Achim Lengerer spricht über seine Publikationsreihe Scriptings und die neuste Ausgabe »Scriptings#24 Regarding Bulletin«, die zusammen mit Paul Gangloff, sowie Beiträgen von StudentInnen der Gerrit Rietveld Academie in Amsterdam, NL, entstand.

»Bulletin«, zwischen 1969 und 2001 von der Amsterdamer Galerie Art & Project herausgegeben, war eine auf vier DIN A4 Seiten reduzierte Publikationsreihe, mit jeweils einem KünstlerInnen Beitrag. »Scriptings#24 Regarding Bulletin« nimmt Bezug auf das Original, indem versucht wurde 40 verschiedene Reprints, oder Faksimiles mit einer »Verschiebung« (facsimile with a shift) zu produzieren.

Achim Lengerer lebt als Künstler in Berlin und Amsterdam. In seiner Arbeit beschäftigt er sich mit sprachbezogenen Fragestellungen, die er in Performances oder Rauminstallationen thematisiert. Seit 2009 betreibt er den mobilen Ausstellungsraum und Verlag Scriptings. Scriptings funktioniert als eine diskursive Plattform, ergänzend und parallel zu Lengerers Projekten. KünstlerInnen, AutorInnen, GrafikdesignerInnen, PerformerInnen ebenso wie VerlegerInnen werden zur Teilnahme eingeladen – all jene also, die sich in jeweiligen den Formaten »Skript« und »Text« bedienen.

Edited by Paul Gangloff and Achim Lengerer.
A collaboration with the Graphic Design Department of the Gerrit Rietveld Academie, Amsterdam, NL.

With contributions by:
Timur Akhmetov, Ronja Andersen, May-Britt Boekel, Edwin Bonaffe, Rosan Dekker, Mélissa Faivre, Paul Gangloff, Mariska Gewald, Rudy Guedj, Lena Gollvik, Goda Gontyte, Eva Hoevenaar, Martin Huger, Asger Jacobsen, Quirin Jacques, Marcel Kaczmarek, Katya-Ekaterina Kholyapin, Ayse Koklu, Johanna Kotlaris, David Külen, Lesley 't Lam, Achim Lengerer, Anna van Lingen, Chi Long, Mislav, Josef Ondrik, Ohri Ogi, Bernhard Paul, Gaile Pranckunaite, Nerijus Rimkus, Sophie Rogg, Andrea Serego, Anton Stuckardt, Edmundas Stundzius, Maria Trenkel, Olya Troitskaya, Nora Turato, Judith van Werkenhoven.

Corner Cuisine in Betrieb ab 19 Uhr, Lecture-Performance um 20 Uhr.

Art writer and science fiction novelist Mark von Schlegell will read from and discuss his forthcoming book DREAMING THE MAINSTREAM: critical fantasies of U.S. power (Merve Verlag, Berlin). The talk will propose the state of publishing today, the history and transformation of science fiction in the 21st century context -- and propose "fictocriticism" as a coherent generic response to the current cultural context.

A few days after the World Trade Center attacks in 2001, the German avantgarde composer Karlheinz Stockhausen (1928−2007) held a press conference in which − taken out of context − he made the remark that they had been the greatest work of art. This caused great uproar and led to his condemnation by a general public who had not heard of him before. With some ten years distance, this lecture-performance will try to come to a less emotionally charged understanding of the ways in which these enigmatic comments may be interpreted.

Since 2008 Benoît Maire has started writing a manual of aesthetics where images, objects and writing take form to bring forth some of contemporary aesthetics’ main issues. Starting from the differend (insurmountable conflict) between saying and seeing, Benoît Maire works in an in-between where art and philosophy merge into a practical use where forms spread out and surpass one another. Neither philosophy, nor art, the Aesthetics of Differends looks to corrupt classical formats by the experimental use of theory. This reading in Zurich will be based on the relationship between liberalism, nudity, pleasure and language to propose a criticism of measure: the work and thoughts of Manet, Masacio, God, Perry Anderson, Catherine Malabou, Jean-François Lyotard, Bruno Bostells and Judith Butler will notably be at stake.

The Performative Lectures ist eine konzeptuelle Reihe der Künstlerin Sarah Bernauer und des Künstlers Garrett Nelson. Angesiedelt zwischen Vorlesung und Performance behandelt die Lecture aktuelle künstlerische Fragestellungen, Haltungen und Taktiken. Jeder Lecture geht eine intensive Vorbereitungsphase voraus, in der Bernauer & Nelson jeweils ein neues Setting an Charakteren und Kommunikationsmodellen entwerfen.

Special Guest: Fork Burke

Programm Samstag, ab 19 Uhr, stündlich:

Salome Hohl:
Dekonstruktion eines Vierecks, im
Viereck. Ein Versuch – mit dem
Spiralkneter
(Lesung)

Samuel Bänziger, Mara Züst:
«Insert I – Ein Buch bei Nacht»
(Präsentation)

Sereina Steinemann:
Das neue Heft
(Workshop)

Heinz Emmenegger:
KANNT oder WENIGER
(Lesung)

Macuso Vikovsky
(Konzert)

GRRRR:
… am Zeichenstift
(Kunst)

Lucie Kolb:
Liste, Titel, Zitat. Über das
Adressieren von Kunstwerken
(Vortrag)

Anina Schenker:
… schreibt einen Brief
(Kunst)

DJ Fascinación
(turntables)

Ein kleiner Imbiss wird während des Abends serviert.

Mehr Infos:

http://www.ebbn.ch

This evening of poetry readings will feature works from the loose and emergent field known as ‘conceptual writing’. Practioners in this field have come to understand the conversations about conceptual writing as being unresolved somewhere between poetics and aesthetics via new media theory. Following that trans-disciplinary spirit, and in keeping with the Intermedia precedents for this kind of writing, Nick will perform readings from his own published works and other’s.

A renewed interest in the effects of networked technologies on the semantics, syntaxes and labour processes of contemporary writing will be the focus, following Nick’s basic research project of writing on the inside of contemporary art onto the outside of the register of literature. Any conversations about how these media also effect distribution and reading experiences will be a very welcome bonus!


Further reading:

Nick Thurston
http://afterall.org/online/7239

Conceptual writing
http://www.ubu.com/concept/

Organized by Lucie Kolb & Romy Rüegger
http://www.withwith.ch

Ausgehend von zwei Fotografien aus dem jeweiligen Archiv der Künstlerinnen, werfen die beiden Fragen nach Wahrheitsgehalt, Herkunft und Symbol des jeweiligen Dokumentes auf.

Nicole Biermaier und Françoise Caraco versuchen die Bedeutungen von diesen zwei fotografischen Dokumenten zu interpretieren. Sie geben einen Einblick in ihre Auseinandersetzung mit der Erinnerung oder der produzierten Vergangenheit aus intimer Perspektive.

Do you know the origin of Coca-Cola? Or the secret powers of Swiss triangular milk chocolate Toblerone? Why do we call a company that makes computers ‘Apple‘ and not ‘Jobs‘ and Windows ‘Windows‘ and not ‘Gates‘? And what has sanitary porcelain to do with all this? There is only one way to find out.



Please join us for the Swiss premiere of ‘Driving the Blues Away’

English (French see below):

Performative Lecture and Workshop by Raphaële Bidault-Waddington
In complicity with Caroline Palla

Paris-based artist Raphaële Bidault-Waddington returns to Corner College on 9 May for one of her performative lectures (cf. Semiospace), where she proposes a new digression, theoretical and poetic around her three laboratories for artistic research.
Raffinerie Poétique (Poetic Refinery), PIIMS/Petite Industrie de l'Image Sensorielle (Little Industry of the Sensorial Image) and LIID/Laboratoire d'Ingénierie (Idea Engineering Lab) all three feed on a “machinic imaginary”, playing on the illusion of a performing organization and a mastered creation process that can elicit a sense of rationality, clarity and understanding. The LIID in particular has the ambition of affirming the power of “aesthetic intelligence” as a mode of addressing the world and an efficacious form of knowledge production, giving rise to numerous collaborations with universities, urban projects and companies around the world.
Nonetheless the labs overflow, drift, without one being able to grasp where the border lies between the fictitious and the speculative, to such an extent that the story will at times seem incredible, as if all this was not possible. The machinic arrangement of RBW is on the verge of machination, as if behind this so well-articulated ecosystem that is here stripped bare, there was something else, an intrigue, or even a conspiracy.

Behind the appearance of the story of operational transparency, the shadow of doubt lurks, evoking the ghosts that haunt the contemporary era in which the “data-deluge” breaks the benchmarks of truth and in which a new technological empire spoils discernment as the screens suck its lifeblood.

The contact with the economic world elicits different forms of fear that echo the concerns borne by late capitalism, the famous spectre of the invisible hand, or yet Big Data, the new monster generated by the cloud and whose psycho-climatic intoxication PIIMS replays, having become an autonomous world-image ….

All this shall serve as a basis to an exploratory and exhilarating research session around the engineering of these both artistic and cognitive dramatic elements, in complicity with Caroline Palla, a Zurich-based artist and moviemaker, and the public of Corner College.

For further information: https://en.wikipedia.org/wiki/Rapha%C3%ABle_Bidault-Waddington
Websites: http://www.liid.fr, http://goodwill.is.not.free.fr

This performative lecture and workshop is part of the additional program contextualizing and expanding the discourse of the exhibition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, which opens on 23 April and closes on 22 May 2015.

This event is kindly supported by the French Embassy in Switzerland.


Français (texte en anglais ci-dessus):

Machination, ou le spectre de la Main Invisible
Conférence performative et atelier de Raphaële Bidault-Waddington
En complicité avec Caroline Palla

L'artiste parisienne Raphaële Bidault-Waddington revient au Corner College pour l'une de ses conférences performative le samedi 9 Mai (voir Semiospace) où elle nous proposera une nouvelle digression théorique et poétique autour de ses trois laboratoires de recherche artistique.

La Raffinerie Poétique, PIIMS/Petite Industrie de l'Image Sensorielle et LIID/Laboratoire d'Ingénierie sont tous trois nourris d'un "imaginaire machinique", se jouant de l'illusion d'une organisation performante et d'un processus de création maîtrisé, propre à susciter un sentiment de rationalité, de clarté et d'entendement. Le LIID se donne tout particulièrement pour ambition d'affirmer la puissance de l'"intelligence esthétique" comme mode d'adresse du monde et forme de production efficace de connaissance, donnant lieu à de nombreuses collaborations avec des universités, des projets urbains et des entreprises de part le monde.

Néanmoins les laboratoires débordent, dérivent, sans que l'on puisse saisir où se situe la frontière du fictif et du spéculatif, et au point que l'histoire semble parfois incroyable, comme si tout ceci n'était pas possible. L'agencement machinique de RBW, frôle la machination comme si, derrière cet écosystème pourtant si bien articulé et ici mis à nu, il y avait encore autre chose, une intrigue voire un complot.

Derrière l'apparence d’un récit de transparence opératoire, l'ombre du doute plane, non sans évoquer les fantômes qui hantent l'ère contemporaine où le "data-déluge" brise les repères de la vérité, et où un nouvel empire technologique abîme le discernement, vampirisé par les écrans.
L'accointance avec le monde économique suscite différentes formes de peur faisant écho aux inquiétudes véhiculées par le capitalisme tardif, le spectre de la fameuse main invisible, ou encore le Big Data, nouveau monstre généré par le cloud, et dont PIIMS, devenu monde-image autonome, rejoue l'ivresse psycho-climatique…

Tout ceci servira de base à une séance de recherche exploratoire et jubilatoire autour de l'ingénierie de ces ressorts dramaturgiques, autant artistiques que cognitifs, en complicité avec Caroline Palla, artiste et cinéaste zurichoise, et le public du Corner College.

Plus d’informations : https://en.wikipedia.org/wiki/Rapha%C3%ABle_Bidault-Waddington
Sites: http://www.liid.fr, http://goodwill.is.not.free.fr

Cette conférence performative et atelier font partie du programme supplémentaire contextualisant et étendant le discours de l'exposition Spooky Action at a Distance. Artes Mechanicae & Witch's Cradle, qui aura lieu du 23 avril au 22 mai 2015.


Nous tenons à remercier l'Ambassade de France en Suisse de son soutien.

From 19:00h till the end.

In her lecture-performance, Delphine Chapuis Schmitz will activate a text written by Kenneth Goldsmith* by literally rewriting it and having it projected “live” for the audience.

* and published in 2013 as the first movement of “Suite for Exhibition(s) and Publication(s)”, a proposal by Mathieu Copeland for the Jeu de Paume in Paris.

The lecture-performance will be held in English.