Cally Spooners „Lecture on Stagnation“, gelesen von Will Holder …für alleinerziehende Mütter, 2021 gefolgt von einem Gespräch zu Dead Time zwischen Cally Spooner und Hendrik Folkerts.
Freitag, 19.11.2021, 18 Uhr
Kölnischer Kunstverein, Köln
Seit 2007 veröffentlicht Will Holder mündlich Werke, die von Personen verfasst wurden, die nicht alle oder keine Aspekte seines weißen, männlichen, heterosexuell sprechenden Körpers teilen. Die Präsenz dieser Diskrepanzen soll DAS hervorheben, was unsere Körper gemeinsam haben und kollektiv durchmachen, anstatt nur über das zu sprechen, was uns normativ trennt. Im Mittelpunkt dieser Reihe von Veröffentlichungen steht Alice Notleys Doctor Williams’ Heiresses (1980) und der ausdrückliche Wunsch der Dichterin, eine weibliche Sprechstimme innerhalb männlicher Versmaße herzustellen. Etwas mit diesem Bewusstsein in Notleys Lyrik Vergleichbares versucht Will Holder in seiner Lesung von Cally Spooners „Lecture on Stagnation“.
Die Lesung leitet über zu Cally Spooners fortlaufendem Projekt Dead Time. In den kommenden drei Jahren wird Dead Time in regelmäßigen Abständen von Will Holder veröffentlicht werden, um die Hypothese zu testen, „tote Zeit“ sei ein Ereignis, das chrononormativ-inaktiv ist und daher das Potenzial hat, Leben wiederherzustellen. Dead Time (2018) ist eine 63-seitige Performance-Partitur. Sie wurde von Cally Spooner in einem techno-temporalen Performance-Klima komponiert, einem Tatort, an dem es immer schwieriger wird, zu unterscheiden, was lebendig und was tot ist. Seit 2018 übersetzt Spooner Dead Time schrittweise in eine Reihe von Werken, die unter verschiedenen Bedingungen koexistieren können und in eine Oper integriert werden könnten. Im Kölnischen Kunstverein diskutieren Folkerts und Spooner den gegenwärtigen Zustand von Dead Time und vermeiden zukunftsorientierte Spekulationen und chronologische Reminiszenzen. Begleitet werden sie von Melody Giron am Cello. Sie wird sich dem Gespräch aus New York anschließen, um das aktuelle Werk von Dead Time vorzustellen.
Der Typograf Will Holder stellt Bücher her und veröffentlicht die Arbeiten anderer sowohl in mündlicher als auch in gedruckter Form. Er möchte die Aufmerksamkeit auf eine fortlaufende, geteilte Autorenschaft von Bedeutung lenken, die in den Lücken zwischen Körpern, ihrer Sprache und der gedruckten Seite entsteht. Seit 2007 ist Holder Herausgeber von F.R.DAVID, einer Zeitschrift, die sich mit Lesen, Schreiben und Typografie beschäftigt: mit der Organisation und Reproduktion von Sprache, herausgegeben von uh books, Brüssel.
Hendrik Folkerts kuratierte zahlreiche Einzel- und internationale Gruppenausstellungen sowie Sammlungspräsentationen, neue Auftragsarbeiten und öffentliche Programme, die im erweiterten Feld von Performance verankert sind und auf feministischen, queeren und anti-kolonialen Kunstgeschichten basieren. Er ist Kurator am Moderna Museet Stockholm. Zuvor war er als Dittmer Curator of Modern and Contemporary Art am Art Institute of Chicago (seit 2017-2021), Kurator der documenta 14, Kassel/Athen (2014-2017), Kurator für Performance, Film und diskursive Programme am Stedelijk Museum, Amsterdam (2010-2015) und als Koordinator des kuratorischen Programms am Kunstzentrum De Appel, Amsterdam (2009-2011) tätig. Er schreibt für Kunstzeitschriften und -magazine sowie für Ausstellungskataloge und Künstlermonografien.
Cally Spooners künstlerische Praxis, die stark auf ihrer philosophischen Ausbildung fußt, entsteht durch Schreiben, entfaltet sich als Performance und wird schließlich zu Film, Sound, Skulptur, Zeichnung oder Partitur. Ihre Performances nutzen Konzepte wie Dauer und Probe als Akte des Widerstands gegen technologische, zeitliche und performative Klimata, in denen es schwer ist, zwischen Lebendigem und Totem zu unterscheiden.
Dead Time ist eine Koproduktion von reboot:responsiveness; O-Overgaden, Kopenhagen; Le Centre Pompidou, Paris.
Deadtime wird unterstützt…
… Organisatorisch und praktisch von Rhea Dall von O-Overgaden, Kopenhagen.
Wissenschaftlich von der Königlich Dänischen Kunstakademie und der Universität Kopenhagen.
Finanziell von der Novo Nordisk Foundation, Hellerup.
reboot: responsiveness
Der Kölnische Kunstverein und der Kunstverein für die Rheinlande und Westfalen, Düsseldorf präsentieren gemeinsam reboot: – ein kollaborativer, zyklischer, antirassistischer und queer-feministischer Dialog zwischen performativen und forschungsbasierten Praktiken.
Der erste Zyklus, reboot: responsiveness, geht von den Sehnsüchten, Ängsten und Hoffnungen aus, die durch die aktuelle Pandemie verstärkt werden. An zwei unterschiedlichen, jedoch miteinander verbundenen Orten, die sich gegenseitig unterstützen, ergänzen und herausfordern, bietet reboot: responsiveness Infrastrukturen für provisorische Inszenierungen, Proben, prozesshafte Choreografien und Begegnungen rund um Themen wie Präsenz, Intimität, Fürsorge und Verantwortung. reboot: responsiveness entwickelt Aktivitäten gemeinsam mit einem Kernkollektiv bestehend aus Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia. Mittels verschiedener Formate und gemeinsam mit weiteren eingeladenen Gästen und dem Publikum in Köln und Düsseldorf werden diese Künstler:innen und Denker:innen Wege ergründen, einander Zeit zu widmen und zeitgemäß mit Zeit zu performen, alternative Vokabulare, Archive, Gesten, Bewegungen und Übersetzungen zu entwickeln, Ressourcen und Ideen zu teilen und weiterzugeben, und Modi des Widerstands und des Miteinanders als Antwort auf die aktuelle Situation, in der wir leben, zu finden.
reboot:
Konzipiert von Eva Birkenstock, Nikola Dietrich und Viktor Neumann
Kernkollektiv: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner und Mariana Valencia
Graphikdesign von Sean Yendrys
http://reboot-responsiveness.com/de/
Cally Spooner: Dead Time (Vortrag und Gespräch)
Cally Spooner: Dead Time (Lecture and Conversation)
Cally Spooner’s “A Lecture on Stagnation” read by Will Holder …for single mothers; followed by a conversation on Dead Time, between Cally Spooner and Hendrik Folkerts.
Friday, November 19, 2021, 6 pm
Kölnischer Kunstverein, Cologne
Since 2007 Will Holder has orally published work authored by those who do not share all or any aspects of his white, male, heterosexual speaking body. The presence of these discrepancies are intended to highlight what our bodies DO have in common, and collectively undergo, rather than only speak of that which normatively divides us. Central to this series of publications is Alice Notley’s Doctor Williams’ Heiresses, (1980) and the poet’s expressed desire to synthesise a female, speaking voice within male poetic meters. Will attempts something comparable, with respect to a sense of Notley’s poetry, while reading Cally Spooner’s “Lecture on Stagnation”.
Will’s reading is a way to lead into Cally Spooner’s ongoing project Dead Time. Over the coming three years, Dead Time will be periodically published with Will Holder, to test a thesis —- ‘dead time’ is an event that is chrononormatively-inactive and therefore holds the potential to restitute life. Dead Time (2018) is a 63 page performance score. It was composed by artist and writer Cally Spooner, in response to what she has coined to be ‘a global techno-temporal-performance culture’; a crime scene in which it is increasingly difficult to tell the difference between what is alive and what is dead. Since 2018 Spooner has been incrementally translating Dead Time into a number of works that can coexist under various conditions, and which will culminate in an Opera in the future. For now, at the Kölnischer Kunstverein, Spooner and curator Hendrik Folkerts discuss the present-tense condition of Dead Time, avoiding future-orientated speculation and chronological reminiscence. They will be accompanied by Melody Giron on cello. She will join the conversation from New York, to present Dead Time’s current work in progress.
Typographer Will Holder makes books, and publishes the work of others, orally and in print. He likes to draw attention to an ongoing, shared authorship of meaning, co-produced in the gaps between bodies, their speech and the printed page. Since 2007, Holder edits F.R.DAVID, a journal concerned with reading & writing and typography: the organisation and reproduction of language, published by uh books, Brussels.
Hendrik Folkerts has curated numerous solo and international group exhibitions as well as collection presentations, new commissions, and public programs, anchored in the expanded field of performance and building on feminist, queer, and anti-colonial histories of art. He is a curator of Moderna Museet Stockholm. He previously held positions as Dittmer Curator of Modern and Contemporary Art at the Art Institute of Chicago (2017–2021); as Curator at documenta 14, Kassel/Athens (2014–2017); as Curator of Performance, Film, and Discursive Programs at the Stedelijk Museum, Amsterdam (2010–2015); and as the Coordinator of the Curatorial Program at De Appel arts centre, Amsterdam (2009–2011). He frequently writes for art journals and magazines, as well as exhibition catalogues and artists’ monographs.
Rooted firmly in her training in philosophy, Cally Spooner’s practice is generated through writing, unfolds as performance, then lands as film, sound, sculpture, drawings or scores. Her performances incorporate duration and rehearsal as acts of resistance to techno, temporal and performative climates in which it is hard to tell the difference between what is alive and what is dead.
Dead Time is co-produced with reboot:responsiveness; O-Overgaden, Copenhagen; Le Centre Pompidou, Paris.
Deadtime is fully supported…
… Organisationally and practically, by Rhea Dall of O-Overgaden, Copenhagen.
Academically, by the Royal Danish Academy of Fine Arts; and the University of Copenhagen, Copenhagen.
Financially, by Novo Nordisk Foundation, Hellerup.
reboot: responsiveness
Kölnischer Kunstverein, Cologne and Kunstverein für die Rheinlande und Westfalen, Düsseldorf jointly announce the launch of reboot: – a collaborative, multi-cycle, anti-racist, and queer-feminist dialogue encompassing performance and research based practices.
The first cycle, reboot: responsiveness, departs from desires, anxieties and hopes amplified by the current pandemic. Hosted in two different yet aligned sites that mutually interact with one another as much as they support, complement and challenge each other, reboot: responsiveness provides infrastructures for provisional stagings, rehearsals, processual choreographies, and encounters around notions of presence, intimacy, care, and responsibility. reboot: responsivenessdevelops activities together with a core collective comprised of Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia. Embracing diverse formats, and working together with further invited guests and audiences in Cologne and Düsseldorf, these artists and thinkers will explore ways to dedicate time to one another and to perform in time, to develop alternative vocabularies, archives, gestures, movements, and translations, to share and transmit resources and ideas, and to find modes of resistance and togetherness in response to the current situation we are living in.
reboot:
Conceived by Eva Birkenstock, Nikola Dietrich, and Viktor Neumann
Core Collective: Alex Baczynski-Jenkins, Gürsoy Doğtaş, Klara Lidén, Ewa Majewska, Rory Pilgrim, Cally Spooner, and Mariana Valencia
Graphic design by Sean Yendrys
http://reboot-responsiveness.com/
Hounds of Love – Juliette Blightman & Lily McMenamy
Hounds of Love
An evening zoom of music, performance and readings, with friends and heroes of Juliette Blightman and Lily McMenamy. The artists come together for the first time, both drawing inspiration from the world around them; as women, as friends and as cosmic dancers.
Tune in from 7 pm Köln time.
The conversation takes place via the internet platform Zoom. With the following link you can join the meeting via your browser:
For access via a zoom account:
Meeting-ID: 915 7422 2270
The event is part of the exhibition THE KÖLN CONCERT by Dorothy Iannone & Juliette Blightman and can be viewed here afterwards:
Show & Tell – Tarot Conversation: The Tower by Jessa Crispin
Instagram Live: Tarot Conversation: The Tower by Jessa Crispin, independent writer and editor (USA)
Online Event, no registration required, access via our Instagram-Account“
A tower, hit by lightning or perhaps simply on fire, is nearing collapse. In many versions of the card, two figures fall from the top of the tower to the ground below. Rather than the self-destruction of the Devil, the Tower is destruction that comes from the outside. It is a shaking, a tumult, a calamity. What you have built up, the Tower takes down. It is perhaps the most dreaded card in the deck. It falls at number sixteen.” – Jessa Crispin, “The Tower”, in: The Creative Tarot: A Modern Guide to an Inspired Life, New York 2016.
Feminist and astrology-affin writer and publisher Jessa Crispin takes us on a journey to the secrets and opportunities of tarot. In the context of Emma LaMorte‘s exhibition Aussicht, she talks about the destructive but also recovering qualities of the tarot card “The Tower”.
Jessa Crispin is an independent writer and editor based in Baltimore, MD. From 2003 to 2016 she was responsible for Bookslut, a monthly magazine and blog and has been hosting the podcast Public Intellectual since 2017. She frequently writes for The New York Times and The Washington Post covering politics, art, literature, film, pop culture, food, feminism, religion, and housing and is a columnist for The Guardian since 2019. Most recently she has published Why I am Not a Feminist: A Feminist Manifesto (2017), The Creative Tarot (2016) and The Dead Ladies Project (2015) and is currently working on her book-in-progress My Three Dads (planned for 2021). In collaboration with the artist Jen May she printed and distributed the Spolia Tarot Deck in 2018 and is giving tarot readings, lectures, and workshops on a regular basis.
Show & Tell is an ongoing series of events in various formats, accompanying the exhibition or independent of it. Changing guests are invited, including artists, authors and musicians. The series is supported by:
Freiherr Carl von Perfall, Köln, Über das Verhältnis des Laien zur Kunst
Carl Langheim, Karlsruhe, Über künstlerischen Wandschmuck im deutschen Bürgerhaus
Kunst, ein Machtinstrument? Museen zwischen Politik, Marketing, Sammlerinteressen und Besucherströmen (Art, an instrument of power? Museums between politics, marketing, collectors’ interests and visitors)
Die Rezeption russischer Kunst im Westen – Eine vorläufige Bilanz (The Reception of Russian Art in the West – A Preliminary Balance)
Fia Backström
Herd Instinct 360°
5 pm, Lecture Performance, performed by Frances Scholz
Fia Backström describes her lectures Herd Instinct 360° as cult action or group therapy and promises: „We will feel well“. Herd Instinct 360° is an invitation to hear, to see and speak over community. In the performance Backström performed by Frances Scholz she takes Dan Grahams historical work Performer/Audience/Mirror (1977) as a starting point and produces a kind feedback for the pictures, which groups produce. While with Graham the person in the audience is reflected as part of the mass, Backström´s performance is a kind of public speech in form of a lecture, a comment on forming and behaviour-forms of groups. Between November 2005 and January 2006 Fia Backström (born 1968) set up three Herd Instinct 360º Sunday situations at Andrew Kreps Gallery in New York. The project has travelled to numerous locations such as United Nations Plaza, Berlin, De Appel, Amsterdam and Serpentine Gallery, London. Her work has recently been shown at the Whitney Biennial, New York, White Columns, New York, ICA, London and The Kitchen, New York.
Ana Vujanovic, Bojan Djordjev, Marta Popivoda and Sinisa Ilic
TkH (Walking Theory), The last theoretical performance – Génerique
8 pm
After a long line of theoretical performances performed in an opera house, boxing ring, botanical gardens, on the internet, TV, radio, in the university amphitheatre, classroom, museum, gallery, paper and documenta 12 in Kassel, Walking Theory (TkH) shows its body for the last time. Its breasts, to be more precise.
TkH (Walking Theory) was founded as a research theoretical-artistic group in Belgrade in 2000. Main domain of the work of the TkH Platform is to encourage the development of contemporary performing arts practices and their critical discourses through the TkH Journal for Performing Arts Theory, educational projects, an on-line platform, and artistic and theoretical projects. TkH Platform is also engaged in the cultural policy field and empowering of infrastructural and discoursive potentials of independent artistic and cultural initiatives.
