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Workshop : Faces of Mediation, part 1
Workshop Graphic Research School Brussels
January 15-17 th 2007
Faces of Mediation
Practices of mediation as experience
Monday, January 15th 2007
(2.30 p.m. - 5.00 p.m.)
I. MEDIATIONS OF MEDIATIONS
From one world to another : or how the work of art pro-creates a new work of art. Proximity and autonomy in mediations of mediations.
Cristiano Carloni et Stefano Franceschetti
Tradition, translation, treason
In its relation to teatre, video (just as teatre in its relation to life) must avoid to become a filter that protects the spectator or dilutes the spectator’s responsability by the kind of mediation it proposes. While in teatre the spectator’s way of looking is in a direct relationship to what happens on stage, in video the way of looking is "coinciding with" the image (in a non-simultaneous relationship and coming to meet the image). But in both cases the observer has to remain exposed as an interrogated presence.
Cristiano Carloni and Stefano Franceschetti are visual artists defending an original language that is being developed from studies in animation cinema and painting. Since 1995, they make together videos and installations. Since 1999, they collaborate with the teatre company Societas Raffaello Sanzio (Romeo Castellucci).
Caption : 2 stills from the Tragedia Endogonidia film cycle.
Tuesday, January 16th 2007
(10 a.m.-12.30 a.m.)
II. MEDIATIONS IN MOVING URBAN TERRITORIES
Impulsed and self-generated metamorphoses of the city and the housing.
Mediations in urban and urbanistic contexts at the crossroads of the past, the present and the future.
Fulya Erdemci
Istanbul Pedestrian Exhibitions2 : Tunel-Karakoy
The urge behind the Istanbul Pedestrian Exhibitions is closely related to the current model of transformation that is fashioned in line with Turkey’s desire to integrate to Europe and the global world, and that is most visible in the urban context of Istanbul.
Istanbul Pedestrian Exhibition is designed as a series of biennial urban art interventions in the public space and can be considered as a response to the call of the city under transformation. Through temporary projects, it aims to focus on the specific locations in the city and to research and record this transformation. Conceiving the public space as a common living space for all inhabitants, the exhibition series are named after “pedestrian” as it refers to the human scale in the daily use of the public space without signifying any specific class, language or religion. Emphasizing the human scale as opposed to the global scale, Istanbul Pedestrian Exhibition proposes that the urban transformation should be in line with the needs and demands of the civil incentive, the public and the pedestrian. Its main proposal is to open up a platform for dialogue and discussion on the nature of the transformation and how to intervene to it.
Fulya Erdemci worked as a curator for temporary exhibitions at Istanbul Modern (2004-2005). She directed the Proje4L at the Istanbul Museum of Contemporary Art (2003-2004) and the International Istanbul Biennale (1994-2000). She also worked as a free-lance curator for numerous exhibitions in Istanbul and abroad (Moscow Biennale of Contemporary, exhibitions in Rotterdam, Berlin,...). As a researcher, she presented conferences on the topic of making exhibitions, the art of selectioning, and organized lectures for the Istanbul Atatürk Library. She is a lecturer at the Department of Visual Communication Design at the Istanbul Bilgi University.
http://2nd.moscowbiennale.ru/en/curators/fulya_erdemci.htm http://www.design2context.ch/zoo_classes/Object/ContentBlockAbstract/D2CContentBlock/
François Roche de R&SIE(n)
Pink Dystopia
Between :
polar bears in physio-genetic mutation,
fear as a vehicle of alienation,
objectivation of the climatic transformation,
contradictions of a futur borrowed from the past,
nostalgy of a ’back tomorrow’,
ecology, durable development as capitalisms last gimmick,
necrosis and museofication of the European city,
biopolitic and bio-organizational multitudes as reality principles,
robotics as self-organization process,
the failure of predictive thought.
image : HYPERLINK "https://webmail.ua.ac.be/exchweb/bin/redir.asp ?URL=http://www.new-territories.com/download/frac/holzweg1.jpg" \t "_blank" http://www.new-territories.com/download/frac/holzweg1.jpg
“Making with…” is their way of describing their research into a critical experience of architecture through a mutation of contextual parameters. Scenarios of hybridization, grafting, cloning, morphing give rise to perpetual transformation of architecture which strives to break down the antinomies of object/subject or object/territory. Experimental and inventive, the architecture of R&Sie… seeks to be profoundly critical and “deceptive” : an architecture which “contrasts a non-form which seems made of material from each situation"... Invited to five Biennals of Architecture of Venice, R&Sie(n) through François Roche was teaching in London at Bartlett School, in Vienna at TU, in Barcelona at ESARQ, in Paris at ESA, in Philadelphia at UPenn, and is teaching now in advanced studio at Columbia NY, USA. http://www.new-territories.com/download/frac/holzweg1.jpg" \t "_blank" http://www.new-territories.com/download/frac/holzweg1.jpg
http://new-territories.com/
Tuesday, January 16 th 2007
(2.30 p.m.- 5 p.m.)
III. MEDIATIONS OF CONFLICTS
The socio-economic, geographic and cultural conflicts in the Middle-East (Lebanon,Iraq) but also within the western countries are part of our reality. Several artists express through their work the socio-political and cultural complexity of today’s world in its relation to history, and are really involved into this debate.
Khalil Joreige (and Joana Hadjithomas)
Those images that come back (Latent Images)
In our artistic and cinematographic practice, we have often tried to produce images of our present which were also anchored to our contemporary history with its conflicts and civil wars. We have tried to find a political form, a kind of narration which is not especially linear but can give an account of our situation by working on states of mind and bodily conditions, or on atmospheres through which we hoped individuality and singularity could emerge in a context of communal societies.
We have also explored figures of latence and questioned our positioning in that part of the world. Caught between an often orientalized western view of the image and its instrumentalization by the local authorities, the image has been for us often problematic, an image in which we can recognize ourselves, that we could endow with power. Sometimes, we even removed some of our images of that flux in order to think about the condition of their emergence.
However and since the war of July 2006, new problems and new issues seem to appear. Art and cinema are without any doubt territories one must conquer, places of work and mediation which could permit us to get out of binary logics, through the proposition of a new experience. The new context prompts us to reflect upon the possibility of letting re-appear certain images, of witnessing their comeback.
Caption : Latent Images (last part of "Wonder Beirut" project)
Drawer of films (extracts)
Photos indexed but not developed.
Born in Beyrouth, Khalil Joreige et Joana Hadjithomas work together as visual artists but also as film directors, make fictions and documentaries. There is a very close relationship between their visual and cinematographic work. They have written and directed in 1999 their first feature-length fiction "Al Bayt el zaher (Autour de la maison rose). In 2000, they directed "Khiam", a 52 minutes documentary, and presented in 2003 a documentary essay : "El film el mafkoud" (Le film perdu). These two documentaries have been shown in several film festivals, in art centres and international museums. By the end of 2003, they go back to fiction with a feature-length film titled "Ramad" (Ashes), selectioned for the Cesar awards. In 2005, their second feature-length fiction "A perfect day" (Yawmon Akhar) is shown during several festivals where it won more than ten prizes. The film was shown in different countries, notably in France during the month of March and distributed by Celluloid Dreams. Hadjithomas and Joreige are also the authors of numerous installations shown in galeries and institutions. They made photographic installations such as "The Cercle of Confusion", "Wonder Beirut", "Latent Images", "180 seconds of lasting images", or videos as "Don’t walk", "Lasting Images", "Distracted Bullets"... They teach in Beyrouth, Joana is teaching screenplay writing and Khalil aesthetics and experimental video. At the same time as their films and exhibitions, they do write on regular basis texts in different critical journals. They work around latence but also around the anecdotal (such as "what has been kept secret"), around their inscription in this particular part of the world. Their work questions the emergence of the individual in communal societies, the relationship to image and representation, the difficulty to live a present, to write History,...
www.hadjithomasjoreige.com
www.abboutproductions.com
Patrick Beurard-Valdoye
Poet’s craft or : poetic arts as peacekeeping force
Numerous classical poets (Hölderlin, Mallarmé, Rimbaud, but also Schwitters) have situated poetry at the point of crisis. At the hour of contention, one must also test and contest the dominant monoform language and the monsters it carries. Conflict, as a particular case of crisis, comes up from the moment two kinds of speech become fossilized into truth and do clash. Mine, or our speech is more true than the speech of the other. "To tell the truth", poetic arts’ intention (that one must understand as "extended poetry") is not to establish the truth - this responsability lies with history - but to create the emergence of "islets" of truth. They could form a kind of moving island between shores which are places of rivalry par excellence. From that point of view, poetic arts draw on a space of dissolution (and not of resolution) of a conflict generated by a dual opposition. My approach has driven me on a regular basis against conflicts, past or present. It wanted to invent (especially when history had not yet done its action, except an incorrect one) a convenient linguistic and formal system, including mediation, at a global but also at a local level, which I name "the fair return of things". Sometimes, poetic arts are the insomniac memory of history’s unwritten passages. Examples.
Caption : the author coming out of Kurt Schwitters’ rural Merzbau on the Hjertoya Island (Norway)
Patrick Beurard-Valdoye was born in the Belfort area and lives in Paris. It was during a long stay in Cork (Ireland) that he decided to devote himself to poetic arts. Following a stay in Berlin in 1982, he begins to work at "Le Cycle des exils" where "different strata of a History of Europe are tangled, and more precisely of the French-German relationships" (E. Laugier, Le Matricule des Anges), and which is published in 5 volumes, Allemandes (1985, MEM / Arte Facts) ; Diaire (2000, Al Dante) ; Mossa (2002, Al Dante) ; la Fugue inachevée (2004, Al Dante) ; le Narré des îles Schwitters (2006, waiting for a publisher). Among some fifteen books of poetic arts, he published recently a Théorie des noms (2006, Textuel, coll. L’œil du poète) and L’Europe en capsaille (2006, Al Dante). He is also the author of several studies on visual arts. He has given some hundred recitals and performances in at least ten European countries.
www.homme-moderne.org/textes/auteurs/pbeurard/mossa.html www.sitaudis.com/auteurs/patrick-beurard-valdoye.php