[NetBehaviour] Fwd: PAF Spring Meeting 2020

Ruth Catlow ruthcatlow at gmail.com
Sun Feb 16 14:42:26 CET 2020

This via Constant

PAF Spring Meeting 2020

View online version <


       11 - 19 April 2020

www.pa-f.net <

/*Intercessors, ventriloquists, thieves, anon.*/

/*On Art’s Divestment of the Self*/

Today, Mladen Stilinović’s artwork stating, “an artist who cannot speak
English is no artist” could just as easily be rephrased as: “an artist who
cannot speak about their own work is no artist”. Is there a more exploited
genre and pronoun among artists than speaking in first person singular?

For SpringMeeting 2020 we would like to approach what is singular as
already multiple, to reimagine the individual through mediation. We would
like to question origin, identity and ownership in the act of directing
attention instead to /intercesseurs/, mediators and intermediaries, to true
and falsifying personae and to collective or common agencies.

Against two decisive factors of the art market today – the compulsion to
speak of one’s own work, and performance of one’s own brand-name – we would
like to inquire into other possible articulations of personhood,
authorship, ownership, agency, milieu, transindividuation and production
that do not begin with nominal identity, that do not start with or return
to “I/Me”.

An example. “Intercesseurs” (mediators) was the word Gilles Deleuze used to
portray his collaboration with Félix Guattari:

/“Mediators are fundamental. Creation’s all about mediators. Without them
nothing happens. They can be people ... but things too, even plants or
animals ... Whether they’re real or imaginary, animate or inanimate, you
have to form your mediators. It’s a series. If you’re not in some series,
even a completely imaginary one, you’re lost. I need my mediators to
express myself, and they’d never express themselves without me: you’re
always working in a group, even when you seem to be on your own… There’s no
truth that doesn’t ‘falsify’ established ideas. To say that ‘truth is
created’ implies ... a series of falsifications.”/

There are many more termsthat could apply apart from/intercession/:
intervention, interlocution, translation, appropriation, forgery,
ventriloquy, bastardization, theft. There is an abundance of modes in which
artists produce, collaborate, distribute subjectivities and present work.
Collectivity or group work might also be an opaque façade that conceals and
protects political strategies and undercover operations.

If our point of departure is not the individual but the common, then we
must look into what we share at a level prior to or beyond the personal –
language, modes of production and cooperation, sensory apparatuses and
habits, and history. While we do not want to affirm dehistoricization, we
recognize good reasons for its contestation that point to canons and
canonization. In a canonical culture relations between artists serve to
cement significance. Canonical artists are often those who are centers of
influence or those whose networks include other canonical figures. What
ways are there to be in dialogue with and through others, which does not
further secure the position of the self in the canon?

Art occurs, regardless of whether it resembles the
canonofautonomous,functionless, exceptional, single-authored,manifestations
of theartist’s will. Some occurrencesmight be found in invisibility,
refusal, collectivity, name changes, shifting the locus of art making and
thus its legibility as such. In a time of over-investment in the self as
commodity and an aggressive disinvestment in collective resources and
services – in order that we can all have the privilege of loneliness – how
to choose the group every time, above and beyond the impoverished and
impoverishing path of atomization?

The problems posed here seem ill-suited to individual inquiry. The world is
neither neat nor kind. One’s interiority cannot present an innocent
starting point or refuge of the beautiful soul. For SpringMeeting 2020 we
do not want to think only about single author-artists, but also to dedicate
time to those who make the work possible but remain in the shadow:
performers, assistants, translators, and so on. The author has long been
declared dead, but shared authorship remains rare. Theaters, museums and
other institutions demand unequivocally delineated individuals who
guarantee for their products.

For SM2020, we want to devote time to the dependent, non-sovereign,
subjected forms of making art and thought. We are specifically interested
in working methods that say no to “working alone”. And we are also
interested in artists speaking about the work of others in which they
recognize something they themselves could not do. This is not about denying
individual responsibility: one’s individual actions matter as they
materialize the world. So, we ask: What can we learn from art’s investment
in the divestment ofthe self?

The price is 18€ per night per bed if you stay more than 5 nights,
otherwise, it is 20€ per night. Other expenses include a 12€ annual
membership and 12€ per day for three meals prepared in our exquisite
kitchen. There will be an excellent team of cooks who will need help from
all of us. We can only accept payments in cash or French cheques, so bring
it along (there is an ATM in the village).

PAF gets very full these days, sometimes overly, so book early, we’d like
you to be there.

  From the organizers,

Bojana Cvejić, Eleanor Ivory Weber, Nikhil Vettukattil, Stefan Govaart

Reservations at contactpaf at gmail.com <mailto:contactpaf at gmail.com>.


The *Abounaddara* <
brings together filmmakers who make their films anonymously. Founded in
2010 in Damascus, Syria, the collective has produced numerous films, mainly
short documentaries, celebrating the daily lives of the nameless. At the
same time, Abounaddara has led a critical reflection on the right to the
image, calling for it to be refounded on the principle of human dignity,
and not exclusively on the property rights or the right to privacy, which
has been the case since the inception of photography. Abounaddara's work
has been presented in film festivals such as Sundance Film Festival and
Locarno Film Festival, amongst others; as well as in contemporary art
exhibitions, including the 56th Venice Biennale and documenta 14.

*Eszter Salamon*is an artist, choreographer and performer who lives between
Berlin and Paris. Since 2014, she has been working on a series that seeks
to rethink the idea of monument and engage in speculative history-making.
In these works, presented in theatres and museum spaces, memory is created
to counter phantasms of identity, authenticity and origin. By exploring how
bodies are vectors of the circulation and transformation of meaning, these
performative monuments invest in creating trans-national, trans-historical
and trans-generational narrations. They are practice-based and develop
empirical methodologies for producing knowledge away from dominant

*Jackie Karuti <
an artist based in Nairobi, Kenya. Her practice is largely experimental and
employs the use of new media through drawings, video, installations and
performance art. Her work is founded on ideas around knowledge production
and accessibility, as well as the depths of possibility enabled by radical
imagination. Karuti is an alumnus of /Àsìkò/, a roaming Pan-African art
school established by the late Bisi Silva, designed to redress the
frequently outdated or non-existent artistic and curatorial curricula at
tertiary institutions across Africa. Karuti’s work has been exhibited
widely, most recently at Lofoten International Art Festival (2019) in
Svolvær, Norway, and at the Dak’Art Biennial (2018) in Dakar, Senegal.
Other projects that respond to her practice include programming the /Out
Festival /in Nairobi (2016-2018) and her online workspace /I’ve been
working on some MAGIC./

Soprano *Juliet Fraser *has a repertoire dominated by the very old and the
very new. She regularly appears as a guest soloist with contemporary music
ensembles Musikfabrik, Klangforum Wien, Ensemble Modern, Plus-Minus and
Talea. She is also a core member of EXAUDI vocal ensemble, which she
co-founded with composer/conductor James Weeks in 2002. Juliet is an active
commissioner of new music and has worked particularly closely with
composers Rebecca Saunders, Matthew Shlomowitz, Cassandra Miller and
Michael Finnissy. Increasingly in demand as a speaker, she has written
several papers reflecting particularly on issues around agency and
authorship in collaborative partnerships. Her discography includes Morton
Feldman’s /Three Voices/, Bernhard Lang’s /The Cold Trip, part 2/, a
binaural recording of Milton Babbitt’s /Philomel/, portrait discs of
Cassandra Miller and Frank Denyer, and Gesualdo madrigals with EXAUDI. A
new CD of solo works written for her by Lisa Illean, Sivan
Eldar, Nomi Epstein and Lawrence Dunn has just been released on the HCR
label. Juliet is co-director with Mark Knoop and Newton Armstrong of all
that dust, a new label for new music, and founder and artistic director of
the eavesdropping series in London.

*Oxana Timofeeva *is a Professor at the Department of Sociology and
Philosophy at the European University at Saint Petersburg, member of the
artistic collective Chto Delat? (What is to be done?), a deputy editor of
the journal /Stasis/, and the author of the books /The History of Animals/
(Maastricht: Jan van Eyck, 2012; Moscow: New Literary Observer, 2017;
London: Bloomsbury Academic, 2018) and /Introduction to the Erotic
Philosophy of Georges Bataille/ (Moscow: New Literary Observer, 2009).

*Vanessa Place *was the first poet to perform in the Whitney Biennial; a
content advisory was posted. Performance venues include The Getty Villa
(Los Angeles); European Parliament (Brussels); Museum of Modern Art (New
York); Museum of Contemporary Art (Los Angeles); Garage Museum (Moscow);
and Whitechapel Gallery (London). Place also works as a criminal defense
attorney representing indigent sex offenders on appeal. Her work frequently
uses law as an aesthetic medium and criminality as poetry to sometimes
uncomfortably revolve around representations of American ideologies of
subjectivity, including those of gender, race and class.

Performing Arts Forum, 15 rue Haute, 02820 St Erme Outre et Ramecourt,
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