Binna Choi, Hans D. Christ & Iris Dressler, ruangrupa (farid rakun, Indra Ameng), Simon Sheikh, Sibel Beyer, Tobias Fabek, Christian Kölbl, Leen Murad, Jana Slaby, Phil StahlhutVenue:HGB gallery
To become public necessarily means to assemble – to join systems, orders, groups and publics. It implies aspects of inclusion and exclusion likewise and thus links different audiences, media, spaces, things, and actors. What is the political and emancipatory potential of an assembly? And how can this open up spaces for discussion?
2 p.m Introduction, HGB Gallery
2:15 p.m. Binna Choi: Climate Justice Code for Artists and Art Institutions – On the making through the Assembly and after | Workshop, meeting point: 3rd floor, hallway
4:30 p.m. Hans D. Christ & Iris Dressler: Models of Collaborative, Transcultural and Transdisciplinary Forms of Curating | Talk, meeting point: ground floor, staircase next to the elevator
6:30 p.m. Discussion: Hans D. Christ and Iris Dressler, Pip Day and Rike Frank, ruangrupa (Indra Ameng, farid rakun), Jörn Schafaff, Simon Sheikh | Discussion, meeting point: HGB Gallery
8 p.m. Party with drinks and music | DJ Dorothy Parker, HGB Gallery
“Assembly” is part of “Show and Try Again” – 10th anniversary of the master program Cultures of the Curatorial
26–30 November 2019
Space and Graphic Design: Sibel Beyer, Tobias Fabek, Christian Kölbl, Leen Murad, Jana Slaby, Phil Stahlhut
Concept: Beatrice von Bismarck, Julia Kurz, Maureen Mooren, Benjamin Meyer-Krahmer, Agnieszka Roguski
Collaboration: Malin Gewinner, Herman Verkerk
Technical support: Leonie Janssen, Stephen Stahn
Website: Anne Dietzsch, Louis Hay
Binna Choi: Climate Justice Code for Artists and Art Institutions — On the Making Through the Assembly and After | Workshop, meeting point: 3rd floor, hallway
Casco Art Institute: Working for the Commons organizes the annual Assembly as an adaptable model in working together beyond one institutional roof or networked body. Opening itself up to examination, while attending to other (art) institutional practices, the annual Assembly at Casco Art Institute provides a regular moment for institutional reflection, collective agenda setting, and commoning experimentation—namely, for “commoning art institutions.” Built on the 2018 inaugural Assembly edition, “Elephants in the Room,” which focused on methods of unlearning, especially for the redistribution of power, the second edition (25-26 October 2019) with the title “Our House is on Fire” was dedicated to the collective drafting of a climate justice code for artists and art institutions. I will introduce how the assembly is organized and how this model of assembly has emerged and evolved through the pathways of our institutional practice with artists and other practitioners, lending it to make a space for exercising the collective action in the last Assembly.
Binna Choi is a curator, and the Director of the Casco Art Institute: Working for the Commons in Utrecht, The Netherlands, in which she, together with her team, re-established in 2018 under its current name and modus operandi after a 10-year trajectory within the institution. During this time, she conceived the long-term, art-driven transdisciplinary project, “Grand Domestic Revolution” (2009–2013) and the artistic research program, “Composing the Commons” (2013–2016). The latter includes a collaborative project between artist Annette Krauss and the Casco Team Site for Unlearning (Art Organization) and the Arts Collaboratory, a trans-local ecosystem that practices art in an expanded sense of inventing new ways of living and working together. Currently, she is working on a project focusing on the Gwangju Democratic Uprising (aka 5·18) and, together with You Mi, the exhibition on Eurasia both as a relevant geopolitical and geopoetical space for imagining the commons, both set to unfold in 2020. Choi has been a faculty member at the Dutch Art Institute, and a member of Akademie der Kunst der Welt as well as the Community Economies Research Network.
Hans D. Christ and Iris Dressler: Models of Collaborative, Transcultural and Transdisciplinary Forms of Curating | Talk, meeting point: ground floor, staircase next to the elevator
From the very beginning of our work at the Württembergischer Kunstverein, we were interested in developing models of collaborative, transcultural and transdisciplinary forms of curating. The exchange and sharing of knowledge, as well as process-based, polyphonic ways of exhibition production, were at the core of these projects. In general, the starting point is a question – how can we relate, communicate and translate between the local and the global, art and activism, institutions and off-spaces (On Difference, 2006 and 2006 – cannot be the same year twice); which forms of resistive artistic practices were developed under conditions of dictatorship in the East and South (Subversive Practices, 2009); or how can we reflect the voice and its social, political, and aesthetical implications from the fields of visual arts, dance, and theory (Acts of Voicing, 2019)? In the context of Bergen Assembly 2019, our point of departure was the concept of assembly. What does it mean when a biennial (or in this case a triennial) is called an assembly? What expectations of art and the curators does this articulate? These questions are reflected and discussed from various perspectives and areas of expertise, questioning the general narrow boards of expertise itself. We will present the various structures, experiences and results of the aforementioned projects focusing on Bergen Assembly 2019, titled, Actually, the Dead Are Not Dead.
Hans D. Christ and Iris Dressler have been the directors of the Württembergischer Kunstverein (WKV) in Stuttgart since 2005. One of their priorities is the exploration of collaborative, transcultural and transdisciplinary practices of curating. They are currently the conveners of Bergen Assembly 2019, titled, Actually, the Dead Are Not Dead. In Stuttgart, Hans D. Christ and Iris Dressler presented solo exhibitions by artists such as Imogen Stidworthy (2018, with Katia Krupennikova), Alexander Kluge (2017, with La Virreina Centre de la Imatge, Barcelona, at La Virreina and WKV), Ines Doujak (2016), Pedro G. Romero (2012, with Valentín Roma), Teresa Burga (2011, with Miguel Lopez and others), Peggy Buth (2009), NOH Suntag (2008), Daniel G. Andújar (2008), Anna Oppermann (2007, curated by Ute Vorkoeper) and Stan Douglas (2007, with Staatsgalerie Stuttgart). Recent group exhibitions include 50 Years after 50 Years of the Bauhaus (2018), Tito’s Bunker (2017, with Biennial of Contemporary Art Sarajevo, at Tito’s Bunker in Konjic and WKV), The Beast and the Sovereign (2016, with MACBA, Paul B. Preciado and Valentín Roma, at WKV and MACBA), Acts of Voicing (2012, with a core group of twelve co-curators) and Subversive Practices (2009, with a core group of thirteen co-curators).
With the support of the Staatliche Kunstsammlungen Dresden. This measure is co-financed by tax money on the basis of the budget decided by the members of the Saxon state parliament.