Exhibition: The Part in the Story Where a Part Becomes a Part of Something Else, Witte de With | Center for Contemporary Art, 22 May - 17 August 2014, Rotterdam

Photo courtesy of Anne Schwalbe

The BiM team relish a little garnish of intertextuality with our intertextuality and thus couldn't resist flagging this quirky and fleeting morsel in Rotterdam over the next few months. "The Part Where a Part Becomes a Part of Something Else" at the Witte de With | Center for Contemporary Art, exhibiting from 22 May to 17 August of this year, promises to deliver on its title by both "spinning off" from and playing epilogue to their now closing long-term program "Moderation(s)", which teamed The Netherlands with Hong Kong to produce some stunning and considered work.

Over forty artists from around the world come together to conceive what it means to interpret, moderate and transmit. Amongst the associations, "time, duration and space", "memory and inscription", "transformation", "pleasure" and "encounters" take centre-stage, all of which themes developed organically throughout "Moderation(s)" over its two-year stint at the Witte de With.

"An epilogue is the final chapter at the end of a story. It can occur a significant period of time after the main plot has ended, and may offer scenes only tangentially related to the subject of the story. An epilogue can continue in the same narrative style and perspective as the preceding story, although occasionally the form can be drastically different from the overall story."

 Celebrating the flows and divergences from its mother-project, "The Part Where a Part Becomes a Part of Something Else" savours a messy, entangled process of conversation of works between, amongst, and becoming other works, produced by artists, curators and audiences who have had almost two years of creative dialogue to feed upon.

Read more about the exhibition and their concurrent public program on the gallery website. Also included is a fairly thorough exhibition guide and information on the previous project "Moderation(s) for those who choose to read further.

Conference & Exhibition: London Conference in Critical Thought 2014, 27-8 June, London / Simon Fugiwara, Rebekkah (Display), 29 January - 28 March, London

It's been a bit of a hectic, crazy end of year, signalled by a disappearance of updates for over a whopping two months. Having settled down a little now, Ky is happy to report that we're back in action (hopefully) and mean to bring you more constant updates of all things to do with corporeality, movement and theory in the coming 2014 year. For our watermark first post for 2014, the Bodies in Movement crowd happily present a couple of conference and art-related treasures.

 

 

It's time again for the London Conference in Critical Thought for 2014, taking place this time at Goldsmiths, University of London. In its reliable fashion, the LCCT has aligned its stream areas to topics identified as carrying particular currency in the contemporary climate of critical theoretical engagement. The political and legal seem prominent this year, along with various strains of critical pedagogy. A full stream listing can be found on their website.

 

Stream proposals are now closed, but their call for papers stays open for submissions until 10 March 2014. Participation is completely free, which offers a nice incentive, but registration is mandatory.

 

 

Also in London, 59 Central Street Displays run by the Contemporary Art Society will feature Simon Fujiwara's Rebekkah, featuring 100 terracotta female soldiers modelled after a 16 year old girl from Hackney (predictably named Rebekkah) who was arrested for her participation in the 2011 London Riots. Rebekkah is the material product of a social experiment involving Rebekkah and Fujiwara, of which more can be read here. 

"Up to 100 figures were created in [an] assembly line technique, shifting Rebekkah to a new position: a representative of a new breed of British-born warrior and a soldier for social change."

Fujiwara will be at the Contemporary Art Society at 7pm on 30 January to talk about his piece. The event is sold out but they are accepting names to their waiting list. Further information can be found here.

Exhibitions: Aquatopia: The Imaginary of the Ocean Deep, Tate St Ives, 12 October 2013-26 January 2014 / Sound Versus System, Kunsthall Oslo, 19 October-21 December 2013

Juergen Teller, Björk, Spaghetti Nero, Venice (2007)

BiM spotlights two fascinating European exhibitions this week: Aquatopia: The Imaginary of the Ocean Deep, a major artistic retrospective on the vagueries of the sea, held at the Tate St Ives in Cornwall until 26 January; and Sound Versus System, a series of screenings, performances, talks and accompanying exhibition at the Kunsthall Oslo ending 21 December of this year.

The ambitious subject matter of the Tate St Ive's Aquatopia allows for an expansive coverage of aesthetic history. Fresh from the Nottingham Contemporary where it has resided for the past three months, the newly installed exhibition at the Tate St Ives (perfectly overlooking Porthmeor Beach) features works spanning from Katsushika Hokusai, J. M. W. Turner and Lucien Freud to Wangechi Mutu, Simon Starling and Marvin Gaye (Spartacus) Chetwynd, with many more between. Claiming that "Ocean myths both ancient and modern have been shaped by conquest and colonialism, and more recently by the tide of gender politics", it is perhaps unsurprising to find their printed catalogue brimming with not only literary excerpts but also essays from visual culture and historical theorists, writers, entertainers and more.

Drifting further north-east of Britain, Oslo's Kunsthall has its own busy schedule of events with Sound Versus System, featuring performances, talks screenings, art pieces and anything else that might "explore the potential of impure and hybrid forms, experimental relationships between sound and image, and the artistic disruption of both aesthetic and social structures".

The nine-week series of events and exhibition include the screening of a Norwegian film The Stone Wood Witches (1976) directed by Bredo Greve, which had been previously suppressed for being anti-proprietary and anti-Christian, as well as a major presentation of the forty-year oeuvre of experimental filmmaker Barbara Hammer. Besides this, expect numerous improvised concerts, films and sound pieces, and a cinematic selection by Kenneth Goldsmith gathered under the guiding principle: "Easy is the New Difficult: A Manifesto for a Non-resistant Art".

Exhibition & Events: The Old Operating Theatre Museum and Herb Garret, London

Tucked away up the stairs of a little English Baroque church in Southwark, London lies the historic Old Operating Theatre Museum and Herb Garret, the oldest operating theatre in Europe. Built into the herb garret of St Thomas's Hospital over 180 years ago and rediscovered in 1956, this little handful of rooms crammed full of Victorian medical oddities is a modest but fascinating counterpart to the Surgeons' Hall Museum in Edinburgh.

Like that museum, the Old Operating Theatre Museum and Herb Garret also hosts a packed schedule of lectures and events on a variety of medicine-related topics, including the history of pathology, after-death photography and the operated body in film and literature. A detailed list of their events for the next two months can be found on the museum website, along with detailed histories of St Thomas's, Guy's and Evelina Children's Hospitals in London, resources for the history of medicine, a digital catalogue of the objects on display at the museum, and more.

Thanks go to the blog post on Penny Dreadful Delights for giving us the opportunity to know about this obscure but special space.

Project & Blog: MOUTH (Edia Connole & Scott Wilson)

 

As the academic spotlight shifts from the effects of eating - demonstrable in renewed interest in areas such as fat and anorexia studies - to the affects of eating (the posthuman, vibrant matter, sensory studies, etc.), the very tactility and phenomenal nature of such sensory activity sometimes seems in a crisis of disappearance under the weight of its own glosses. Enter, however, the collaborative project MOUTH, comprising of Edia Connole and Scott Wilson, which stubbornly refutes this fear through a challenging and unique mode of praxis. Slated as "an actionist art project in culinary divinomics", MOUTH currently performs provocative and spectacular gastro-theoretical fea(s)ts in Ireland and the United Kingdom.

 

MOUTH's most recent project of June 2013, teaming up with artist Jessie Pressley Jones and the Korean Society of Ireland under the umbrella of Dublin public art initiative The Prosperity Project, saw them co-host and co-cater the paradoxically sumptuous Scarcity Banquet. Entitled "LAND", after iconic Korean writer Pak Kyung-Ni's 25-year literary production of the same name (Toji), the culinary experiment radiated from the concepts of hunger and famine which haunt both the Irish and Korean cultural memory. LAND explicitly engaged with the Korean notion of han, which is "formed from sentiments of loss and rage at the severance of wholeness and continuity between self and history", in order to offer a radical restaging of hunger, dining, the social, the political.

 

In the pointed absence of famine, a lush dining hall in Dublin's centre bore witness to dish upon dish of things-we-do-not-eat (grass, acorns, ox heart) and things-we-dare-not-eat (worms, rat) served with artistry appealing to the contemporary gourmand and defiantly celebrated across long, festive tables. And to intensify the experience/ordeal and capitalising upon the multi-sensory nature of the event, Wojtek Doroszuk’s short film Festin - featuring the gradual, seemingly inexorable consumption of a heavily-laden, seventeenth-century banquet by a host of non-human actors - looped endlessly against a back wall in a warped reflection of the night's consumption.

"Hunger changes the world, transgresses the taboos that structure social identities and hierarchies, radically changing perspectives on what should and should not be eaten, and with whom one can and cannot eat. ... Moving from han to MOUTH, then, in the wake of the dead and insurgency of the land, this the latest installment of The Prosperity Project marks the desire for a banquet in which living and eating well is the best tribute and revenge."

Further information on LAND can be found at The Prosperity Project website. More on MOUTH and upcoming projects can be found via their MOUTH blog, which also accommodates records of past events, including some texts from the P.E.S.T. symposium of 2012 (which we blogged about here), and a talk given by Michael O'Rourke at the LAND event (forthcoming). Previous banquets include: "En Soiree Culinaire par Georges Bataille, pour RLII", exploring the ecstasy on the cusp of horror (and vice-versa) of Georges Bataille; a sacrilegious "Blackened Mass for Quentin Meillassoux" in which the mouth plays divinity; an irreverent "test of faith" in the ascetic tradition; and others.

 

Exhibition & Seminar: The Second Sex - A Visual Footnote, 25 May - 13 July, Noisy-le-Sec

Marianne Wex, LET’S TAKE BACK OUR SPACE.



Le Gallerie (Contemporary Art Centre, Noisy-le-Sec in the Eastern suburbs of Paris) exhibits The Second Sex - A Visual Footnote from 25 May to 13 July of this year. For those fortunate enough to be in the neighbourhood, this "visual essay" inspired by Simone de Beauvoir's book offers installations from established international (and notably, non-French) artists Anne-Mie van Kerckhoven, Marianne Wex and Ilene Segalove. Also in the mix are: throughout the exhibition duration, screenings of activist videos, documentaries, video art and experimental films plumbed from the archive at the Centre audiovisuel Simone de Beauvoir; as a closing bonus on 15 June, a roundtable discussion with Nicole Fernández Ferrer from the Centre audiovisuel Simone de Beauvoir, art critic and curator Elisabeth Lebovici and art historian Giovanna Zapperi; and later that day, a seminar in collaboration with Travelling Féministe.

 

 

More information concerning the exhibition can be found here (in French), including an information flyer and a longer release containing a "visual note" by Tobi Maier (in French and English).

 

 

 

Conference & Exhibition: On Walking, 28-29 June 2013, Sunderland

At the end of June of this year, the University of Sunderland's Walking, Art, Landskip and Knowledge (W.A.L.K.) research group and the Northern Gallery for Contemporary Art (Sunderland) feature the multidisciplinary conference "On Walking". Following the momentum of a surge of academic and artistic interest in walking as a practice within the last decade, the two-day conference "seeks to examine and interrogate the practice and process of walking in all its cultural, ethnographic, poetic, and geographical ramifications." Timothy Ingold will bring his work on walking, ecology and perception to the floor as featured kenote at the conference, and a joint exhibition will take place at the Northern Gallery for Contemporary Art, entitled "Walk On: From Richard Long to Janet Cardiff, 40 Years of Art Walking". The call for papers is unfortunately closed for this conference; registration details for all attendees will be posted to the conference blog shortly.

 

The exhibition, which presents works that "start with an artist taking a journey on foot, staking out new artistic territory – whether using the street as their studio, or the landscape as a place to inhabit and change through their presence, rather than merely represent at a distance", opens in June, coinciding with the Festival of the North East. It displays the works of artists such as Marina Abramovic, Chris Drury, James Hugonin, Ingrid Pollard and others, and will also feature curator and artists talks/walks throughout the exhibition period.

Exhibition: A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story, 16 May - 20 July 2013, Hong Kong

Lam Qua, Portrait no 48.Yang Kang, 1830-1850. Oil painting. Courtesy Yale University, Harvey Cushing/John Hay Whitney Medical Library.

Independent art space in Hong Kong, Para Site, explore the changing stories of a city in a new exhibition A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story over the may to July period.

Showcasing an impressive list of internationally established talents and local artists, the exhibition threads its way through the "disparate though interconnected" visions and revisions of Hong Kong (places, spaces and people) in the wake of epidemic, economic and political instability and waves of human migration which occurred as a result of the SARS outbreak of 2003. Pathogenesis, politics and xenophobia meet the funereal and civic solidarity in strange combinations in this often overlooked tale of the last decade of Hong Kong.

"When the city became the epicenter of the most significant airborne epidemic in recent years - the SARS crisis of 2003 - the unparalleled shutdown of the city and the atomisation of society in quarantined segments lead to an unexpected shift in the political awareness of the Hong Kong citizenry. ... After that moment, the image of a de-politicised and soullessly pragmatic commercial hub could not anymore tell the whole story about Hong Kong."

As the contributors come from an array of professional backgrounds, including academics, journalism, film-making and the more creative arts, the responses to this quite challenging theme promises to be both varied and intriguing. A Journal of the Plague Year also includes two outdoor performances by Lygia Pape on 17 and 25 May. Check the Para Site website for further details.

Performance & Exhibition: Ruth Clinton, Niamh Moriarty, Michael O'Rourke & Jeffrey Jerome Cohen, Rotator

Pallas Projects in Dublin city currently contains the collaborative exhibition by artists Ruth Clinton & Niamh Moriarty. The show, aptly coined with the palindrome Rotator, loops around secrets, crypts, water and topographies in a variety of media forms; it explores the lesser-known currents of one of the city's more familiar waterways (the River Poddle), records endless passageways of/in brick, and commemorates the hidden stories of the underground.

 

The rich textures of Clinton and Moriarty's exhibition - dizzingly wet, mossy and stony - are sensationally enlivened in a recorded "tour" of the exhibition performed by the artists themselves, Michael O'Rourke and Jeffrey Jerome Cohen (read by fellow artist John Ryan) on a wintery March evening. Beginning with an introduction by O'Rourke, the tour takes the form of a question-and-answer conversation between the participants inflected by the exhibition works. "Hydrocryptographic", O'Rourke describes Rotator, and the four performers draw upon Serres, Cixous, Derrida, myths of the giant Balor, Blake, T.S. Eliot and a particuarly savvy twenty-questions AI algorithm to trace the damp crevasses of the show within this 45 minute audio recording.

 

Audio of the tour can be found here. The exhibition catalogue is downloadable here. Further pictures and descriptions of the exhibition can be found in the artists' blog posts, Ruth Clinton and Niamh Moriarty as well as the Pallas Projects website, where may also be downloaded an information sheet related to Rotator and a podcast interview with the artists recorded by RTE Lyric FM.

"Rotator is more attuned to the inclinations and glossolalic streaming together of matter. The exhibition is an exercise in diverculvertation as we drift from territories of the infinitesimally small - our selves and bodily matter composed mostly of water - to the infinitely vast - rivers, seas, oceans, the sky, moon and stars."

Project: The Anthropocene Project, 10 January 2013 - 31 December 2014, Berlin (Part I)

In January of this year, the Haus der Kulturen der Welt in Berlin opened a fascinating and ambitious new two-year initiative entitled The Anthropocene Project, which seeks to interrogate the effects stemming from the increasing destabilisation of the definition between man and nature.

 

Chasing a paradigm shift throughout the the twentieth and into the twenty-first century in the natural sciences, the project situates Paul Jozef Crutzen's coined geological epoch - the "anthropocene", an "age of mankind" - at its centre in order to explore the mutual enfolding of the "human" and "natural" relations.

 

The opening consisted of a four-day symposium of thinkers, artists, film-makers, scientists and scholars to in conversation over this theme. Recordings of these speakers, which included keynotes by Will Steffen, Elizabeth A. Povinelli, John Tresch and Dipesh Chakrabarty, as well as a host of other dialogues, are available online at their website (some of which will be explored in more depth in Part II, posted next week).

 

Upcoming events include: the Unmenschliche Musk Festival: Compositions by Machines, by Animals and by Accident feom 21-24 February, which brings music production under critical inspection; a film series Anthropocene TV which begins on 22 May and continues until the project ends; "The Whole Earth: California and the Disappearance of the Outside" Conference with accompanying exhibition, from 21-22 June; along with many other events. Further information and multimedia are listed on the HKW website.

"Nature as we know it is a concept that belongs to the past. No longer a force separate from and ambivalent to human activity, nature is not an obstacle nor a harmonious other. Humanity forms nature. Humanity and nature are one, embedded within the recent geological record."

Exhibition: "BUSY. Exhausted Self / Unlimited Ability", 20 September 2012 - 13 January 2013, Vienna

Cosima von Bonin, "The Bonin / Oswald Empire's Nothing #04" (2010)

21er Haus at the Österreichische Galerie Belvedere houses "BUSY. Exhuasted Self / Unlimited Ability", an exhibition which critically responds to the changes in human relations to labour economies, replacing the "role conflicts and schizophrenia" symptomatic of hierarchical, industrial society with "stress, depression, and burn out" which characterises information capital.

 

Curator Bettina Steinbrügge adapts the idea of Cosima Rainer in cooperation with the Academy of Fine Arts in Vienna to provide this comment on work, precarity, artistic process and the valuation of time. The pieces selected for this show springboard from the always "busy", work-time and life amalgamation in contemporary culture and the resulting disappearance of time itself. As contributing artist Manfred Erjautz comments in a slick podcast of interviews of those involved, "We've got enough time anyway - we only handle it the wrong way".

"Art was once the utopian counter model to achievement-oriented and other-directed gainful employment, a realm of freedom opposing the realm of necessities. Today, it has developed before our eyes to a model for a mobile and autonomous “Ich-AG,” or “Me-inc.,“ to the ideal of project-related work."

Conference: What Is Performance Philosophy?, 11-13 April 2013, Surrey; & Exhibition: DJ Spooky, The Met Reframed, 2013, New York

"What is Performance Philosophy?" is the titular question for performance and theory conference hosted at the University of Surrey on 11-13 April 2013. Its subtitle, "Staging a new field", hints at the conference targets - to explore and perhaps even chart the fresh research currently produced which engages, tests and contests the relationship(s) between performance and philosophy in their broadest sense.

Keynotes confirmed for the conference are Martin Puchner, scholar in literature, philosophy and drama at Harvard University, and Bojana Kunst, conceptual art theoretician and philosopher at the Institute for Applied Theatre Studies / Institut für Angewandte, Justus Liebig University Giessen. A call for papers from the organisers allows scope for individual presentations, panels and 90 minute performances, workshops, reading groups, roundtables, and other formats. The call ends on 15 December 2012.

As an addendum to the last post, Ky would like to call attention to Paul D. Miller's (a.k.a. DJ Spooky, That Subliminal Kid) year-long role as visiting artist in residence to the Metropolitan Museum of Art. Throughout 2013, DJ Spooky will headline a number of multimedia sound/art performances under the banner of the program, The Met Reframed. His performances include performances The Nauru Elegies on 18 January, Of Water and Ice on 23 March and Civil War on 10 May, all of which will involve orchestral soundscapes mixed with digital and visual interfaces.

"'To me the Met is like a huge record collection,' Mr. Miller said. 'You have everything from Napoleon’s sword to Thomas Edison’s first cylinder recordings. They have an incredible archive — not just the paintings and sculptures, but technological artifacts, armor. And I thought that would be incredible to do a megamix, responding to the collection. So Limor and I began to talk about that, and I said: ‘I don’t want it to just be music. I want it to be conceptual. I want it to be a rigorous engagement with contemporary art.'"

Allan Kozinn, "DJ Spins Museum's Attitude", New York Times, 25 October 2012

Lecture: Anna Gibbs, "Gestural Dispositions: On the Intermedial Migrations of Writing", Edinburgh, 26 October 2012; & Exhibition: "Art & Music - Search for New Synesthesia, Tokyo, 27 October 2012 - 3 February 2013

Those based in Edinburgh have the opportunity to attend a public lecture by Anna Gibbs, "Gestural Dispostion: On the Intermedial Migrations of Writing" next Friday (26 October), at the University of Edinburgh. Exploring the interstices of writing and gesture, Gibbs' presentation promises an incisive exploration of experimentation and corporeal imbrication in the practices of reading and writing.

 

The event is free and officially opens the Extending Gesture Colloquium (which Ky blogged here), a fascinating and intimate weekend event addressing concepts of the gestural in a number of different artistic and cultural fields. Registration to the public lecture is not necessary. More information on the event and the colloquium can be found at their website.

"Printed text suppresses the relation between writing and gesture, but what happens when text becomes a moving architecture into which we can enter, and when - becoming animated - it begins to exhibit strange behaviours?"



Otomo Yoshihide + Yasutomo Aoyama, "without records," 2012. Exhibition view from "x sound : On and After John Cage and Nam June Paik", Nam June Paik Art Center, Gyeonggi-do, Korea.

For any readers of the BiM blog currently based in Tokyo (or planning to travel there within the next five months), The Museum of Contemporary Art Tokyo is soon to be opening the third exhibition in their "Tokyo Art Meeting" series. Art & Music - Search for New Synesthesia (27 October 2012 - 3 February 2013) introduces internationally-established musician Ryuichi Sakamoto as general advisor to a project which sees to explore, sample and inhabit the complex relations between "music", form, texture and the visual. It features work by sonic artists such as John Cage, Tōru Takemitsu, Ryoji Ikeda, Otomo Yoshihide and  Florian Hecker.

 

The exhibition kicks off with a concert by Carsten Nicolai and is run in conjunction with the "Tokyo Sonic Art Award" open competition for young sonic artists.

"According to Sakamoto, our humanocentric modern society has developed a system of control over the social environment, information and nature. This microcosmic inclination is gradually being destroyed through globalization and the energy crisis. Against this sociopolitical background, Sakamoto uses sound and the visual to reconsider our relationship with nature in a broad sense, attempting to recall a macrocosmic way of thinking."

 

Exhibition: "Superhuman", 19 July - 16 October, Wellcome Collection, London

The collection of curios at the Wellcome Trust (self-coined as "a free destination for the incurably curoius") organises around the theme of "Superhuman" until October of this year. Designed to overlap with the furor of the London Olympics and its celebration of engineered, amplified and sculpted athletic bodies, "Superhuman" explores the limits of corporeality through the interventions of technology, prosthetics and medicine.


Metalosis Meligna, 2006 by Floris Kaayk

Enhancements take centre stage in the Wellcome Collection's exhibition, which encompasses myth, ancient history, the comic genre, medical objects, the work of contemporary artists and more to structure its panoptic investigation. Various events are also part of the Collection's itinerary, including poetry and performance afternoons (entitled "We Are All a Cyborg"), a chance to fondle some synthetically fashioned body parts, and a symposium on "Human Limits" (28-29 September) at which will be screened one of the first films to depict space travel alongside panels of academic speakers from multiple disciplines.

"Glasses, lipstick, false teeth, the contraceptive pill and even your mobile phone - we take for granted how commonplace human enhancements are. From Icarus to i-Limbs, ‘Superhuman’, which opens at Wellcome Collection today, explores the extraordinary ways people have sought to improve, adapt and enhance their body’s performance."

Exhibition: "Invisible: Art about the Unseen, 1957-2012", 12 June - 5 August, London

The Haward Gallery at the Southbank Centre in London has now launched its new exhibition, Invisible: Art about the Unseen, 1957-2012. Collecting together samples of art exploring ideas related to the invisible and the hidden, from productions by well-known twentieth-century artists to contemporary works.

The contributions of these 26 artists, including Yves Klein (pictured here in his The Void Room), Teresa Margolles and Yoko Ono as a few of the more recognisable names, prod at the limits of visibility, presence, the public and perception, among other themes.

Tonight at the Hayward, artistic contributor to the exhibition Jeppe Hein talks about invisibility and smell in relation to his installation; and on 20 June, contributor Tehching Hsieh, performer of incredible durational pieces, discusses his work. Special exhibition tours are also being conducted on 28 June, 29 June and 12 July. Entry fee is set at a reasonable £8 for adults, with discounts for students, youths and seniors. See here for further details.

"Invisible ultimately reveals that there is no limit to the possible meanings of invisibility in art. Works that share a similar blankness can convey remarkably varied content. An empty room or unoccupied plinth may function as a sign of mystical sensibility, a haunting past, or a cursed presence. ... And almost inevitably most of these works highlight the fact that our interpretation and experience of art is often contingent on information that exists apart from an object itself."

Exhibitions: "ANOMALIA", 18 February - 18 May 2012, University Art Gallery, UCSD; & Emily Young, "The Metaphysics of Stone", 7-28 February 2012, London

The University Art Gallery at the University of California, San Diego is set to open its doors and unleash the new exhibition "ANOMALIA" curated by Lucía Sanromán on 18 February 2012.

Featuring the artworks of four international artists: Berlin/Mexico-based sound and light installation artist Erick Meyenberg; the prolific and well-established contemporary artist Charles Gaines currently based at the California Institute of the Arts; and the Mexican duo of Erick Beltrán and Jorge Satorre, the team whose most recent work "Modelling Standard" brought comically entangled and historiographically perverse pictorial narratives to the walls of various European galleries. The current project of these artists, "ANOMALIA" explores the unspoken interstices of the sciences and the arts by "closely investigating diagrammatic and systematic forms of representation that reveal the constructed nature of both art and science and their mutual investment in the notion of the sublime".

If you happen to be on the other side of the Atlantic, you might have the opportunity to view Emily Young's new exhibition of sculptures, "The Metaphysics of Stone" taking place at Berkeley Square in London from 7 February to 25 April 2012.

Peeling away the many surfaces of stone in her carvings, and playing a delicate hide-and-seek game of textures, Young's work appeals as much to the sensual urges of tactility as it does to the occular gravity that might be inspired by rock. Six of these painstakingly carved stone heads will be on display in the Square.

Exhibition: Disobedience: An Ongoing Video Archive, 9 December 2011 - 3 February 2012

A new-old exhibition Disobedience: An Ongoing Video Archive, curated by Marco Scotini together with Nomeda and Gediminas Urbonas, launches at the Media Lab Complex in Cambridge, Massachusetts on 9 December.

Part of an ongoing, multi-phase and multi-media project, the exhibition represents a collaboration between Milan's Nuova Accademia di Belle Arti and the Massachusetts Institute of Technology through their respective Art MA programs. Since 2005, the project has been staged in Berlin, Mexico, St Petersburg, Eindhoven, Karlsruhe, Nottingham, Zagreb and London. It archives "a geography of civil disobedience", constructing a history of alternative, artistic political activism(s)

in the twentieth century, exploring significant civil and societal movements from Italy 1977 to post 9/11 America.

In light of the current and chronic global presence of the Occupy movement, as well as political and geographic instability throughout the world, the exhibition would seem to offer a timely supplement to the current conception of political strategies of bodily mobilisation and, particularly, their intersection with practices of self-representation and visual significations.

A shell website exists for The Disobedience Archive, which contains, amongst other things, various texts and interviews that resonated with or inspired Scotini's project. Included amongst them are conversations conducted by Scotini with Paolo Verno and Franco "Bifo" Berardi.

"In the political scheme established in the seventeenth century and thereafter, the One is the terminal point and the point of convergence, a point in which all processes in a certain sense cease and this One is the sovereign, the State. The question to ask oneself is not so much if the Many, the multitude, rid themselves of the One, because this would be a dangerous naïveté, but rather how much they prepare themselves for a different One and for a diverse relationship between the One and the Many."

[Response given by Paolo Verno in conversation with Marco Scotini]

Exhibition: Report (Not Announcement) (Online)

After some minor techincal difficulties, Ky is back once again on the BIM blog to showcase Report (Not Announcement), the 2006 project curated by Binna Choi, the current CASCO Office of Art, Design and Theory, and provided by the electronic flux corporation (e-flux) and basis voor actuele kunst (BAK).

Comprised of a series of thirty-nine pdfs, the reports gather together photographs, diagrams and various forms of text created by forty-eight "cultural producers" in continuous states of travel and fluid displacement. Disjointed ruminations share space with short anecdotes, amusing images rub shoulders with more or less self-indulgent fragments of recorded thoughts, and slightly confused narratives accompany obscure textual non sequiturs. 

Setting these downloadable reports one after another like a line of alphabetically-branded train carriages on a scrolling frame, In both form and content, Report (Not Announced) is unanchored. It hoards ambiguous positions, seeking subjects in non-specific localities, collecting the productions of such people while they move between their own creative productions, and quietly commenting on the illogical excesses and intensities of travelling somehow between the places they want to/need to/should be.

"... It is no longer a marketing faux pas to show death and dismemberment while you are belted in to your seat, staring, because as you may have realized, YOU ARE NOT REALLY HERE, NOT REALLY YOU."

Martha Rosler, "Addendum"

From: the air to or from Europe 

Find this project where it is hosted on the BAK website, where readers are encouraged to download, print and share the contributions.