Forms of formless knowledge
El Contrato (The Contract), project in residence at AlhóndigaBilbao, begins its first stage with a series of reading sessions that will take place regularly between April 2013 and January 2014, in the Lab room at AlhóndigaBilbao.
Bojana Kunst presents a Glossary session on the notion of “time”. The philosopher, dramaturgue and performance theoretician proposes the reading of “Useless Time” (2013) as a preview of the conversation that will take place with the audience.
To take part in the session and be sent the text, please write to email@example.com. Please note that the session will be in English.
The following is a selection of fragments of the text “Useless Time”:
The seminar will address the question of exhibiting textiles in a contemporary exhibition format. The morning will take the form of an informal workshop with presentations looking at the current positioning of textiles within contemporary art practice and curatorial strategy. Artists and curators will present examples of ways in which they have used textiles to investigate their potential, as material, metaphor and archive within the contemporary art space.
On the 24th of February, Retrospectiva, an exhibition by Xavier Le Roy, opened at the Fundació Tàpies, Barcelona. The idea of the retrospective works in the exhibition as a means of production rather than a way of ordering his trajectory as an artist. On the 25th of February, Xavier Le Roy’s definition of “Form” could be heard as a part of Bulegoa z/b’s staging of Un, dos, tres, cuatro paredes (One, two, three, four walls).
In 1965, the Palestine Liberation Organization (PLO) proclaimed the launch of a revolution in its political program, and its armed struggle to liberate Palestine from occupation. The organization was structured to operate like a government in exile, replete with executive and legislative bodies, a constitutional text, a higher command, as well as military and civilian leaderships. In 1970, the higher command and institutional headquarters moved from Amman (Jordan) to Beirut (Lebanon).
Peter Friedl is one of four artists invited by Bulegoa z/b to create a text to be read as part of the staging of “Una, dos, tres, cuatro paredes” (“One, two, three, four walls”) within which the Jorge Oteiza work Homenaje a Velázquez is to be presented. This project has been specifically produced for the exhibition “Estancias. Prácticas restituyentes sobre la Colección ARTIUM” (“Stanzas.
Putting forward, declaring, stating... immersed in our own discourse, we sometimes forget something as simple as listening. This is the title given to a set of videos to take notice of, listen to, perceive and pay attention to. Documents which interpret and reflect on the idea of a nation as a laboratory for creation and cultural transfer. The screening is also conceived as a space for reflection on cultural processes and practices within the Philippine imaginary in the symbolic space of Western territory.
The domestic and public arenas have been considered, and projected, as independent areas. The home, in shared rhetoric, has been constructed as a depoliticised space of disconnection, whereas public space is seen as that of neutrality and disaffection.
Nofuinidieike (one who eats stone)