The Life of an artist - symposium

The Life of an Artist

Les 8 avril de 12h à 14h30 (symposium) et 9 avril 2011 de 11h à 18h (symposium et Open Day)

Présenté pendant les Open Day de tous les programmes Master au Piet Zwart Institute, Willem de Kooning Academy

Curatrice : Lili Reynaud-Dewar, en collaboration avec le Master of Fine Art, Piet Zwart Institute, Rotterdam et le programme WORK.MASTER de la Head – Genève

Avec des conférences et performances de :
Jim Colquhoun, Maria Fusco, Karl Holmqvist, Elisabeth Lebovici, Pierre Leguillon, Avigail Moss

Et :
Giles Bailey, Lars Brekke, Jane Fawcett, Serena Lee, Kirsty Roberts, Deniz Unal, Camilla Wills, Miho Shimizu, Sabrina Soyer

Ainsi que des projections et des œuvres de :
Michel Auder, Jay Street Film Project, Renato de Maria, Frances Stark, Barbara Visser, et alii.

Piet Zwart Institute
Mauritsstraat 36
Rotterdam – Pays Bas
www.pzwart.wdka.nl

Programme du symposium

Vendredi 8 avril

12.00 Lili Reynaud-Dewar, The Life of an Artist (introduction)
12.15 Giles Bailey, Three Places (performance)
12.25 Miho Shimizu, Contacting Woody Allen (video)
12.30 Elisabeth Lebovici, One, Two, Three Lives (lecture)

15.00 Jane Fawcett, On Rob Stone’s essay “Still Life, or...” (reading)
15.15 Maria Fusco, COSEY COMPLEX (lecture and reading)
16.20 Lars Brekke, Untitled (performance)
16.30 Avigail Moss, Ambivalent Instruments (lecture)

18.00 Serena Lee, Silent Thursdays (performance)
18.30 Karl Holmqvist, World of Echo (performance and reading)
19.15 Kirsty Roberts, Gill Roberts (performance)

20.30 Camilla Wills, Carson McCullers: Night Work (performance as an upright piano)
20.45 Pierre Leguillon, Diane, Ad and Tupperware (lecture)
22.00 Sabrina Soyer, La Declaration d’Independance de la Signification (performance)
22.15 Jim Colquhoun, Gangrel Bodies (performance)

23.30 Michel Auder, The Feature, 2008 (video)

Samedi 9 avril

11.00 Renato de Maria, Il Trasloco (Moving Out of the Future), 1991 (video)
12.30 Jim Colquhoun, Gangrel Bodies (performance)

14.30 Anthony McCall, Claire Pajaczkowska, Andrew Tyndall, Jane Weinstock, Sigmund Freud’s Dora: A Case of Mistaken Identity, 1979 (video, originally 16mm film)
15.15 Suely Rolnik, Archive for an Event-Oeuvre, Project for Activating the Body’s Memory of an Art Work and Its Context (Interview between Yve-Alain Bois and Suely Rolnik), 2003-2010 (video)
17.15 Frances Stark, Structures That Fit my Opening and Other Parts in Relation to Their Whole, 2006 (Powerpoint presentation)
17.45 Barbara Visser, Last Lecture, 2006 (video)
18.10 Sharon Hayes, Symbionese Liberation Army (SLA) Screeds # 16, 2003 (video)

19.00 Deniz Unal, Untitled (performance)
Note: alternative location: Bar De Regenboog, Van Oldenbarnevelstraat 148a, Rotterdam

And studio presentations by all artists of the Master of Fine Art programme: Giles Bailey, Lars Brekke, Edward Clive, Edmund Cook, Jane Fawcett, Toon Fibbe, Rachel Koolen, Serena Lee, David Lehman (aka Arvo Leo), Frode Markhus, Fran Meana, Anna Okrasko, Anouchka Oler, Catarina de Oliveira, Se Ra Park, Susana Pedrosa, Linda Quinlan, Kirsty Roberts, Deniz Unal, Martijn in’t Veld, Lee Welch, Camilla Wills, Timmy van Zoelen

Premier volet d’une collaboration triple entre le programme WORK.MASTER de la Head – Genève et le Piet Zwart Institute de Rotterdam autour d’un projet de l’artiste Lili Reynaud-Dewar, The Life of an Artist prend pour point de départ la question la biographie, envisagée sous ses dimensions multiples, tant historiques, fictionnelles que politiques comme matrice de l’œuvre d’art. Développé dans le cadre de deux ateliers croisés impliquant des étudiants en Suisse et aux Pays-Bas, le projet associe un choix d’invités internationaux, artistes et de théoriciens, ainsi que des films, œuvres et documents. The Life of an Artist se déploie sous la forme d’un symposium à Rotterdam, tenu au Piet Zwart Institute les 8 et 9 avril 2011, d’une exposition à Genève, à LiveInYourHead, Institut Curatorial de la Head – Genève (vernissage le 16 juin 2011) et d’une publication collective, à paraître à l’automne 2011.

« In Nadja Breton recalls an anecdote concerning Victor Hugo and a pair of gates, a large gate and a small gate at the entrance to an estate: this double threshold was passed daily by Hugo and his companion Juliette Drouet. What follows is a description of the routine of remarks exchanged between the couple in reference to these gates. Repeated by them for perhaps the thousandth time as ritual. How does, why does - Breton muses - this anecdote (petty event of everyday life) allow him, Breton, an incomparable awareness and access into sensing what Hugo was, what he is. ’As far as I am concerned, a mind’s arrangement with regards to certain objects is even more important than its regard for certain arrangements of objects.’ Where do authors go when characters interrupt their stories? An author can transform a string of words into the finest gossamer web, the most shimmering, delicate thing in the world, but there will always be a tired spider (with eight eyes) slumped in the corner. The door of a book is left ajar; the life of the author, of the artist is performed in a glass house, sleeping under glass sheets, their histories rendered available.

The common assumption might be that a life lived produces biography by default, just as an act produces consequences. We propose to complicate such a premise. By inviting contributors to bring and expand Another alongside themselves, we will pursue an intuition that the biographical project may itself produce and determine the existence and approaches of the chronicler. We will use the structure of a symposium to indulge in the fluctuating proximities between two or more authors, when two or more such subjectivities converge in a particular, specific moment of research or a work. A domestic or semi-private setting will be formed within the Piet Zwart Institute in which to consider the construction of the role of an artist in relation to Another, whether that other is a human, building or second imaginary self. The Life of an Artist symposium sets out to map the alternating levels in these dialogues of inscription and dedication through lectures, performances and screening ».

(Texte de Camilla Wills)