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November 2016

 

I was invited by Verina Gfader to contribute to Echo. This is from the introduction...

Echo is a reverberation of an original sound after this sound has stopped or is in the moment of evaporating. Not a background noise, it resonates and doubles a tonality, pitch, vocation. I am thinking about the experience of echoing in a particular mountain landscape, something to do with a sound being thrown, trashed towards a wall or large rock–and returning in a ghostly and consuming fashion.

How did Echo the project come about?

The materiality of Echo project serves as a hint to what happened during a visit of the Los Angeles Art Book fair in January 2014. It was on the occasion of a prior book project, titled Prospectus, that the editorial team had been invited by the LAABF team to both present the printed matter in the format of running a book stall, and stage a discursive event at the Classroom. Out of curiosity of exploring a ‘present LA,’ that is the very surroundings and stage of the fair, we–three Londoners at the time–accepted.

ok.

Echo project charts encounters with voices and questions, some out of synch, some in dialogues; musical, conversational confrontational, and in dis/agreement. Content-wise one finds a phantom meeting around a failed or missed art book fair deal . . .

a sort of surplus of a fair (or affair)?

You could say so. An essay on the General Intellect and Financialization sets a conceptual ground for rethinking subjective freedom; an encounter with Another LA opens out a multitude of cartographies - revealing more discreet and politically dynamic movements in the urban grid; there are glimpses of Machine Project’s events, a visual story around mothers and demonology (Kathy Acker’s property deals in the UK), and more; and future materials formalized as poster texts . . .  and possible scenarios.....

Mariana Santiago & Verina Gfader, 2016

Read the complete introduction...

Communities don’t just happen, they’re made.

 

Stools I contributed to What Happens to Us a project curated by Marsha Bradfield and Amy McDonnell to examine democracy as a system of community formation.

The project unfolds in the long-shadow of Britain’s EU 'Brexit' referendum and Donald Trump's election as President of the United States of America. It has  compelled many to ask about the legitimacy of 'representative' democracy as a system of governance, combined with a willingness to explore alternatives.

What Happens to Us takes as its departure Group Material’s Democracy (1988-9); an exhibition which was produced collaboratively, through many round-table discussions on the pressing issues of the day, such as AIDS, cultural participation, election and education; today, we'd want to add climate change, mass migration and economic disparity to this mix.

In What Happens to Us  we will convene, research, propose and make decisions together, we will produce an exhibition and its ethos over time. What Happens to Us will host workshops, talks, discussions and screenings in four phases during its month - consisting of  Build, Elect, Use and Account to explore the politics in our comming together. ​

I'm part of an insurgent research group working on the Anthropocene Atlas of Geneva, and London (TAAG and TAAL).

I contributed to:

anticipations: a manifesto on the challenges of contemporary production in the arts

 

The publication concludes the pre-launch programme organised by the Fondation d’entreprise Galeries Lafayette which begun in October 2013 - 2016. It presents the institutional and curatorial research initiated by the Fondation through production residencies, exhibitions, commissions, workshops and events as well as through numerous projects in France and abroad.

Query

 

Cloud

 

Cloud, cast plaster, London c1986 #FromTheCollection #ObjectOfTheWeek

 

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Prospectus cataloguesstrainertracing document categoriesPARADE: disassemblyChiringuitoFarmer Gray