,或是简单地将其归结为从个人独立创作到多人合作的转变。与其说这一视角忽视了集体工作模式之于社会结构的深远意义,不如说它在有意回避关于艺术基础结构以及社会运作机制的讨论,从而在自己划定出的狭小框架下获得一丝稳定和安全感。此届文献展排除了这些形式主义讨论的干扰,直接击中问题的要害:如何彻底摆脱殖民主义遗产——剥削关系、所有权、独立于他人的个人主权和自由意志——对我们认知世界的限制,从而想象和建立一个新的共同存在的方式? 可贵的是,ruangrupa不满足于展示和呈现关于“米仓”的实践,而是将“米仓”作为实践方法组织整个文献展。如果说前者是当下的“学术-艺术综合体”最习以为常的对待溢出的方式,那么后者则是一次对艺术系统的扰乱。[2]对于高度专业化的西方艺术系统来说,这样的扰乱无疑会引起困惑和不适,甚至是恐惧和敌意。当溢出的规模和程度超过了利益相关者们(请注意“股东”在文献展反犹争议事件中扮演的角色)的容忍限度,治理溢出的机器便启动了。 对于受邀参展的艺术家来说,如何处理自己的实践与艺术展览和观众们的关系亦是一项挑战。实践与艺术语境下的作品以及机构框架中的公共项目并不兼容,展示和再现的逻辑也很难捕捉实践中最为关键的工作方法以及维系着实践的社会关系。于是,各式各样的手绘思维导图,以及散落在房间醒目位置的长桌和长凳,成了此届文献展中突出的元素。这些“展品”邀请观众们想象那些溢出于展览之外、无法被物化的相聚,同时也讽刺地揭示了展览逻辑自身的局限。 ruangrupa对艺术系统自身的标准和期望并非毫不在意;相反,ruangrupa深知西方艺术世界的焦虑和渴望,并且敢于深入这一系统的内部进行搅动,在错综复杂的共谋关系中为“溢出”开辟通道。在这个意义上,此次文献展的意义不在于扩展了艺术的领域,而在于进一步松动了把守着艺术边界的阀门,让溢出在新的溢出治理术被发明和实施之前,朝着不可预估的方向加速发生。 [1]有趣的是,英文中“portfolio”一词既可指艺术家的作品选辑,也可指个人或机构的投资组合。 [2]“学术-艺术综合体”(academic-artistic complex)这一说法来自Fred Moten与Stefano Harney合著的文章“Suicide as a Class”,详见All Incomplete, Minor Compositions出版社, 2021年, 148页。 刘伟田,《歧路批评》的编辑之一。 。。。 The borders of contemporary art are expanding at an accelerated rate, the borders themselves are losing their original meaning and the boundaries that demarcate the territory are becoming a murky zone where erosion grows in both directions.

Practicar el Lumbung. Un reccorido en imágenes por documenta 15, por Alejandra Villasmil

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Practicing the Lumbung: An Overview of documenta 15 in Pictures, by Alejandra Villasmil 。。。English translation below 。。。 La historia está plagada de capítulos sombríos donde los intereses geopolíticos y económicos terminan por incidir en la libre expresión cultural. En los casos más complejos, terminan en censura y autocensura. Desde este sur global, solo basta mirar los casos de Cuba y Venezuela. Lo acontecido en la última edición de documenta se inserta precisamente en este juego del poder político, que tristemente ha acabado por socavar el derecho a la manifestación artística de un grupo de participantes de entre los 1.

Art Breaks October

The October Art Breaks sessions are open for applications. Art Breaks focusses on children and young people with complex needs, alongside their parents, carers and non-learning disabled peers. Dates in October: At the Project Art Works studio, Hastings – Tuesday 25th October and Wednesday 26th October There are two sessions per day, 10.30 -12.00 and 13.30 – 15.00. Please apply for a space by the 10th October Apply here: https://www.

#lumbungkiosproducts

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✨ T-shirt by Sobat-sobat ✨ T-Shirts with selfmade prints " Sobat-sobat is an Indonesian term for ‘friends’. The printing-slogans were developed within our discussions about the role of sobat sobat as mediators, friends, and companions of the artists, ruangrupa, the institution, and the public. We want to start a dialogue about working conditions in the art field and the importance of mediation within documenta fifteen and other art exhibitions. " #lumbungkiosproducts

#lumbungkiosproducts

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✨ On the Water by Rai Shizuno / Cinema Caravan ✨ Book " Rai Shizuno is a photographer and an essential part of Cinema Caravan. This book showcases a representative photo collection of his philosophy that water is everything. It is a work that contains the various connections of water that he encountered during his travels around the world. " #lumbungkiosproducts

#lumbungkiosproducts

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✨ Jazzy Sport T-Shirt by Cinema Caravan ✨ Cotton, short sleeved, available in white and green " Jazzy Sport is a music label from Japan that also takes part in the sound design of Cinema Caravan. The print on the t-shirt is the authentic design of Jazzy Sport in a documenta fifteen special edition. The original D15 logo—a drawing by MARU, a painter from Cinema Caravan with their iconic TENT design—is prominently visible in the front.

#lumbungkiosproducts

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✨ CITIZENSHIP LOGBOOK 2022 by ZK/U – Center for Art and Urbanistics ✨ Roofship grid notebook, 160 pages Limited edition " The Citizenship Logbook was produced in a limited edition on the occasion of the citizenship trip from Berlin to Kassel. In June–July 2022, the Center for Art and Urbanistics (ZK/U) literally raised the roof of its home base in Berlin, and then sailed in it to documenta fifteen—a trip of 650 km, fueled entirely by people power!

#lumbungkiosproducts

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✨ Art Ashram - Future Fossile Factory Tote Bag by ZK/U – Center for Art and Urbanistics ✨ Organic Cotton with monochrome screen print, Available in Lilac / Eucalyptus Color " The artist collective Art Ashram explored a marlstone pit on the river banks of Hannover to excavate hundreds of Belemnites. These million-year old fossils were the starting point for drawing, creating, and storytelling about possible and impossible futures with children from a local school.

#lumbungkiosproducts

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✨ Boerenzij by The Rural School of Economics - Myvillages ✨ Book " Boerenzij | The Rural Side is published with and by Rotterdammers places rural mindsets and imaginations in the midst of the current gentrification that’s happening in Rotterdam-Zuid. All texts in this book are written by Wapke Feenstra and researcher Kevser Güle. Besides texts, we can also find various images, such as drawings, film stills, and photos of rural objects.

#lumbungkiosproducts

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✨ Alte Böden, Neue Standbeine by The Rural School of Economics - Myvillages ✨ Color book " ‘Alte Böden, Neue Standbeine’ translated as “Old Terrain – New Pillars”, is an agricultural color book for adults to read, color, and learn from the nine farming families in the Purge-Strudengau district in Austria. The nine farms depict the very diverse range of new and sustainable pillars created on the old terrains of the farms.

#lumbungkiosproducts

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✨ Janus the Wolf Candle by The Rural School of Economics - Myvillages ✨ Wax " This two-faced wolf candle is inspired by Janus, the Roman god that stands for ambivalence. Janus represented the middle ground between both concrete and abstract dualities. As for the local context, around the last millennium, wolves came back to Germany from the east, crossing the river Oder in Saxony and finding their way to the Lüneburger Heathlands.
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