A Rule By Nobody

Image Credit: Liz Magic Laser, still from The Thought Leader, 2015

A Rule By Nobody
Presented by Third Object
As part of the Fall Curatorial Residency
at Sector 2337

The Nightingale Cinema, 1084 N. Milwaukee
Sunday, October 16th, 7 pm, $5

A Rule By Nobody is an exploration of the boredoms, frustrations and pleasures of bureaucratic routines. Drawing its title from Hannah Arendt’s definition of bureaucracy, the exhibition takes the bored energy of office labor and channels it into a multipart dive into the sublimely overflowing inbox, the inky warm Xerox room, the balled up wads of red tape, and the moments of escape that punctuate the droning beige sameness of nine to five.

This video program is a motivational, team-building corporate retreat through other people’s daily grinds. The works in the screening emulate and parody various workplaces and their hierarchical structures to reveal inner formulas, dogmas and breaking points.

Program Details:
Hanne Lippard, Beige, 2013, Germany, digital video, 6m5s, color, sound

Kay Rosen, Sisyphus, 1991/2011, USA, digital video, 2m1s, black and white, no sound

Liz Magic Laser, The Thought Leader, 2015, USA, digital video, 9m21s, color, sound

Simon Denny, Diligent Boardbooks Website Presentation, 2011, Germany, digital video, 1m20s, color, sound

Ellen Nielsen, Flower Office, 2016, USA, digital video, 3m18s, color, sound

Jodie Mack, Unsubscribe #3: Glitch Envy, 2010, USA, 16mm, 5m45s, color, sound

Lawrence Weiner, To and Fro. Fro and To. And To and Fro. And Fro and To., 1972, USA, 1/2” open reel video transferred to digital video, black and white, sound

Pilvi Takala, The Trainee, 2008, Finland, digital video, 13m52s, color, sound

Andrew Norman Wilson, Workers Leaving the Googleplex, 2009-2011, USA, digital video, 11m3s, color, sound

This exhibition series is organized under the Fall Curatorial Residency at Sector 2337. It is composed of a two-part group exhibition, an ongoing back room installation, a video screening at the Nightingale Cinema, a live performance, and a printed publication.

Third Object is a roving curatorial collective based in Chicago. Recent exhibitions include Slow Stretch, Mana Contemporary Chicago; Satellites, The Franklin; Were the Eye Not Sunlike, ACRETV and Fernwey; and Mossy Cloak, Roots and Culture. Third Object is Ann Meisinger, Raven Munsell, and Gan Uyeda.

A Rule By Nobody is made possible through the support of Sector 2337, the Propeller Fund, Direct Office Furniture Warehouse, Video Data Bank and the Nightingale Cinema.

www.facebook.com/events/581777108678065/

Right of Refusal



 MOBILITY IN POST DEMOCRACY

Mon 24 Oct 2016
5.30PM-9.00PM

The New School University Center
Starr Foundation Hall, UL
New York City
Free Admission
 
Mobility in Post Democracy
Post Democracy has recently arisen as a complex and contradictory term: for some it promises a new participatory platform for the mobilizing forces of social media, considered catalysts for political imagination. Others equate Post Democracy with democracy's demise due to the penetration of global capitalism into every regime type coupled with the increasing intervention of international actors in domestic politics. Decried as "democratic melancholy," such skepticism is considered ill placed by yet others for whom "democracy" was never a political system to aspire to.

Under the heading Mobility in Post Democracy, the Vera List Center is presenting a series of interdisciplinary panels, seminars, and lectures that examine Post Democracy as a condition informed by mobility – across institutions, states, and ideologies. The series brings together an international group of scholars, activists, students, and artists to probe the concept of Democracy more generally at the time of the contested U.S. presidential elections, and the concurrent emergence and demise of democratic regimes throughout the world.

Artist-driven, the events aim to ask questions such as: How can new social movements counter networks of power? What creative organizing tactics are being developed to reinvigorate a democratic ethos? What forms of political institutions and alliances are flexible and resilient?

Right of Refusal
With many states on the brink of a democratic collapse, the Mobility in Post Democracy series connects to the simultaneous disdain and opportunity revealed in this moment. On the heels of a keynote address by Wendy Brown, which will reveal the neoliberal mechanisms that have undermined democracy while pointing toward modes of resistance in new organizational models, this panel discussion will consider refusal as another possible strategy to thwart the further erosion of liberal democracy. By framing resistance as a human right, the right of refusal invokes coordinated action, solidarity, and the law to magnify the political implications of individual decisions. These discussions are particularly relevant as voters in the United States consider their options in the forthcoming presidential elections.

Discourses on human rights are primarily concerned with protecting and supporting individuals as active members of society. Active participation requires two general categories of rights: rights that protect individuals from discrimination, oppression, and other forms of harm; and rights to social, political, cultural, and economic resources necessary to participate, often in the form of material support from states.

This seminar focuses on another form of rights that are often overlooked in rights-based discourses: the right to refuse and embrace non-participation. The right of refusal can take many different forms. In the face of increased globalization and hyper-mobility, how can the right to remain stave off urban developers and alter the flow of migrants? Is it possible to opt out of a digital presence through the right to be forgotten? How does the right of refusal challenge the role of the state as protector and provider? For the 2016 U.S. presidential elections, many voters are considering opting out instead of choosing between the Republican and Democratic candidates. What does non-participation mean for our ability to question and critique the government? What are the affordances of collective refusal, as in a boycott? Is refusal a form of protest, a sign of privilege, the mark of apathy, or something else entirely?

The event begins with a film screening/interactive gaming session from 5-6pm in the University Center Event Cafe, followed by a panel discussion from 6:30-8pm exploring the various manifestations the right of refusal may take. The participants in this event argue for the right to refuse action and participation, to remain silent, to reject market principles of efficiency, to refuse to be part of the system. The upcoming U.S. elections provide the context to consider the ramifications of non-participation.

Participants
Colleen Macklin, Associate Professor of Design and Technology, Parsons
Lucas Pinheiro, Lecturer in New Media Art History, Parsons
Joshua Simon, Curator and 2011-2013 VLC Fellow
Pilvi Takala, Artist
Miriam Ticktin, Associate Professor of Anthropology, New School for Social research

www.veralistcenter.org/engage/events/2024/right-of-refusal/

What You Get Is What You See: The Body at Work



Sunday, Oct. 23rd, 2016
7:30pm, $9.
With Filmmaker Pilvi Takala
Part of What You Get Is What You See: A Series on Spectatorship
Co-presented with The Vera List Center at The New School

The Body at Work. Laborious Gestures, Awkwardness and Hostage Spectatorship

Using her own body and presence as a research tool, Artist Pilvi Takala places herself in awkward, uncomfortable but constructive places to investigate social situations and human behavior.

In this screening-presentation, she will look at the creative process behind her narrative videos that emerge from her experiments with others. From a community of poker players in Thailand, a corporation office in the Finland to a boarding school and a text message service in the US, we will follow her infiltration and disguised activities in work settings, witnessing how small but subtle infractions can disrupt people’s sense of purpose and seriously threat social order.

Following the screening and presentation, Pilvi Takala will be in conversation with Mathilde Walker-Billaud.

This event is co-presented with the Vera List Center for Art and Politics at The New School, in connection with the panel-discussion on Monday October 24th: The Right of Refusal.

What You Get Is What You See: A Series On Spectatorship

In What You Get Is What You See, Mathilde Walker-Billaud invites artists, filmmakers and writers to show us how to become more active, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as audience members, viewers, readers, watchers, listeners of visual and performance arts, radio, TV, graphic design, cinema and Internet. Through their trained gaze and skilled sensitivity, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act.

322 Union Ave. Williamsburg
Brooklyn, NY 11211 

www.uniondocs.org/event/2016-10-23-pilvi-takala/

FAKE. It is not true, it is not a lie.


FAKE. It is not true, it is not a lie.
20 October 2016 - 29 January 2017
IVAM
Guillem de Castro, 118
46003 Valencia

Picassian maxim that the art is a lie that tells the truth remains today. In a world dominated by simulations, by speeches and stories “manufactured” to be true, and an image whose primary condition is part of someone’s sneaky ventriloquism, increasingly practices from creation realm that are ready to dress to camouflage something else to reveal the current truthful regimes. It is the same in an images war. If classical aesthetic was based on goodness, beauty and truth foundations, truthful disruptive practices do not stop asking the same questions, but precisely where nobody expected, when we are fully confident in a space dominated by the comfortable “story” idea, sheltered from frauds and deceptions.
The fake that parasitical and masked format that appears what is not, has become, in many artists’ hands, a weapon that seeks to short-circuit the mass reality manipulation, often using his enemy techniques. However, unlike simple deceit from commercials and political marketing -and also, why not aesthetic- the fake does not seek appearance perpetuation, but as soon as possible to reveal mechanisms and myths that make credibility becomes a possibility: to question, in ultimately, authority linguistic forms, in media, in museums, in academic discourses on moral gossip. With additional problem that often fake also becomes part of the criticizing show, making it authority format.

The exhibition FAKE. It is not true. It is not a lie reviews some camouflages, infiltrations and sabotages undertaken by artists around the world since Orson Welles made credible a Martian attack to expose media’s manipulative power in an increasingly constrained society to certain veracity formats. Artists who invent other artists and ridicule the excellence cultural discourse; documentaries that appear objective realities and that put into question the journalistic resources; performers who feigned roles to blow up certain of what we see or hear; digital artists infiltrated in war games to short-circuit users expectations; false statements submitted in iconic truthful academic museums and end up exposing the fiction and fragility of their power …; not forgetting, of course, the fake is also an inherent format of the power discourse, why FAKE. It is not true. It is not a lie exhibition will show some of the most notorious and terrible fakes institutionally promoted. Ultimately, images war is aimed to establish how we should believe.

Nietzsche said that truths are illusions of which have forgotten that they are.

CURA. NO.23 - A VISIT TO Pilvi Takala. CCA Glasgow



COVER BY JON RAFMAN



INSIDE THE COVER
The Refracting Eye. On Jon Rafman
by Bret Schneider

POP UP SECTION
THE MACHINE
A year-long section edited
by Anthony Huberman

PORTRAITS IN
THE EXHIBITION SPACE
Arnold Rüdlinger: The Dawn of the
Contemporary
by Lorenzo Benedetti

ICONS
Carolee Schneemann, Meat Joy
by Vincent Honoré

ARTIST’S PROJECT
by Guan Xiao

SPOTLIGHT
Ian Cheng in conversation
with Elvia Wilk

SPOTLIGHT
Athena Papadopoulos in conversation
with Samuel Leuenberger

SPOTLIGHT
Cayetano Ferrer in conversation
with Olivian Cha

ABOUT
Davide Balula
by Daniel S. Palmer

SPOTLIGHT
Emmanuelle Lainé in conversation
with Flora Katz

ABOUT
The Clothed Condition. Centre
for Style by Matthew Linde
by Anna Gritz

A VISIT TO
Pilvi Takala. CCA – Centre for
Contemporary Arts, Glasgow
with João Mourão & Luís Silva

HOT!
Rachel Maclean
by Siôn Parkinson

Julien Nguyen
by Lorenz Pammer

Louisa Martin
by Frances Loeffler

Antoine Renard
by Philipp Kleinmichel

curamagazine.com/current/

What’s The Riddle


What’s The Riddle
5 October – 5 November
Private View: Tuesday 4 October 18:00-20:30


Pi Artworks London is pleased to announce What’s The Riddle curated by Berlin-based curator Övül Ö. Durmusoglu. What’s The Riddle is the first of five exhibitions that make up Pi Artworks London’s Curatorial Season that runs from October 2016 – July 2017. For the season Övül Ö. Durmusoglu, Alexandra Schwartz, Sacha Craddock, Oliver Sumner, and Morgan Quaintance have been invited to devise and develop their own curatorial project working with artists predominantly or entirely from outside the gallery’s roster.

Our personal and political environments are shaped and sometimes traumatised by the choices we are asked to make; like or dislike, yes or no, in or out. They offer no solutions to widespread discontent. Perhaps if the answers cannot suffice, then it’s time to reformulate the questions. A parallel reality where things are organically more complex and diverse requires the artistic ability to critique, to imagine beyond the perceived knowledge, and to shift the collective memory. What’s The Riddle brings together artworks that return to fundamental formal questions of artistic work and its system in their alternative conception of time. Kasper Bosmans, Geta Brătescu, Osman Dinç, Rodrigo Hernández, Ad Minoliti, Anca Munteanu Rimnic, and Pilvi Takala search for the riddle, challenge the drive to seek correct answers, and reconfigure their mythologies.

Osman Dinç looks at the essential, earthly knowledge with artistic questions that are plain, direct and poetic. Choreographing elements like metal, glass, and earth together, Dinç is obsessed with working towards new formulations that address essential earthly knowledge. All his artistic life he has worked in series intertwined with each other in an attempt to stop time. Kasper Bosmans works with curiosities, puzzles, riddles and surprises. He gathers material incessantly, collecting it in notebooks and drawings. His drawings Legend Sint Rombout + Vitiligo [2016] are part of the process of making legends to map out his intuitive thinking where idiosyncratic daily impressions enjoy a playful dialogue with universal, ancestral symbology in the way they appear. In Anca Munteanu Rimnic’s newly conjured photographic triptych the artist speaks of a mesmeric possibility between what was, what is and what if'. Her poetic dialogue with the psychoanalytic computer program Eliza from the 1960s tickles her reader with humour, showing what is lost in the interaction between a machine and a human.

Rodrigo Hernández’s anachronistic narratives are composed of fragments of stories, dreams, and visions. He invites his audience into a playful dialogue with these narratives, to be part of a flowing thread of well-learned questions and images they had forgotten over time. Hernandez works with how we perceive and how we make what is perceived our own. In a time of self-affirmations, he prefers to dissipate essences and their mythologies by edging the spheres of our imagination with a dose of very needed ambiguity. The idea behind Pilvi Takala’s Workers Forum [2016] came from her experience working for a service in the United States where users pay for a pretend girlfriend or boyfriend to text them. Takala was fascinated by the potential in the fictional space created in the text message exchange, but like many of the other workers, she was frustrated by the inconsistencies and lack of quality in the existing service. Making Workers Forum she observed that human relationships cannot work without their fictions such as the one provided by the luminescent beep and the machine seems not to function properly without its precarious human prosthesis.

Geta Brătescu video work The Line [2014], made in collaboration with Stefan Sava, came out of her multifaceted thinking on drawing. The camera focuses on her hands as she sketches in her drawing book, the viewer witnessing moments of self-inquiry, discovery, and deviation. The lines make up timeless, abstract and, dynamic forms that Bratescu has worked with all her life. Ad Minoliti creates extensive multimedia spaces in her paintings and sculptures inspired by cyborgs, geometry and abstraction, genderless identities, a sci-fi inspired queer feminist vision, and vintage pornographic magazines. Her humorous personal utopias take place in these spaces shifting the memory of modernist utopias and proposes imaginative ways to transgress our algorithmically fed perception.

Pi Artworks London is open Tuesday – Friday, 10:00 – 18:00 and Saturdays, 11:00 – 18:00. For information, interviews and images, please contact Neil Jefferies: nj@piartworks.com / +44 207 637 8403


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