Newspaper Jan Mot Afgiftekantoor 1000 Brussel 1 Verschijnt vijfmaal per jaar in V. U . Jan Mot januari – maart – mei – Regentschapsstraat 67 augustus – oktober 1000 Brussel No. 101, maart 2016 Erkenningsnummer P309573 177–178 Jaargang 20 No. 101

rtunity to discuss not only the ogy by Erwin Panofsky but an artunity to discuss not content of the lip-synched also the different strategies of only the content of the conference on iconol using the lecture as lip-synched

(advertisement) Did such type of works deserve a different structure than a regular exhibition format? It was the interest in creating a space to dis- cuss ideas more actively than they normally are that brought us to a number of works that will be presented in this program. But, how is this different from say, a public con- 177 ference program, we asked ourselves. After some discussions it became clear, that even Exhibition if it might look like a seminar, this should 15/04-28/05 still be conceived as an exhibition. In it the time and function of often so-called educa- Opening 14/04 tional programs would be blurred, and will 5-8 pm conceive the gallery not solely as a space to exhibit works that might or might not spark a discussion. It is certainly not the first time MARIO GARCIA TORRES that the gallery engages in such activity. The program called Oral Culture which was organized in 2008-09 explored live oral works to be presented in the presence of an NO DOUBT, NATURALLY DRAWN, audience. It is in this spirit that we hope that A situation in which an. Hugo Hop- NON-DETERMINED ping, what we called “a debate interval between academia, art institutions and indi- NODES, NORMALLY DETECTED viduals”. ESL (Esthetics as a Second Lan- guage) was, in practical terms, a migratory NEUTRAL DENSITY. series of one-day solo exhibitions that pre- tended to present, sometimes finished and NEAL DIAMOND NOSE sometimes unfinished works of art as an excuse to discuss them publicly. The desire DOWNED NEAR DARK. to organize this came mainly from our long- ing for crit-classes. We had all been active, NORMAL DELIVERY NOTABLY sometimes in more than one class concur- rently at CalArts and found out that, once DROVE NON-DIRECTIONAL we had left the school, such situations didn’t happen casually in the professional NAVIGATIONAL DISPLAYS arena. Thanks to ESL we managed to debate the work of several artists, some- INTO NORTH DAKOTA. times in the form of an organized debate with the artist, other times as a conversation AND NOT DOCUMENTED between us and the artist while we hung and unhung the presentations. We pretended to NOMINAL DIAMETER NEATLY use the case of the exhibition as a way to think about specific works and about the DIAGRAMMED NON-DATED machinery that it needed to happen. It was indeed a certain interval as it didn’t become NEXT DEGREE NEW DIRECTIONS. an artist space, nor a crit-class, but a casu- ally driven discussion, or a seriously taken Jan Mot chat over cheap beers. Rue de la Régence / All this came to my mind when I started Regentschapsstraat 67 to think with Jan Mot and Julia Wielgus 1000 Brussels, Belgium about the idea of putting in consideration works that had to do with presenting ideas 2 Newspaper Jan Mot Garcia Torres 177 – 178

MEXICO CITY, MAR. 4 – N.D. painting by Mario Garcia Torres being installed by a receptionist at the Hotel Montecarlo in Mexico where On Kawara used to stay and work for long periods at the end of the 1960´s. This location is one of the several venues throughout Mexico City that are part of the exhibition Let’s Walk Together organised by the Tamayo Museum and curated by Sofía Hernández Chong Cuy. Read also page 3.

Lt, how is this different from say, a public cuss ideas more actively than they normally ideas more actively than they normally are conference program, we asked ourselves. are that brought us to a number of works that brought us to a number of works that After some discussions it became clear, that that will be presented in this program. But, will be presented in this program. But, how even if it might look like a seminar, this how is this different from say, a public con- is this different from say, a public confer- should still be conceived as an exhibition. ference program, we asked ourselves. After ence program, we asked ourselves. After In it the time and function of often so-called some discussions it became clear, that even some discussions it became clear, that even educational programs would be blurred, if it might look like a seminar, this should if it might look like a seminar, this should and will conceive the gallery not solely as a still be conceived as an exhibition. In it the still be conceived as an exhibition. In it the space to exhibit works that might or might time and function of often so-called educa- time and function of often so-called educa- not spark a discussion. It is certainly not the tional programs would be blurred, and will tional programs would be blurred, and will first time that the gallery engages in such conceive the gallery not solely as a space to conceive the gallery not solely as a space to activity. The program called Oral Cul- exhibit works that might or might not spark exhibit works that might or might not spark ture which was organized in 2008-09 a discussion. It is certainly not the first time a discussion. It is certainly not the first time explored live oral works to be presented in that the gallery engages in such activity. that the gallery engages in such activity. the presence of an audience. It is in this The program called Oral Culture which The program called Oral Culture which spirit that we hope that A situation in which was organized in 2008-09 explored live oral was organized in 2008-09 explored live oral an. Hugo Hopping, what we called “a works to be presented in the presence of an works to be presented in the presence of an debate interval between academia, art insti- audience. It is in this spirit that we hope audience. It is in this spirit that we hope tutions and individuals”. ESL (Esthetics as that A situation in which an. Hugo Hop- that A situation in which an. Hugo Hop- a Second Language) was, in practical ping, what we called “a debate interval ping, what we called “a debate interval terms, a migratory series of one-day solo between academia, art institutions and indi- between academia, art institutions and indi- exhibitions that pretended to present, some- viduals”. ESL (Esthetics as a Second Lan- viduals”. ESL (Esthetics as a Second Lan- times finished and sometimes unfinished guage) was, in practical terms, a migratory guage) was, in practical terms, a migratory works of art as an excuse to discuss them series of one-day solo exhibitions that pre- series of one-day solo exhibitions that pre- publicly. The desire to organize this came tended to present, sometimes finished and tended to present, sometimes finished and mainly from our longing for crit-classes. sometimes unfinished works of art as an sometimes unfinished works of art as an 3 Newspaper Jan Mot Garcia Torres 177 – 178

Mario Garcia Torres at Tamayo Museum Mexico City

Mario Garcia Torres, Museo de Arte Sacramento

MEXICO CITY, FEB. 27 – A first major unlikely places; that to each form of n this program. But, how is this different retrospective exhibition of Mario Garcia knowledge, there is a kind of dowsing rod; from say, a public conference program, we Torres is organised by the Museo Tamayo that in the creative process that is art making asked ourselves. After some discussions it Arte Contemporaneo in Mexico City. he finds himself, time and again, in the most became clear, that even if it might look like Mario Garcia Torres’s work deals largely with common of places: el interior. a seminar, this should still be conceived as locating and challenging the places of art. The exhibition Let’s Walk Together an exhibition. In it the time and function of This interest has taken him on a peripatetic captures this ongoing pursuit, presenting often so-called educational programs would journey. The museum, whether built or more than thirty artworks and projects be blurred, and will conceive the gallery not imagined, is naturally one of the places he created by García Torres over the past fifteen solely as a space to exhibit works that might investigates and, in one instance, even set out years. With a curatorial structure juxtaposing or might not spark a discussion. It is cer- to create. He explores various forms of transfers and transference, the exhibition tainly not the first time that the gallery communication platforms, and scrutinises relates provenance with motivation, tells of engages in such activity. The program avenues and corners of artistic complicity. source from intent, finds a way to make space called Oral Culture which was organized in His work also investigates Time — perhaps a in time. The experience of the exhibition 2008-09 explored live oral works to be pre- less obvious area to research, but it is in time involves movement, as well. It takes place at sented in the presence of an audience. It is itself where art has often been sited. different venues throughout Mexico City that in this spirit that we hope that A situation in García Torres’s wanderings have thus lie within a perimeter of 1,814 hectares. This which an. Hugo Hopping, what we called evolved from quests in search of a destination corresponds to the total area of Museo de “a debate interval between academia, art to surveys of art as incident or event. In this Arte Sacramento — founded by the artist in institutions and individuals”. ESL (Esthet- regard, art’s place is a conundrum, knots in a Northern Mexico — where the first iteration ics as a Second Language) was, in practical thread of affective relations, which in the of Let’s Walk Together took place. terms, a migratory series of one-day solo process of disentangling make evident the Organised by Museo Tamayo in Mexico exhibitions that pretended to present, some- politics of a time. It should be no surprise City, Let’s Walk Together takes place from 27 times finished and sometimes unfinished then that Garcia Torres’s journeys are February to 19 June 2016. Curated by Sofía works of art as an excuse to discuss them adventitious; that their course runs through Hernández Chong Cuy. publicly. The desire to organize this came 4 Newspaper Jan Mot Koester 177 – 178

In it the time and function of often so-called educational programs would be blurred, and will conceive the gallery not solely as a space to exhibit works that might or might not spark a discussion. It is certainly not the first time that the gallery engages in such activity. The program called Oral Cul- ture which was organized in 2008-09 explored live oral works to be presented in the presence of an audience. It is in this spirit that we hope that A situation in which an. Hugo Hopping, what we called “a debate interval between academia, art insti- tutions and individuals”. ESL (Esthetics as a Second Language) was, in practical terms, a migratory series of one-day solo exhibitions that pretended to present, some- times finished and sometimes unfinished works of art as an excuse to discuss them publicly. The desire to organize this came mainly from our longing for crit-classes. We had all been active, sometimes in more than one class concurrently at CalArts and found out that, once we had left the school, such situations didn’t happen casually in the professional arena. Thanks to ESL we man- aged to debate the work of several artists, sometimes in the form of an organized debate with the artist, other times as a con- versation between us and the artist while we hung and unhung the presentations. We pre- tended to use the case of the exhibition as a way to think about specific works and about the machinery that it needed to happen. It was indeed a certain interval as it didn’t become an artist space, nor a crit-class, but a casually driven discussion, or a seriously taken chat over cheap beers. All this came to my mind when I started to think with Jan Mot and Julia Wielgus about the idea of putting in consideration works that had to do with presenting ideas in public. What made works of art that rely on explaining ideas in public different than any other work of art? Or, would they be different from say, text based works? Did such type of works deserve a different structure than a regular exhibition format? It was the interest in creating a space to dis- BRUSSELS, MAR. 16 – Joachim Koester came to work in Brussels with Anne-Catherine Kunz on the cuss ideas more actively than they normally costumes of the dancers in his new work, In Some Way or Another One Can Protect Oneself From are that brought us to a number of works Spirits by Portraying Them (working title). The film will be shot this June in Leuven (BE) andis that will be presented in this program. But, produced by Auguste Orts vzw (Brussels) with the support of the Camden Arts Center (London) how is this different from say, a public con- and STUK (Leuven). From left to right: Anne-Catherine Kunz, Zeina Hanna, Joachim Koester. ference program, we asked ourselves. After (Photo: Herman Sorgeloos) some discussions it became clear, that even if it might look like a seminar, this should still be conceived as an exhibition. In it the Did such type of works deserve a different han they normally are that brought us to a time and function of often so-called educa- structure than a regular exhibition format? number of works that will be presented in tional programs would be blurred, and will It was the interest in creating a space to dis- this program. But, how is this different from conceive the gallery not solely as a space to cuss ideas more actively than they normally say, a public conference program, we asked exhibit works that might or might not spark are that brought us to a number of works ourselves. After some discussions it became a discussion. It is certainly not the first time that will be presented in this program. But, clear, that even if it might look like a semi- that the gallery engages in such activity. how is this different from say, a public con- nar, this should still be conceived as an The program called Oral Culture which 5 Newspaper Jan Mot Hudek 177 – 178

History Can Wait (Part 5)

Bruce Hainley and Antony Hudek written extensively? And how would to see? These aren’t always—nor Los Angeles & Antwerp you articulate this ‘positive’ invisibility should they be—separable, but at times with queerness, particularly in the they are. We should, I guess—although it One of the strands connecting the past time of AIDS? sounds so pat, so, well, ‘‘80s’—be four parts of History Can Wait was the discussing invisibilities. question of the invisibility not only of the One dominant emblem of visibility at this Sturtevant depended for much of her AIDS ‘decade’ (more than a decade, from moment is celebrity/self-as-brand. Could career on what we don’t see—don’t wish the late 1970s to the mid-1990s, and even there be anything more tedious than ce- to or will not. Someone sees a ‘Haring’ or up to now) but also of those who can no lebrity right now? Maybe the desire to a ‘Gonzalez-Torres’, not seeing, in any longer speak about it, who died from or as want to be a celebrity, at any cost, produc- simple way, or not immediately, a Sturte- a result of the disease. History couldn't ing nothing but the attempt at monetisa- vant. Rather than invisibility, it’s a method wait to move on, it seemed, spurred on tion of self-aggrandisement. (To be clear: of potentially insurrectionary camouflage by our trust in the live witness to the detri- we’re a long way from any notion of star- or something akin to the Maquis (a resis- ment of the vicarious, the implicit. dom.) Very few people have ever managed tance fighting from within already occu- But ‘making visible’ is hardly a to cause culture to swerve in compelling pied zones); some of that might provide straightforward answer to this invisibility, or dynamic ways and yet remain invisible. more dynamic ways of thinking about in part because the latter isn‘t negative, Martin Margiela comes to mind, the last what she was up to, and how such maneu- despite the ‘in-’: the artist Philippe Thom- three years of his designing for Hermès, in vers allowed her to size up the total struc- as produced such ingenuous and elegant particular. Perhaps such ‘invisibility’ is a ture of what’s really what. Larry’s entire ways to stay out visibility, while making his luxury. In any case, that is a very long time endeavor looks quite different from progressive invisibility visible, through oth- ago, BSM (Before Social Media). Elaine’s, although some of his tactics have ers. Scott Burton’s sculptures affect me in a Craig Owens’ vibrant life was an similar elements of surprise: in slant hues, similar way – as pedestals for absent sculp- even longer time ago, before, as a friend often pastel, borrowed, seemingly, from tures, potentially any one of us who stops of mine said, Douglas Crimp acted as if he cartoons and/or pharmaceuticals (say, col- and sits on one of his public stone pieces. owned aids. In my first or second year of ors of Truvada, Cialis, Seasonique, Vali- When Megan Francis Sullivan re- graduate school, I had a chance to take a um, etc.), with aspects of animation cels, cently alerted me to the video of Craig class with Owens, one of the last he frequently in some queerly coded patois, Owens, distributed by Video Data Bank, taught, I believe, since he died within a his work cheers or lulls almost anyone which we talked about in our last Skype year or so of teaching it. Sadly, at that into assuming that everything remains conversation, it led me to think again point in my life, I didn’t know enough okeydokey or, surely, gets better. Until about Douglas Crimps’ memoirs – with about art or the contemporary art situation you discern that what’s going on is a dev- which this series of articles started – and to know who Craig Owens was. I’ve al- astating—and in part devastating because Owens’ persistent, throbbing silence in ways regretted missing that opportunity, so simultaneously heartbreaking and/or them. A fellow theorist in Rosalind not being aware enough of what was go- hilarious—critique and sizing-up of the Krauss’ October set, promised like Crimp ing on outside of (how I then, I suppose, entire situation at hand, from the medium to a brilliant academic future, Owens is considered it) rather than, as it actually he’s using to send his message to his re- the one who now lives through the pages was, snugly adjacent to my field of study verberating analyses of how shit really and memories of others, his former rivals (not art history)—and central to my life or goes down, socio-politically, economical- and friends. my life-to-come, still unbeknownst to me. ly, psycho-erotically, even ethically, one My feeling is that your own work It is particularly pulverising to me be- conceptual frame shifting and activating Bruce, as a writer, critic, curator and cause I was, from the moment I stepped another. Of course, in that they value teacher, is built on something resembling foot on campus, in 1987, very involved smarts and are using the vantage of art this invisibility, a kind of writing between with a student-run aids-awareness group, to confront the increasingly hard-to- historical lines that eschews simplistic di- act up not having formally started in New bear power dynamics of contemporary visions between, say, eye-witness veracity, Haven yet. I met one of my closest friends existence with generous amount of chic, mimicry and ventriloquy. This eschewal during the first meeting I attended, An- an acute sense of humor, and concern carries political weight, as it draws you thony Ranieri, whose life and recent death for the often invisible ‘other’, they fight towards figures who, while vocally and has led me directly to the work I am now common enemies. actively political, simply cannot be read embarked upon with you. Really the only either as ‘gay’, ‘feminist’, ‘liberal’. reason I bother digressing into, what, Since the show of Larry Johnson’s work Owens was all of these, and more – and these little autobiographemes. I still take we co-curated at Raven Row, and the book it is this ‘more’ that you seem to be con- my ignorance, my blindness (what I you created to accompany the exhibition stantly navigating. wasn’t able to see, what I didn’t know to – neither a catalogue, nor a reference Would this invisibility be a factor in see) as a cautionary tale: is what’s consid- book, more like a twisted cruising lane your interest in, for example, Larry John- ered ‘invisible’ what we cannot see running alongside these editorial high- son and Sturtevant, about whom you have or what we don’t see? Or choose not ways – I’ve started to rethink the roles one 6 Newspaper Jan Mot Hudek 177 – 178

can play, culturally and politically, ASM ubiquitous ‘contemporary’. These would (after social media, to reprise that phrase be happy consequences of TSC’s pursuit you put into action). of enjoyment, since, as Jack Smith It may be that we embark on what put it, ‘enjoying is simply thinking— you named TSC (Temporary Study Center) not hedonism, not voluptuousness— because the remembrance of AIDS simply thought.’ demands precisely these two elements: I’m convinced that among the many temporariness – against history, teleolo- things Guibert was up to with his pro- gy, master narratives, beginnings and gramming—domestic revolution rather ends; and study, or as Barthes would say, than ‘reality TV’, his autoportrait of be- studium – instead of the para-academic yond-shame, daily indecencies and midg- catchall of ‘research’. Above all, TSC et happinesses—was an adieu au langage, seems wedded to anonymity, to those in 4D. The extra ‘D’ arrives via an intense practitioners whose namelessness could meditation on and embodiment of dura- undermine any sense of reclamation and tion (Guibert would die before his auto- historical heroism. portrait was broadcast) as well as what I Inaugurating the TSC with Hervé might call Duras-ion, his move beyond Guibert’s video La Pudeur ou l’Impudeur, écriture feminine or littérature homosex- first broadcast on French television short- uelle towards an écriture mauvaise—what ly after his death, could be a way to signal Guillaume Dustan, in homage, valued: the Center’s commitment to chronological ‘Duras pour la première personne et le ambiguity, the playfulness of masks and mauvais français, le mal écrit des livres TSC, Autoportrait as Star, 2016 the cognitive and affective power of bod- des années quatre-vingt et quatre-vingt- ies. Guibert must have sensed the power dix, quand elle s’est libérée’. For reasons of TV as a social medium. Not only was that are obvious, Guibert could not wait to That might or might not spark a discussion. the revolution – the intrusion of AIDS in be so liberated. He moved on, experiment- It is certainly not the first time that the gal- the comfort of viewers’ homes – televised, ing with methods non- or extralinguistic, lery engages in such activity. The program but what made it revolutionary was its surpassing even the writing etymologi- called Oral Culture which was organized in thorough mastery of the televisual. cally at root in photography to arrive at 2008-09 explored live oral works to be pre- Speaking then ASM, what would be video. Duras exemplified much of this in sented in the presence of an audience. It is for you the long-term objective of TSC, her drive toward the material, paradoxi- in this spirit that we hope that A situation in given its attachment to the historical cally after, in yet another chronological which an. Hugo Hopping, what we called short-circuit, to that which defies the ambiguity, she’d already demonstrated it “a debate interval between academia, art traceability of all we say, do and are in the in her films. Such materialisation efflo- institutions and individuals”. ESL (Esthet- age of social mediation? resced, perhaps most astonishingly, in La ics as a Second Language) was, in practical Vie matérielle, ‘pieces’ that were first terms, a migratory series of one-day solo Short-circuiting will remain crucial, and ‘spoken aloud to Jérome Beaujour’, then exhibitions that pretended to present, some- if it becomes lax or predictable, then let’s transcribed, mutually appraised, and then times finished and sometimes unfinished short-circuit the short-circuiting with to which Duras ‘made corrections’. See in works of art as an excuse to discuss them something that would appear to be, per- her various procedures not mediations but publicly. The desire to organize this came haps, retardataire. James Ensor, given the intensifications, through voice and the mainly from our longing for crit-classes. location of Objectif Exhibitions? Or, per- other, of the material. We had all been active, sometimes in more haps, we’ll move, in homage to Owens, TSC desires materialisations rather than one class concurrently at CalArts and allegorically? In his essay, ‘The Discourse than mediations, embodied specificity re- found out that, once we had left the school, of Others: Feminists and Postmodernism’, sisting the autocommodification of sup- such situations didn’t happen casually in the Owens provides a prospectus for our tem- posedly personalised images that social professional arena. Thanks to ESL we man- porary studies, some long-term, others media hawks for forms of life materi- aged to debate the work of several artists, guerilla attacks: ‘It is precisely at the leg- alised on the brink of the visual/verbal, sometimes in the form of an organized islative frontier between what can be rep- alert to the razor’s edge of that slash. With debate with the artist, other times as a con- resented and what cannot that the post- La Pudeur ou l’Impudeur, TSC would versation between us and the artist while we modernist operation is being staged—not hope to attend to, among other matters, hung and unhung the presentations. We pre- in order to transcend representation, but in the figure of Pinocchio, materialised from tended to use the case of the exhibition as a order to expose that system of power that wooden marionette into actual boy flesh, way to think about specific works and about authorises certain representations while and all that he could come to stand for the machinery that it needed to happen. It blocking, prohibiting or invalidating oth- across Guibert’s oeuvre. What should be was indeed a certain interval as it didn’t ers.’ I find his stern tone refreshing. Per- done with the fact that Guibert’s final dare become an artist space, nor a crit-class, but haps, as you point out, TSC will be a cen- could just as well be called Autoportrait a casually driven discussion, or a seriously ter in which we can act as if there is no use comme Pinocchio? The puppet’s alive, taken chat over cheap beers. in centers, while providing, nevertheless, voilà, but now subject to the precarious- All this came to my mind when I started shelter or moments for short-circuiting all ness of all flesh. to think with Jan Mot and Julia Wielgus this supposed research going on every- about the idea of putting in consideration where, allowing a return to some kind of works that had to do with presenting ideas post-modernism, rather than sinking even Activity. The program called Oral Cul- in public. What made works of art that rely farther into the amorphous and equally ture which was organized in 2008-09 on explaining ideas in public different than 7 Newspaper Jan Mot Bismuth, In Brief, Agenda 177 – 178

Agenda Francis Alÿs While You Were Out, Museum of Fine Arts, Boston (US), 01/08 - 31/07; Mathieu Briand: Et In Libertalia Ego, Vol. II, Museum of Old and New Art, Hobart (AU), 02/09 - 11/07; Walkers: Hollywood Afterlives in Art and Artifact, Museum of the Moving Image, New York City (US), 07/11 - 10/04; The Gap: Selected Abstract Art from Belgium, Museum van TORONTO, MAR. 22 - Pierre Bismuth’s first feature filmWhere ‘ is Rocky II?’ has been selected by Hedendaagse Kunst Antwerpen, Antwerp the prestigious Hot Docs International Documentary Festival in Toronto. The World Premiere of the (BE), 30/01 - 29/05; Story of Negotiation, film will take place on Sunday May 1 at the Scotiabank Theater. More information on the premiere and Museo Nacional de Bellas Artes, Havana, on other international festivals selections to follow soon. (Production: The Ink Connection) 08/04 - 25/08 (solo); The Importance of Being…, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo Rulture which was organized in 2008-09 Oral Culture which was organized in 2008- (BR), 11/04 - 14/07; 32nd Bienal de São explored live oral works to be presented in 09 explored live oral works to be presented Paulo: Incerteza viva/Live Uncertainty, the presence of an audience. It is in this in the presence of an audience. It is in this Ciccillo Matarazzo Pavilion, São Paulo spirit that we hope that A situation in which spirit that we hope that A situation in which (BR), 10/09 - 11/12; Una historia de an. Hugo Hopping, what we called “a an. Hugo Hopping, what we called “a negociación, Art Gallery of Ontario, debate interval between academia, art insti- debate interval between academia, art insti- Toronto (CA), 01/12 - 09/04 (solo) tutions and individuals”. ESL (Esthetics as tutions and individuals”. ESL (Esthetics as a Second Language) was, in practical a Second Language) was, in practical Sven Augustijnen terms, a migratory series of one-day solo terms, a migratory series of one-day solo Cher(e)s Ami(e)s : Hommage aux donateurs exhibitions that pretended to present, some- exhibitions that pretended to present, some- des collections contemporaines, Centre times finished and sometimes unfinished times finished and sometimes unfinished Pompidou, Paris, 23/03 - 06/02 works of art as an excuse to discuss them works of art as an excuse to discuss them publicly. The desire to organize this came publicly. The desire to organize this came Pierre Bismuth mainly from our longing for crit-classes. mainly from our longing for crit-classes. Walkers: Hollywood Afterlives in Art & We had all been active, sometimes in more We had all been active, sometimes in more Artifact, Museum of the Moving Image, than one class concurrently at CalArts and than one class concurrently at CalArts and New York City (US), 07/11 - 10/04; found out that, once we had left the school, found out that, once we had left the school, L’image volée, Fondazione Prada, Milan such situations didn’t happen casually in the such situations didn’t happen casually in the (IT), 18/03 - 28/08; Double Take: Drawing professional arena. Thanks to ESL we man- professional arena. Thanks to ESL we man- & Photography, The Photographers’ aged to debate the work of several artists, aged to debate the work of several artists, Gallery, London, 15/04 - 03/07 sometimes in the form of an organized debate with the artist, other times as a con- Manon de Boer versation between us and the artist while we Dissonant, CINEMATEK Brussels, 13/04 In Brief hung and unhung the presentations. We pre- (screening); Cubitt Gallery, London, tended to use the case of the exhibition as a 16/06 - 24/07 (solo); Secession, Vienna, The gallery is participating in Granpalazzo, way to think about specific works and about 01/07 - 28/08 (solo) an exhibition event organised for the the machinery that it needed to happen. It second time at the sixteenth-century was indeed a certain interval as it didn’t Rineke Dijkstra Palazzo Rospigliosi, just outside of become an artist space, nor a crit-class, but Dream & Poetry, Tate Modern, London, Rome, on May 27-29. The artist from a casually driven discussion, or a seriously 01/05 - 31/05; No Man’s Land: Women our program selected by the organisers taken chat over cheap beers. Artists from the Rubell Family Collection, is Mario Garcia Torres. In total All this came to my mind when I started Rubell Family Collection, Miami 26 artists supported by 26 galleries to think with Jan Mot and Julia Wielgus (US), 02/12 - 28/05; Dutch Identity from the international art scene will be about the idea of putting in consideration – Nederlandse Portretfotografie Nu, part of this exhibition. works that had to do with presenting ideas Museum De Fundatie, Zwolle (NL), in public. What made works of art that rely 16/01 - 17/04; Strange and Familiar. The CNAP (Centre national des arts on explaining ideas in public different than Britain as Revealed by International plastiques, Paris) has acquired Pierre any other work of art? Or, would they be Photographers, Barbican Art Gallery, Bismuth’s La fin du silence (2008), different from say, text based works? Did London, 16/03 - 19/06; Private Exposure, a performance that was created for such type of works deserve a different me Collectors Room Berlin / Olbricht the gallery’s Oral Culture series (from structure than a regular exhibition format? Foundation, Berlin, 27/04 - 28/08; Who 2008 onwards). The work is based on a It was the interest in creating a space to dis- Shot Sports: A Photographic History, text by Buster Keaton on the end of the cuss ideas more actively than they normally 1843 to the Present, Brooklyn Museum, silent movie era. are that brought us to a number of works New York, 15/07 - 08/01 8 Newspaper Jan Mot Agenda 177 – 178

Mario Garcia Torres Sharon Lockhart / Noa Eshkol, (advertisement) War II - History Series, Mostyn, Llandudno Brandeis University, Waltham (US), (GB), 14/11 - 08/05; Seth Siegelaub: 12/04 - 05/06; Sharon Lockhart, Arts Beyond Conceptual Art, Stedelijk Club of Chicago, Chicago (US), 12/05 Museum, Amsterdam, 12/12 - 17/04; Let’s - 13/08 (solo) Walk Together, Museo Tamayo, Mexico City, 27/02 - 12/06 (solo); Fade in: Int. Tino Sehgal Art Gallery - Day, Swiss Institute, New The Natural Order of Things, Jumex 178 York City (US), 03/03 - 08/05; No doubt, Foundation, Mexico City, 11/03 - 18/05; naturally drawn, non-determined nodes, The Still and Turning Point of the World, Art Fair normally detected neutral density. Neal City Hall Park, New York City (US), 20/04-23/04 Diamond nose downed near dark. Normal 28/06 - 15/11; Tino Sehgal, Palais de delivery notably drove non-directional Tokyo, Paris, 17/10 - 18/11 (solo) navigational displays into North Dakota. JAN MOT And not documented nominal diameter Tris Vonna-Michell neatly diagrammed non-dated next This Is Your Replacement, Sies + Höke, AT degree new directions, Jan Mot, Brussels, Dusseldorf (DE), 08/04 - 13/05; Ballistic 14/04 - 28/05 (solo); neugerriemschneider, Poetry, La Verrière, Brussels, 23/04 INDEPENDENT Berlin (group show curated by Tobias - 02/07; …und eine welt noch, Kunsthaus Rehberg), 19/04 - 21/05; The Causality Hamburg, Hamburg (DE), 25/04 - 25/06; BRUSSELS of Hesitance, Caro Sposo, Cinémathèque 6x6, Landesgalerie Linz, Linz (AT), Robert-Lynen, Paris, 28/06 (screening); 24/05 - 21/08 Vanderborght Building Night in the Museum. An Exhibition from Rue de l’Ecuyer / the Arts Council Collection curated Ian Wilson Schildknaapstraat 50 by Ryan Gander, Longside Gallery, Daniel Buren. A Fresco, Bozar, Brussels, 1000 Brussels Yorkshire Sculpture Park, Wakefield 19/02 - 22/05 (GB), 16/07 - 16/10 Also represented by the gallery: Did such type of works deserve a different Dominique Gonzalez-Foerster Philippe Thomas On Curbstone Jewels and Cobblestones, Daimler Contemporary Berlin, 13/11 - Colophon 10/04; 1887 – 2058, K20, Düsseldorf Works deserve a different structure than a Publisher Jan Mot, Brussels (DE), 23/04 - 07/08 (solo) regular exhibition format? It was the inter- Concept Design Maureen Mooren & est in creating a space to discuss ideas more Daniël van der Velden Douglas Gordon actively than they normally are that brought Graphic Design Maureen Mooren, Kaleidoscope: The Indivisible Present, us to a number of works that will be pre- Amsterdam Modern Art Oxford, Oxford (GB), sented in this program. But, how is this dif- Printing Cultura, Wetteren 06/02 - 16/04; Un nouveau regard, ferent from say, a public conference pro- Collection Lambert, Avignon (FR), gram, we asked ourselves. After some dis- (advertisement) 20/12 - 12/06; Light Falling, Dvir Gallery, cussions it became clear, that even if it Brussels, 10/03 - 16/04; PUNK. Its Traces might look like a seminar, this should still in Contemporary Art, MACBA, Barcelona be conceived as an exhibition. In it the time JAN MOT (ES), 13/05 - 25/09 and function of often so-called educational programs would be blurred, and will con- Joachim Koester ceive the gallery not solely as a space to Rue de la Régence / Joachim Koester: The Other Side exhibit works that might or might not spark Regentschapsstraat 67 of the Sky, Turner Contemporary, Margate a discussion. It is certainly not the first time 1000 Brussels, Belgium (UK), 05/02 - 08/05 (solo); Illumination, that the gallery engages in such activity. tel:+32 2 514 1010 Louisiana Museum of Modern Art, The program called Oral Culture which [email protected] Humlebæk (DK), 01/03 - 11/09 was organized in 2008-09 explored live oral works to be presented in the presence of an Wed – Fri 2 – 6.30 pm David Lamelas audience. It is in this spirit that we hope Sat 12 – 6.30 pm Seth Siegelaub: Beyond Conceptual Art, that A situation in which an. Hugo Hop- and by appointment Stedelijk Museum, Amsterdam, 12/12 ping, what we called “a debate interval - 17/04; Sprüth Magers, Berlin, 28/01 between academia, art institutions and indi- - 02/04 (solo); Hammer Contemporary viduals”. ESL (Esthetics as a Second Lan- José Maria Tornel 22 Collection: David Lamelas, The Desert guage) was, in practical terms, a migratory Col. San Miguel Chapultepec People, Hammer Museum, Los Angeles series of one-day solo exhibitions that pre- 11850 México D.F., México (US), 28/01 - 05/06 (solo) tended to present, sometimes finished and [email protected] sometimes unfinished works of art as an Sharon Lockhart excuse to discuss them publicly. The desire By appointment only Selections from MOCA’s Permanent to organize this came mainly from our long- Collection, Museum of Contemporary ing for crit-classes. We had all been active, Art, Los Angeles (US), 15/08 - 30/04; sometimes in more than one class concur- www.janmot.com