Below is a selection of workshops.
“Write! Manifesto!” made with students from Konstfack, DOCH, Stockholmsskolan (Stockholm)
“Work-Shop” made with students from Newcastle University of Art (UK)
“Dirty Abstract Body” made at Buchsenhausen (AT) with invite participants
“The Empty Room of Speculation” made at Konstfack with invite participants
“I am an artist. I am a woman. I am a wife. I am a mother. (Random order). I do a hell of a lot of
washing, cleaning, cooking, renewing, supporting, preserving, etc. Also (up to now separately) I ‘do’ Art. Now I will simply do these everyday things, and flush them up to consciousness, exhibit them, as Art.” Laderman Ukeles, Manifesto for Maintenance Art, 1969!
In 1969 Mierle Laderman Ukeles (born 1939 in Denver, USA) following the birth of her first child, wrote her “Manifesto for Maintenance Art, 1969!” as a challenge to the oppositions between art and life and public and private. Ukeles was interested in how artists could use the concept of transference via her public manifesto to empower people to change and stimulate positive community involvement toward ecological sustainability.
This 2 days workshop will focus on the act of writing a manifesto and how this document can be central for art practices to think, make and live by. A manifesto is a way to offer an anchor point for artistic aims and working methods. The workshop will use participants own experiences, practices and struggles as well as Ukeles manifesto and the alternative value systems it privileges as the departure point to see how a manifesto can be a useful tool for developing critical practices. The workshop will focus on the writing of manifestos that, like Ukeles, begins from cultivating a personal voice as the starting place for political mobilisation.
The workshop will take into account other examples of artists manifestos to compare and contrast the different operations the manifesto performs for different artists. The workshop will be held in english and finished with a dinner and reading performance at Konsthall C.
Questions: What is a manifesto? How do we relate the personal and the political? How does the manifesto operate ideologically and practically? Can we develop shared manifestos?
– The workshop will introduce the history and politics of manifestos writing in arts
– The workshop will examine Ukeles Manifesto for Maintenance Art, 1969!
– The workshop will encourage collective writing methods
– The workshop will encourage participants to write a personal manifesto part of their practice
Work Shop at Newcastle University of Art
Work Shop is a 3 day study into the world of ’work’. Focused from the position of the art student Work Shop will raise questions around: What is the relationship between their art practice and the art market? How do you see your work conducted within the art school in relationship to other forms of work? How do you envisage support to your work outside of the art school?
Work shop departs from a group conversation based on your own experiences of work and art practice. Issues raised will be unpacked through a series of practical workshops which will encourage quick experimentations with everyday, accessible materials including screen-printing, ty-dying, and clay modeling. A dinner and reading session at a local studios will introduce some of themes in relation to how artist in Newcastle are continuing a practice outside of the art school. The workshop encourages collaborative working methods and will draw attention to the economy of the artist, the school and art market.
During this time you will be asked to work together to host an event external to the school which will contain elements of work produced over these days.
Work Shop will:
Develop tools for critical discussion and thinking
Develop knowledge and understanding around work and labour
Develop pratical knowledge of using specific materials (accessible and affordable)
Develop collaborative skills
Develop understanding of how to curate artworks in a public presentation/setting
Develop understanding of how artists can practically support themselves outside of the art school and generate connections with local artists and studios
(With Jenny Richards)
Dirty Abstract Body at Buchsenhausen
Dirty Abstract Body is a workshop which sets the conditions of a domestic as the place for making art. This experiment aim is to complicate and extend the relation between homework and artwork through a hands on thinking-by-doing (or rethinking-by-doing) sculptural workshop. It is a heuristic lesson in homework and what it means to work within existing structures. The outcome of this workshop will be a series of speculation objects; objects that will object, refuse, re-fuse, enhance and complicate homework as a scene of radical making, thinking and doing.
Dirty Abstract Body is structured in three different headlines; “dirty“, “abstract” and “body“. The different headlines will to function as frames for conversations but also forming a “Dirty-abstract-body of works”.
About the headlines:
Dirty‘s aim is to discuss cleanliness as one of the fundamental actions performed in a domestic environment. Coming from the idea of a civilized home cleaning is connected to the enlightenment project. This day will aim to discuss cleanliness from a domestic and post-colonial perspective, hoping to problematise and revalue shit as soil for thinking.
The aim of abstract part of the workshop is to put domestic objects into complication. Domestic objects are arguably created in order to increase efficiency within lived environments/episodes. Day 2 aims to abstract the domesticality of efficiency and progress with the aim to connect and counterbalance this scene with concepts related to artwork. What is the connection between artwork and housework? By this counterbalance it hopes to also question progress within art, as this is commonly attached to a need for generating a “valued” result. In short, I will say, that this bares a relation to the concept of working with “projects”. Funding bodies, applications and proposals are frequently asking artists for project descriptions. Bojana Kunst describes a project, as a “retrospective future”, which according to her “enables a lot of possibilities even though everything has to be planned in advance to reach the already-projected future” [Kunst, 2011: 17]. A project allows for possibilities “but no actual change… the public dimension of his/her work is most of the time conceived as a finalization of its ends” [2011: 17]. Abstract hope is to take a step away from the frameworks of a project and instead insist open ended study into a domestic scene, with its object and content. This as an attempt to alter objects that can be found in under funded domestic environments, where work reaches no-end and attach other logics and consequently un-projected possibilities.
The body is the material that connects both of these two previous headlines, as it is through the body and its potentials, that labor-power, performance of work and the capitalist work machine is formed. To quote Silvia Federici “we can see, in other words, that the human body and not the steam engine, and not even the clock, was the first machine developed by capitalism” [Federici, 2005: 146]. This machine is a commodity sold in the form of a wage must according to a capital orientated capital orientated value system be hidden, in the form of a wage, as it disembodies and dislocates value. The aim of the final workshop day is to resituate the speculation objects from the previous days and practice these within other scenes. How can they become tools for making other conversation? and in what way can these objects re-fuse a new body.
It is through Working Title and the constant state of emerging that the workshops will finds its way of doing, it’s a way of creating and challenging social organisation simply by “using the right tools in the wrong way”. In other words “Working title” will create “Dirty-abstract-body of works”.
Short about Working Title:
A workshop for 4-5 people (we should be specific with who to invite). Working Title is an episode in DAP, a hands on thinking-by-doing workshop where the outcome will be an artwork. It is a heuristic lesson in homework and what it means to work within existing structures.
Out of this workshop are a series of speculation objects, objects that will object, refuse, re-fuse, enhance and complicate homework as a scene of radical thinking.
– One has to make objects using the provided materials.
– One is only allowed to speak when making.
– One has to make something physically.
– One has to work within the suggested frames.
Tags: whiteness, post-colonial, earth, reproduction, compost, cleaning, cleanliness, shit, living in shit
– Cleanliness is one of the fundamental actions performed in a domestic environment. Coming from the idea of a civilized home cleaning is connected to the enlightenment project. This day will aim to discuss cleanliness from a domestic and post-colonial perspective, hoping to problematise and revalue shit as soil for thinking.
Material: a suggestion of a text/screening? pls. add
Questions: What is the relation between soil and shit? pls. add
Framing: The body; all objects has to be made as an extension of the body.
Tags: Progress, usefulness, anti-progress, disorganisation, irrational, making sense, being behind, function, behind
– Objects within domestic environments are arguably created in order to increase,efficiency within lived environments/episodes. Day 2 aims to abstract the domesticality of efficiency and progress with the aim to connect and counterbalance this scene,with concepts in art. What is the connection between artwork and housework?
Material: a suggestion of a text/screening? pls. add
Questions: What is the connection between artwork and housework? pls. add
Framing: The objects of the flat, altered and extended as sculptural speculation tools.
Tags: Labor power, work machine, body, potentials
– This day is puts the body into its own locus and aims to speculate in other values of the body. The aim of the final workshop day is to resituate the speculation objects from the previous days and practice these within other scenes. How can they become tools for making other conversation? and in what way can these objects re-fuse a new body.
Material: a suggestion of a text/screening? pls. add
Questions: What is the role of the body within domestic work? What are the potentials of the body as a work machine? pls. add
Framing: To put the existing speculation objects into other context, alter them there and allow them to speculate in new logics.
(Workshop as J.K Bergstrand Dooley)
The Empty Room of Speculation
We hereby invite you all to a symposium that looks back at the 21th century’s ‘Self-organized learning’ movement in art, theory and education. With recent major museum exhibitions that revisit the turn of the century’s “educational turn” we now ask ourselves, decades later, where did all this knowledge production get us? What did these inititives lead towards, what was actually learnt, and what can we learn from it now in 2112?
As a basis for a critical reconsideration of this movement, this one-day symposium will explore the beginning and end of certain initiatives such as Enlightenment Hearts, Prekariatet, and other artistic practices that, during this period, worked around this topic. It has become clear that the discourse surrounding this period in history has become dense enough to demand critical reconsideration. The conference will also revisit other historical movements such as the Copenhagen Free University, Occupy Wall Street, and EuroMayDay.
You are kindly asked to prepare a brief presentation approx. 10 minutes long that foregrounds and critically engages with this historical period of the 21st century as an essential strategy for uncovering blind spots in the discourse and exploring ways in which it can be redirected, revised, and if necessary, overturned.
When: February 24th, 2112
Where: Konstfack, Stockholm
Costume: optional but futuristic is appreciated.
(With Zoë Poluch)