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Download the Completed Program (Pdf) Fieldwork: Marfa Symposium March,14th and 15th 2012 at Crowley Theater, Marfa TX Held by ESBA Nantes Métropole, HEAD — Genève and Gerrit Rietveld Academie in Amsterdam. - In collaboration with SKOR Foundation for Art and Public Domain, The Netherlands. www.fieldworkmarfa.org DAY 1: Wednesday, March 14th / 10:30 � 13:00 Fieldwork and land use Moderation Etienne Bernard 10:45 Fieldwork as a methodology Research in residency Research in residency Presentation by Emily Verla Bovino Presentation by Johan Lundh Emily Verla Bovino asks: Might the passage The proliferation of residencies over the from fetishized archive to totemized last two decades has been unparalleled. fieldwork lead to a break with the taboo In a couple of decades, they have become of ethics? Consider this scenario, an an integral part the institutionalized art art critic’s late 20th century caricature world, adopting similar formats across the of the artist-as-ethnographer has become globe. As with any rapid development, a naturalized in the early 21st century critical self-reflection is needed, from Marfa TX researcher-in-residence. Funded to map and organizers and participants’ points of mine for ready-mades and representations, views. What are the successful models, the researcher transubstantiates the inept formats? What are the ethics of this material into surveillance data operating residencies and participating in and cultural capital. In the popular them? Can we utilize residencies to foster imagination, the artist is a swindler, a creative expressions and social relations charlatan, even a pedophile. The year after which wouldn’t be possible without them? the death of Ramon Karam, a philosopher across the ocean writes, “Art is too Johan Lundh is an curator and self-confident, audaciously self-confident, writer, presently dividing his 2012 - at Crowley Theater, th and too high-flown, for it is in no way time between Berlin, Derry, and bound to answer for life. It is not only Stockholm. Together with artists, mutual answerability that art and life curators, theorists, designers and others, he engineers frameworks for and 15 th must assume, but also mutual liability to artistic actions and discursive blame.” formations. Lundh is presently Co- Director/Curator of Centre for Contemporary Art Derry~Londonderry, March,14 Emily Verla Bovino (1980) is author Northern Ireland. He has previously of the fictional character, the curated exhibitions and events hyperthymestic RK, and curates for such organizations as Botkyrka encounters between the possible Konsthall, Stockholm; Index histories of RK and the actual Foundation, Stockholm; Fillip, world. Her ongoing project is Vancouver; Konsthall C, Stockholm; the epic life-log of the fictional Overgaden ICA, Copenhagen; character, edited into episodic Stiftelsen 3,14, Bergen; and Western Marfa - Symposium scenographies or performative Front, Vancouver. His writing has environments, for occasional access appeared in publications such as by users. Episodes feature the Art Lies; Art Papers; Canadian Art; narrative and imaginary landscapes C magazine; Fillip; Metropolis M; RK encounters over the course Mousse; Paletten; Yishu, as well as Fieldwork: of his lifetime, from the late catalogues and books. nineteen seventies until the mid twenty fifties. Artistic fieldwork in preparation for this project involves composing a series of never-ending suggestions entitled “What We Should Do With Our Brain.” These suggestions take the form of articles, proposals, timelines, informal conversations and talks. They employ the rhetorical device of parrhesia to illuminate juxtapositions among disciplines otherwise regimented to separation by the sentimental despotism of capital. RK-LOG debuted for screening online for the occasion of the 2011 &NOW Festival of New Writing. DAY 1: Wednesday, March 14th / 10:30 � 13:00 Fieldwork and land use Moderation Etienne Bernard 12:00 The Ultra-peripheral: New proposals for land use Statement by Theo Tegelaers Presentation by PLAND - Erin Elder, Nina Elder and Nancy Zastudil Theo Tegelaers started his art practice PLAND, Practice Liberating Art through in 1987 and experimented with making Necessary Dislocation, is a multi- exhibitions in collaboration with other disciplinary organization that supports the artists. Tegelaers founded the non-profit development of experimental and research- space BEAM, Nijmegen (1992) and fully based projects through a variety of on and dedicates himself to curating and producing off-site programs. Headquartered off-the- exhibitions. Tegelaers was appointed as grid near Tres Piedras, New Mexico, PLAND Marfa TX director of W139, Amsterdam (1994 - 1999). is a hands-on, exploratory approach to Do- and shifted the focus of the program from It-Yourself, alternative living. the local scene to a more international context. He worked as a freelance curator Founded in 2009 by Erin Elder, Nina on national and international shows Elder, and Nancy Zastudil, PLAND finds and projects (1999 - 2002). In 2000 he its inspiration in a legacy of pioneers, received a grant for a halve year residency entrepreneurs, homesteaders, artists, and at ISCP in New York and from 2001-2005 other counterculturalists who — through Tegelaers worked for the Chief Government both radical and mundane activities — architect as curator and coordinator of reclaim and re-frame a land-based notion of 2012 - at Crowley Theater, th art projects for governmental buildings the American Dream. PLAND brings artists, and offices, where he realized projects students, innovators, and others into with Monika Sosnowska, Liam Gillick, Lara a direct experience of limited natural and 15 th Almarcegui, William Speakman, Dan Peterman resources via its rural, off-grid locale and others. He worked simultaneously as and minimal amenities. Part alternative affiliated curator of De Appel, Amsterdam school, part laboratory, part homestead, March,14 (2002 - 2005) and curated solo shows with part art studio, PLAND is an active Katerina Grosse and several groupshows as solution for merging art and life. The Gravity in Art with works by, amongst others, Bas Jan Ader, Bruce Nauman, Keith Learn more about PLAND at www.itspland.org Arnatt, Slater Bradley and Fiona Tan. Tegelaers is curator for the Rijksmuseum Amsterdam on contemporary art projects Marfa - Symposium related to the renovation of the building. Within this program projects where realized by Bik van der Pol, Germaine Kruip and Simon Starling. Still in progress are works Fieldwork: by Richard Wright and Cyprien Gaillard. Since 2006, Tegelaers is senior curator at SKOR | Foundation for Art and Public Domain, where he has worked on projects with Aernout Mik, Francisco Camacho, Job Koelewijn, Rosa Barba, Mariana Castillo Deball and currently the ongoing project for Maasvlakte 2 Portscapes in the Port of Rotterdam with Fritz Haeg and Tomas Saraceno. Most recently, he produced and co-directed with Nancy Holt the film BREAKING GROUND : BROKEN CIRCLE / SPIRAL HILL (1971-2011), 2011, on the ‘earthwork’, which Robert Smithson realized in 1971 in Emmen, the Netherlands. DAY 1: Wednesday, March 14th / 14:00 � 17:00 Fieldwork and Fictocriticism: Politics of the Essay Moderation Jeroen Boomgaard 14:00 Fata Mogana Statement by Yann Chateigné Tytelman A series of artists’ practices share a Yann Chateigné Tytelman (1977) is documentary approach to explorations of a critic and curator. He currently spatio-temporal unknowns: operating at the acts as Dean of Visual Arts Department at Geneva University of border of the visible, these investigations Art and Design. He previously served focus on white zones, blind spots, and as Chief Curator at CAPC Museum of fragmented narratives documenting dispersed Contemporary Art in Bordeaux. He indexes, recounting the untold remnants has curated and co-curated several Marfa TX of past events, speculating on invisible cross-disciplinary projects, programs and exhibitions including histories, and questioning the writing The Curtain of Dreams. Hypnagogic of history itself, a practice that lies, Visions (IAC Villerubanne, 2011- as Michel de Certeau asserts, “between 12), The Mirage of History science and fiction”. From geological (Kaleidoscope Project Space, Milan; LiveInYourHead, Geneva, Whitechapel, explorations by artists Nancy Holt, Robert London, 2010-11), Fun Palace (Centre Smithson, Michael Heizer or Donald Judd to Pompidou, Paris, 2010), IΔO. the “archaeologies of the future” studied Explorations in French Psychedelia by thinker Fredric Jameson, contemporary (CAPC Museum of Contemporary landscape, and especially non-sites and Art, Bordeaux, 2008), A Theater without Theater (Macba, Barcelona; 2012 - at Crowley Theater, th deserted spaces are places which resound Museu Berardo, Lisbon, 2007-08). with manifold stories and representations, He is a regular contributor for and lie, like floating in the historical Artforum, Frieze, Art in America, and 15 Kaleidoscope, Art Press and th time, as though it held traces of cosmic and antiquity. In their attempt to locate Criticism. the “islands of history” (anthropologist March,14 Marshall Sahlins), these artists seek out spaces of reinvention, of permanent revolution, that contravene the conditions of possibility for history itself. Diving below official histories, they explore uncharted and obscure zones, scarcely- recounted events and palimpsestic traces of Marfa - Symposium transformation. As much as these artists employ documentary or anthropological methodologies of fieldwork, and reflect the current modes
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