What about these sculptures, washed up on our shores, are they more welcome than any human being? Through text such as this, audio and visual extracts of a selection of her often situation-specific works, the artist Maria Walcher explores aspects of collaboration, cultural translation, public space and associated artistic strategies. A dialogue between Maria Walcher and curator Simone Mair at ar/ge kunst.
Maria Walcher, (born 1984 in Brixen, Italy, lives in Innsbruck) is an artist whose work is concerned with situation-specific and socio-political issues. She studied MFA: Public Art and New Artistic Strategies at the Bauhaus University Weimar and at the University of Applied Arts Vienna. Selection of exhibitions: Charlama Depot, Sarajevo (2011), SOMA, Mexico City (2013), CITY LAB Mostar (2013), Kunstfest Weimar (2014), Quartair Contemporary Art Initiatives, Den Haag (2014), Cselley-Mühle, Oslip (2016) and Domplatz, Innsbruck (2017).
Within the context of the exhibition It’s Just Not Cricket by Matilde Cassani, this workshop is a first instance of action relating to the installation, aimed at articulating some of the themes that the artist identified during her residency.
Using a meeting between cricket players from different parts of the province of Bolzano, and participants from various sectors (culture, politics, mediation, universities and journalism), the workshop will be structured as a collective exercise that will address the practical needs and desires of those who practice this sport.
The three phases of the workshop, Super-team / Association / Sports Field will examine issues related to identity, organization and access to infrastructures, respectively.
A conversation between the artist Riccardo Previdi and Frida Carazzato – Museion’s curatorial assistant, in an attempt to create a temporary glossary that can serve as conceptual coordinates within which to design the artistic practice of Previdi, characterized by the relationship between art and design, and starting from observation and reaction to spatial contexts, languages and dynamics of the present.
The publication “What Next?” will also be presented at the meeting. This is a collection of the latest body of the artist’s works, born from both the relationship between the technological apparatuses of scientific research and the manner with which contemporary society is interpreted.
This exhibition may be freely downloaded, printed, exhibited, published, copied, etc… There are no installation instructions. The recommended print sizes are listed in the works list PDF.
The zipped folder will remain available as long as the sendspace link is active. They will not be re-uploaded.
I had asked the following artists to participate in this project, and for each of them to give me the file to a printable work that somewhat related to flowers:
Anjum Asharia and Marisa Jahn, BFFA3AE, Claudia Sola, David Horvitz, Hans Aarsman, Jon Rafman, Kristina Lee Podesva, Marysia Lewandowska, Michael Mandiberg, Mishka Henner, Natalie Häusler, Vlatka Horvat
The idea was to make a bouquet for spring! Even though, at the time it was nearing the end of spring. But still, it was spring! I imagined broadcasting these flowers/files into the internet, the same way a farmer would broadcast their seeds out into the field (it’s funny how broadcast media uses the same terminologies of farming). And I imagined that long after the sendspace url has expired, that the files still existed, somewhere (maybe). And (maybe) they would be shared. Maybe they would be re-posted by someone else (asexual reproduction?). I had no way of controlling where (or when) this exhibition would end up, if anywhere (or anywhen?) at all. That is why this exhibition’s closing date was a question mark. It is ongoing for who knows how long. I also wanted to give the internet (something that existed beyond the particularities of place dictated by natural temporalities as the Earth spun around the sun) a season.
David Horvitz, Los Angeles 2017
* In the context of the exhibition Flowers are Documents, the file will remain available on ar/ge kunst website and will be re-broadcasted via newsletter on the 13 June 2017.
In Japanese Alps, Francesco Tenaglia draws from decades of interest for the Alps (and the panoramic mountain views of the surrounding countries) shown by Japan’s consumer culture, placing it in parallel with the idea of “nostalgia” (a neologism and sentiment about the Alps “produced” at the end of the seventeenth century). During the lecture, Tenaglia would like to illustrate – using historical research, anecdote and speculation – some forms in which philosophers and sociologists have identified a specific postmodern incarnation in this eastern country: from academics to customs, through to models of production and consumption. In an anticipation of the radical transformation of the ideas of narrative and representation that we are witnessing in an age of hyper-connectivity.
Francesco Tenaglia was born in Chieti (1974) and works in Milan at the editorial office of the contemporary art magazine and publishing house, Mousse. He works on art, music and culture, including Rolling Stone, Prismo, Vice and Rivista Letteraria.
Video editing: Marcello Tacconelli.
Poster design: Massimiliano Pace
In the framework of La Mia Scuola di Architettura*, a series of public presentations on the notions of landscape, community and formation at ar/ge kunst, the artistic initiative BAU is invited to introduce and discuss their take on these ideas and the specificity of their residency project in South Tyrol; a practice that implies forms of collaboration and temporary graft between guest artists and hosting communities.
In this occasion, they will talk with their current residents, the Spanish collective INLAND (represented in this occasion by Fernando Garcìa-Dory and Carlos Monleon Gendall), about the potential of contemporary artistic culture and the rural to meet and interlace and about their current project ALMA (working title). BAU is an initiative for artistic production located in South Tyrol, Italy, active since 2015. BAU initiates artistic residencies that establish forms of collaboration between local communities, the material culture of the territory, and its traditional activities.
INLAND is a Spanish arts collaboration platform, dedicated to agricultural, social and cultural production, and a collaborative agency. BAU has invited INLAND to develop a project in the territory of South Tyrol in 2017. Departing from the current project ALMA on a speculative future of the territory developed with local agents such as mountain farmers, academics, tourism experts and shepherds, the talk will expand on current cultural trends in European countryside.
The book documents and further develops the research presented within the exhibitions ‘You Play This Game…’ at ar/ge kunst, Bolzano (2015) and ”Freizeyt’ at DAZ – Deutsches Architektur Zentrum, Berlin (2015/2016)
Published by Dentdeleone.co.nz
Edited by Ingrid Hora and Lisa Mazza
Texts by Shumon Basar, Emanuele Guidi, Ingrid
Hora, Lisa Mazza, Giulia Palladini
Designed by Åbäke with Alyssia Lou
With the support of DAZ and Provincia Autonoma di Bolzano, Ripartizione Cultura
Followed by a Christmas reception.
DIRECTED TOURr #1:
17.06.2016, 6 pm
Ettore Frangipane (journalist) in dialogue with the curators
DIRECTED TOUR #2:
15.07.2016, 7 pm
Michael Obrist (architect, Feld 72) in dialogue with the curators
DIRECTED TOUR #3:
21.07.2016, 7 pm
Giorgio Mezzalira (historian, Foundation Alexander Langer) in dialogue with the curators
Directed Tours is a series of three conversational guided tours that activate and mediate Can Altay’s exhibition VFI – Virgolo Future Institute at ar/ge kunst.
The title Directed Tours arises from the term Directed Gaze, defined by Altay himself as describing part of his practice and acknowledging the centrality of the encounters with other people in the process of approaching a new context.
Starting from this idea, ar/ge kunst and Lungomare propose a series of guided visits with some of the people who met with the artist during his residency and thus shaped his research and the exhibition itself.
AHALI JOURNAL NEW ISSUES
During the exhibition seven new issues of Ahali journal are being published as an extension of Altay’s project. These new issues supplement the installation and can be taken by visitors to the exhibition.
The Directed Tours mark the launch of three corresponding issues and are also being published on this occasion by the online information portal Salto.bz.
Ahali is the journal founded by Can Altay in 2007 and designed by Asli Altay, Future Anecdotes Istanbul.
On the occasion of the exhibition by Austrian artist Oliver Ressler at ar/ge kunst, The Right of Passage is an evening event featuring a screening and discussion of the film of the same name by Ressler and Zanny Begg.
The Right of Passage (2013, 19 mins) is partially constructed through a series of interviews with Ariella Azoulay, Antonio Negri and Sandro Mezzadra and focusses on struggles to obtain citizenship while at the same time questioning the implicitly exclusionary nature of the concept. The film refers to the stages or “rites of passage” that mark important transitions on the path to selfhood and suggests that freedom of movement must become a right granted to every person – regardless of his or her place of birth.
Lorenzo Pezzani is an architect based in London and Trento. His work deals with the spatial politics and visual cultures of migration, with a particular focus on the geography of the ocean. Since 2011 he has been working on Forensic Oceanography, a collaborative project that critically investigates the militarized border regime and the politics of migration in the Mediterranean Sea. He is one of the founders of WatchTheMed, an online platform that documents and maps the deaths and the violations of migrants’ rights on the maritime borders of the European Union. He is currently a post-doctoral fellow at the Kent School of Law.
Andrea Deaglio was born in Turin, where he makes documentaries, multimedia and audio-visual productions with Mu Film. His documentary films include: Show all this to the world (Italy 2015, 55 mins) programmed at Bolzano Film Festival; Storie di uomini e lupi (Italy/France 2015, 75 mins, co-directed with Alessandro Abba Legnazzi and produced by Babydoc Film); Il futuro del mondo passa da qui – City veins (Italy 2010, 63 mins), winner of the award Joris Ivens – Best International First Film at Cinèma du Réel (Parigi 2011) and first prize at Docucity (Milan 2012); Nera – not the promised land (Italy 2007, 22 mins), winner of the Premio Anello Debole.
Monika Weissensteiner is an anthropologist whose research focusses on violence, conflict, migration and health, as well as on the Common European Asylum System. She is a member of EASA (European Association of Social Anthropology) and has been working with the Foundation Alexander Langer since 2014. She also follows the initiative ‘Brenner/o Border Monitoring’, an active presence that has been monitoring the Brenner Pass from an operational centre in Bolzano since 2015.
With the kind support of:
Provincia Autonoma di Bolzano, Ripartizione Cultura
Forum Austriaco di Cultura, Milano
Comune di Bolzano, Ripartizione Cultura
Fondazione Cassa di Risparmio
Segheria Tatz Luis, Appiano
In collaboration with:
AKRAT, Cooperativa Sociale Bolzano
Bolzano Film Festival Bozen
A conversation between Matilde Cassani and Nicolò Degiorgis about their respective research on the relationship between migrant communities’ practices of worship and informal processes that transform the urban landscape. Using photography as tool of investigation, Cassani and Degiorgis document the interiors of buildings (shops, warehouses, apartments, garages, etc.) whose function has been reinvented to host expressions of communal life derived from religious rites.
Click here for the video
The Turkish artist Can Altay was invited by ar/ge kunst and Lungomare to a residency-project which started at the end of 2014 and which continues until summer 2016. Since the beginning of this project Altay has been conducting a profound study of the given situation in Bolzano being particularly interested in the close-by mountain Virgolo.
Altay is stimulating a public debate about the relationship of the city to this mountain which being vividly used in the past is practically abandoned today. Starting from a local phenomenon the artist widens the focus of his project posing questions regarding the possession and use of land and infrastructure which are of general relevance.
His artistic practice consists of designing a process which is set up of single ‘fragments’ – impressions, interpretations and comments of the present.
After analysing the Virgolo from a rather distant point of view which allowed the artist to understand its complexity, Altay decided to engage directly with the mountain from November / December 2015 onwards. He therefore developed the new episode “Such Territorial Claims Transform Spatial Imagination into Obscure (Third Fragment in Two Parts)”. While its first part is held on the mountain itself the second creates a visual connection with it from distinct points in the city.
Split Horizon (Virgolo Edition)
Intervention in public space
From December 2015 to May 2016, Bolzano
“Split Horizon (Virgolo Edition)” consists of a viewing device that moves along a trajectory. The 15 locations where the objects is positioned for a certain amount of time are of significance for Altay’s narration and connected with the Virgolo, the mountain in the outskirts of Bolzano. All spots are representative for the spatial dynamics and urban politics of Bolzano and the history of the city. The device invites the public to follow the artist’s view on the local situation and to think about global questions which are related to public claims of space and the inhabitation of infrastructure.
After transcurring its foreseen path the device will remain at disposition for the public which is invited to take it to new locations.
always 2.30-4.30 p.m., Bolzano
02.12.2015 Piazza Walther
27.01.2016 Piazza Tribunale
10.02.2016 Tower of the Museo Civico
24.02.2016 Funicular to Renon
09.03.2016 Private Apartment (Via Cappuccini 14, 3rd Floor)
16.03.2016 unibz Roof Terrace F6
23.03.2016 Bridge over Talvera
30.03.2016 Semirurali Park
06.04.2016 Bolzano Train Station
13.04.2016 Cappuccini Garden
20.04.2016 Walkway between via Aslago and via S. Vigilio
04.05.2016 Loreto Bridge
11.05.2016 Private Terrace (via Andreas Hofer 19, 4th Floor)
Choreographed walk in public space
14.11.2015, 3.30 p.m., fence of the ex-Tennis club, Virgolo
In 2008 the property, that hosted the former Virgolo Tennis Club, was bought by a network of entrepreneurs (BBG Srl) interested in future real estate investments. Since that moment a fence impedes the access to what has been one of the recreational areas of the city of Bolzano. With “Limited Experience” Can Altay invites twelve people to move along the boundary between private property and public space, to share and challenge the experience of limitation.
This exercise tests the limits of a boundary imposed by the current town planning regulations.
The event will discuss the practical and political implications of applied anthropology.
With: Dorothy Zinn – professor at the FUB (Freie Universität Bozen), Elisabeth Tauber, researcher at FUB and Monika Weissensteiner, refugee monitoring volunteer
SOLCH TERRITORIALE ANSPRÜCHE VERWANDELN DAS RÄUMLICHE VORSTELLUNGSVERMÖGEN IN (STUDIO VIRGOLO SECOND FRAGMENTS)
Time: 26 May – 14 June 2015
Location: Bozen / Bolzano
Can Altay’s project continues with what he defines as a second series of fragments of the Studio Virgolo project. The 1948 newspaper article about the “mole people” that – shortly after the WWII – lived in the tunnel that runs through the mountain and was not yet opened to the traffic keeps stimulating the artist’s imagination.
“who is allowed to claim public space, who is forced to inhabit infrastructure space? TUNNEL DWELLERS OF THE 1940S. FUNICULAR STOPS RUNNING. PARTIES AT THE FORMER SOCIAL CLUB. SHOPPING MALLS AND THEME PARKS. ESCAPE ROUTES AND REFUGE SITES.”
Altay occupies the commercial communication surfaces of Bolzano with a series of posters that focus on neglected desires and unfulfilled promises: like advertisements for an imaginary tourism, they function as a campaign on the issues that will be publicly discussed in Lungomare during the conversation of the 12th of June.
The reason that moves the artist to focus the attention on the Virgolo mountain comes also from the global references that such a specific place can engender.
Time: 9 June 2015, 6 – 8 pm
Location: Park in front of the train station, Bolzano
(in case of rain: Bar Jona)
In the third chapter of Rebel Cities the Marxist geographer David Harvey reads the urban commons as the product of social relations: people living in the city produce urban commons all the time. Gentrification is the process which capitalizes this vitality continuously produced by the city, a process that often is named with the euphemism of “regeneration”. Harvey reads gentrification as a privatization – for the profit of a few – of the vitality produced by a city and its inhabitants, a privatization often instigated by public institutions.
This text can help us exiting the rhetoric of the opposition between “regeneration” and “degradation”: the so-called social disadvantage (disagio sociale) is in fact provoked by the very process of regeneration. The reading of this text will allow us to read the current selling off of public goods and land in Bolzano not as a specifically local but as a global monstrosity.
How to describe the complexity of top-down urban transformations in Bolzano and what are the possibilities of reclaiming as commons those forms of life that as inhabitants of the city we continuously produce?
(The text can be requested at Lungomare.)
CONFLICT OVER SPATIAL IMAGINATION (DEVELOP VIRGOLO?)
Time: 12 June 2015, 7 pm
Location: Lungomare Rafensteinweg 12, Bozen/Bolzano
With: Stefano Novello, Michael Obrist, Huib Haye van der Werf
Sites such as the Virgolo, a mountain in the direct surrounding of Bolzano, bring with them a set of questions in relation to envisioning the future of our cities. The challenge in imagining the future of such places lies in the ways in which (or whether) we can overcome attitudes of conservation as much as neo-liberal commodification of such urban and semi-urban landscapes. These are the two fronts that the battlefield seems to be divided into currently.
This panel seeks to address the spatial imagination over the Virgolo, by scrutinizing the current models and proposals (both the neo-liberal policies and imaginaries over such pieces of land as ‘to be developed’; and its counter-hegemony of a more preservative tone). While choosing to avoid these two positions, the panel will search for possibilites that do not by-pass this conflict over spatial imagination and foresight, but rather look for ways in which the city can allow its inhabitation otherwise, in face of the current constipation over urban future.
Particularities of the Virgolo, its relationship to infrastructural development (tunnels) and the range of spaces and activities that surround it will be given special notice in the search for further possibilities.
The speakers Stefano Novello (Architect, Bolzano), Michael Obrist/Feld72 (Architect, Vienna) und Huib Haye van der Werf (Head of Artistic Program Multiform Institute for Fine Art, Design and Reflection, Maastricht) will shortly present different viewpoints and imaginaries over the Virgolo before the panel will be opened to the audience in a discussion moderated by Can Altay and the curatorial-team.
Professor Marta Villa, lecturer in cultural anthropology at the university in Trent, will present her study on identity, rites and agriculture.
ar/ge kunst is pleased to announce the launch of Aldo Giannotti’s Spatial Dispositions, published by the Verlag für Moderne Kunst. An artist’s book produced to paralled the exhibition of the same name, Spatial Dispositions is the result of Giannotti’s research on ar/ge kunst.
Starting from some reflections we made together with Can Altay, the current artist in residence at ar/ge kunst and Lungomare, we would like to invite you to the first in a series of public readings and discussions that will happen in different places in the city, on topics like: “minor territorial claims and gestures; inhabiting infrastructure space; conflict over spatial imagination; neoliberal urban politics and its counter-hegemonies; times (past, present, future) indivisive from each other and from space”.
At the first meeting we’ll read “The Rhizome” by Deleuze and Guattari, available here.
We’ll start with a challenging text: the aim is not so much to analyse its meaning but rather to use it as a tool to read the urban context away from binary and “arborescent” logics, to attempt a “rhizomatic approach”, open to a complexity beyond pre-existing categories.
With this scope, we invite you to bring to the meeting one or more objects that you will use to share something that you feel like an urgency regarding the life in the city of Bolzano.
The text is dense and long, we recommend you to read especially pages 12 to 14, which talk of the difference between mapping and tracing. This distinction will be useful for us to re-read the city, and especially the areas around the train station, making use of the objects gathered and through possible drifts.
The meeting will take place next Monday the 27th of April at the Cappuccini Garden, from 6pm to 8pm (“we should start always from the middle” say Deleuze and Guattari).
In case of rain we will gather in front of the theatre and move to another location.
Text available in Italian and German.
Things the audience would like to present in the exhibition space are drawn by the artist’ is a statement that accompanies the drawing Collective Curating. This drawing is just one of numerous projects that make up Aldo Giannotti’s exhibition, Spatial Dispositions, in which each project is activated at a different time.
On 26 March the artist will be at ar/ge kunst all day to meet anyone who – as the text suggests – want to present a ‘thing’ in the exhibition space. In activating this project Giannotti will be exploring the idea of the exhibition itself as a ‘theatre of things’ progressively accumulated in space by the act of narration.
Ar/ge kunst will be opening its program for 2015 with a presentation by Andreas Pichler (1967, Bolzano/Bozen). Pichler presents an introduction to his practice, which lays particular emphasis on the landscape, especially that of the South Tyrol. Through a combination of film material and narration, Pichler reflects on the relationship between place, community and narrative in his work.
Andreas Pichler is a writer and director of documentaries. He has worked in Italy, Germany, Austria and France, co-producing films with broadcasters and production companies such as ARTE, RAI Cinema, ZDF and ORF. Recent productions include Europe for Sale (2014), Die Akte Pasolini (2013) and The Venice Syndrome (2012), which won prizes for best documentary film at the London Open City Festival and Cinemaambiente Turin.
* La Mia Scuola di Architettura is an ad-hoc series of public presentations on the notion of landscape. It takes its name from a series of photographs by artist and ‘anarchitect’ Gianni Pettena – photographs depicting the landscape of the Dolomites around Bolzano/Bozen. La Mia Scuola di Architettura considers the idea of landscape, its influence upon the development of the individual as artist and citizen, and its wider implications for the overall shape of the community. The series stimulates reflection on how knowledge is produced and transmitted, extending this idea to encompass education and schooling.
The description of the event is available just in Italian and German.
ar/ge kunst and Lungomare invite Turkish artist Can Altay to Bolzano for a long term residency project from 2014 through 2016. The residency is dedicated to “Radical Hospitality” and invites the resident to approach and interpret radically questions linked to hospitality as a relational and social space, as a temporary condition and as a relationship that defines power dynamics.
Can Altay is an artist living in Istanbul. He investigates the functions, meaning, organisation and reconfigurations of public space. His ‘settings’ provide critical reflection on urban phenomena and artistic activity. His work traverses sculpture, photography and installation, and is staged and manifested through the spaces, exhibitions and publications he produces. Solo exhibitions at Arcade, London (2012), Casco, Utrecht (2011), The Showroom, London (2010). His work has been included in Biennials of Istanbul, Havana, Busan, Gwangju, Marrakech, Taipei; and in museums and galleries such as the Walker Art Center (Minneapolis), VanAbbe Museum (Eindhoven), ZKM (Karlsruhe), Artists Space (New York), and SALT (Istanbul)
Georg Grote (University College Dublin)
Franz Haller, Visual Anthropologist (Meran)
Thomas Nußbaumer (University of Innsbruck)
Hannes Obermair (Bozen Stadtarchiv)
Ina Tartler (Vereinigte Bühnen Bozen)
Elizabeth Thaler (Vereinigte Bühnen Bozen)
Moderated by Hans Karl Peterlini (journalist and author, Bolzano/Bozen)
Emanuele Guidi (artistic director ar/ge kunst)
Hans Karl Peterlini
15:25 Mask Introduction
Thomas Nussbaumer introduces Richard Wolfram and Alfred Quellmalz, members of the SS Ahnenerbe Kulturkommission to the Sudtirol (1939 – 1942)
Franz Haller introduces Arthur Scheler, photographer from Meran.
Hannes Obermair introduces Bronislaw Malinowski, world famous anthropologist who used to vacation in Oberbozen
16:05 First Panel
With Georg Grote and Hannes Obermair
16.35 Second Panel
Folk Culture (Uses & Abuses)
With Thomas Nussbaumer, Georg Grote, Franz Haller
17.05 Third Panel
Performing the Unstageable
With Ina Tartler and Elizabeth Thaler
17.35 Epilogue and Public questions discussion
18.00 End of the Stuben-Forum
Georg Grote is a lecturer in Western European History and Head of School at University College Dublin. His research interests cover historical nationalism and modern regionalism; in particular, he has published case studies on Germany, Ireland and the South Tyrol. Georg Grote has been a regular visitor to the South Tyrol over the past 35 years and has thus experienced at first hand the great changes this region has undergone. While the local and regional histories of the South Tyrol are extremely interesting in their own right, its history within the broader context of twentieth and twenty-first-century European developments is particularly fascinating. With a wealth of teaching experience from across Europe and his home university in Dublin, Georg Grote seeks to relate his international research background to events in the South Tyrol and to present them in an engaging way.
Franz J. Haller was born in Meran (South Tyrol) in 1948. He studied ethnology at Vienna University and visual anthropology at Göttingen University, with field research in northern and central Africa and the Amazonian lowlands. He co-founded the Landwirtschafts-Museum Brunnenburg in Dorf Tirol in 1974. From 1976 to 1979 he was a research professor at OAS (Organization of American States) at the University of Quito, Ecuador. Haller has produced over 150 documentary films on the ethnography and recent history of the South Tyrol for television, schools and museums. He founded the internet portal www.tiroler.tv in 2012.
Thomas Nußbaumer was born in Hall in the Tyrol (Austria). He studied musicology and German at the Universität Innsbruck, obtaining a doctorate in 1998. His dissertation was published in 2001 as Alfred Quellmalz und seine Südtiroler Feldforschungen (1940–42): Eine Studie zur musikalischen Volkskunde unter dem Nationalsozialismus (Alfred Quellmalz and his field research in the South Tyrol (1940–42): A study on music folklore under National Socialism). In 2011 Nussbaumer completed a postdoctoral thesis on folk music at the Universität für Musik und darstellende Kunst in Vienna. He has taught at the Innsbruck campus of the Universität Mozarteum Salzburg since 1995, becoming a lecturer in 2011. He is head of the departmental area for music ethnology within the department of musicology. His research and publications focus on music and custom, carnival, folk music and Nazism, Alpine folk music traditions (western Austria and the South Tyrol in particular), and the music of the Old Order Amish.
Hannes Obermair was born in Bolzano in 1961. Research areas relating to the history of the region include comparative urban history and the early written word in the central Alps. In particular, his work focuses on transitional phenomena, forms of acculturation and the ‘grey areas’ that accompany and define the development of the Tyrol and Trento regions in the Middle Ages and the Early Modern Era. Much of his more recent work has considered questions of contemporary history and historiography in the context of fascism and the Nazi era.
Hans Karl Peterlini was born in Bolzano in 1961. He originally worked as a journalist covering contemporary politics and recent history, where his main focus was the sometimes violent political conflict over South Tyrolean autonomy, its long (and as yet incomplete) development from antagonism to peaceful coexistence. After a period in pedagogical and educational studies, he has since moved into a new professional field with similar interests and questions: How can people and groups cultivate their identities? How can individuals and collectives learn for the present and the future? What factors help and hinder open attitudes toward interaction? Hans Karl Peterlini is Professor of Pedagogy and Transcultural Education at the Universität Klagenfurt for the academic year 2014–15.
Ina Tartler was born in Rumania in 1966 and emigrated to Germany in 1988. She studied German literature, theatre studies and psychology at Ludwig-Maximilians-Universität in Munich. She was chief artistic advisor to the Schauspielhaus in Salzburg from 2002 to 2008, and has been chief artistic advisor at the Vereinigten Bühnen Bozen since 2008.
Elisabeth Thaler was born in Bolzano in 1981. She studied comparative literature and German at the Universität Innsbruck. She was student artistic advisor in residence at the Tiroler Landestheater in 2006, then assistant artistic advisor at the Vereinigten Bühnen Bozen from 2007 to 2012, where she is now an artistic advisor. She has worked with Bettina Bruinier, Agnese Cornelio, Philipp Jescheck, Alexander Kratzer, Carina Riedl, Georg Schmiedleitner Katharina Schwarz.
With the kind support of:
Autonome Provinz Südtirol, Abteilung Kultur
Autonome Region Trentino Südtirol
Stadtgemeinde Bozen, Abteilung Kultur
Culture Ireland / Cultúr Éireann
Stiftung Südtiroler Sparkasse
Kofler Tischlerei & Möbelhaus, St. Felix/Nonsberg
Deplau, St. Felix/Nonsberg
Österreichische Mediathek, Wien
Dr. Schär, Burgstall
A special thanks go to:
Egetmann Verein Tramin
Südtiroler Landesmuseum für Volkskunde in Dietenheim
Ofas Architekten, Bozen
Referat Volksmusik, Fotoarchiv Quellmalz (Bereich Deutsche und Ladinische Musikschulen
This article is not available in english
A hands-on workshop performance of the body-at-publish by the duo Curandi Katz at Ar/ge kunst focused on the idea of self-publishing as an intimate gesture. The intention is to activate the objectual element of a book, its function and uses, in the realm of its relationship with the individual and between individuals. Considering its private, possibly affective, predominantly tactile experience in a resistant condition to the idea of a mass reproducibility; Exploring the ways it gets disseminated and shared and how these define its storyline; Reflecting upon the gestures of gratuity and care this idea implies and the organisms it involves in the narrative. The process of publishing is intended as a performative form of exteriorization – transmission – care.
The workshop will be structured around the creation of a self publication using alternative, DIY publishing strategies; Experiencing the steps of appropriation and assemblage using low tech tools, and manually operated jigs. At the disposal of participants will be the selection of books brought by Archive Books on the occasion of the exhibition Constellations of one and many, Curandi Katz’s collection of dissident pamphlets and digital platforms for text-sharing.
A point of departure and historical reference comes from the artists’ on-going research on the late Hungarian-Israeli anarcho-pacifist activist Toma Sik and his multi-faceted use of publishing and knowledge circulation. In Sik’s case they are flyers and surveys that he would hand out during protests in public space in order to reach the other and talk about issues like vegetarianism, nonviolence, human-rights. The activist methodology of reaching the other through the printed word casually handed out, was progressively internalized and transformed by Toma Sik into a personal search for individuals with whom to share intentional living.
With the kind support of:
Provincia Autonoma di Bolzano, Alto Adige, Deutsche Kultur
Città di Bolzano, Ufficio Cultura
Fondazione Cassa di Risparmio, Alto Adige
Mondriaan Stichting, Amsterdam
Institut für Auslandsbeziehungen, Stuttgart
Happy Negro 2004, video, 5’55”
Elysian Fields 2005, video, 1’45”
The conductor (fortuna imperatrix mundi) & The conductor (primo vere, omnia sol temperat) 2005-2009, video, 6’18”
Paris is burning by Jennie Livingstone, 73′