SHOW AND TRY AGAIN
assembly
30 November 2019
Around the school
To become public necessarily means to assemble — to join systems, orders, groups and publics. It implies aspects of inclusion and exclusion likewise and thus links different audiences, media, spaces, things, and actors. What is the political and emancipatory potential of an assembly? And how can this open up spaces for discussion?

Space and Graphic Design
Sibel Beyer, Tobias Fabek, Christian Kölbl, Leen Murad, Jana Slaby, Phil Stahlhut
Schedule
2 pm Introduction
2.15 pm Workshop
Meeting point:
3rd floor, hallway
Binna Choi — Climate Justice Code for Artists and Art Institutions — On the making through the Assembly and after
6 pm Talk
Meeting point:
ground floor, staircase next to the elevator
Hans D. Christ & Iris Dressler — Models of Collaborative, Transcultural and Transdisciplinary Forms of Curating
6 pm Discussion
HGB Gallery
Assembly Panel — Hans D. Christ and Iris Dressler, Pip Day and Rike Frank, ruangrupa (farid rakun, Indra Ameng), Jörn Schafaff, Simon Sheikh
8 pm Party
HGB Gallery
Party with drinks and music — DJ Dorothy Parker
binna choi

Workshop

Climate Justice Code for Artists and
Art Institutions
 — On the Making Through the Assembly and After
Casco Art Institute: Working for the Commons organizes the annual Assembly as an adaptable model in working together beyond one institutional roof or networked body. Opening itself up to examination, while attending to other (art) institutional practices, the annual Assembly at Casco Art Institute provides a regular moment for institutional reflection, collective agenda setting, and commoning experimentation—namely, for “commoning art institutions.” Built on the 2018 inaugural Assembly edition, “Elephants in the Room,” which focused on methods of unlearning, especially for the redistribution of power, the second edition (25-26 October 2019) with the title “Our House is on Fire” was dedicated to the collective drafting of a climate justice code for artists and art institutions. I will introduce how the assembly is organized and how this model of assembly has emerged and evolved through the pathways of our institutional practice with artists and other practitioners, lending it to make a space for exercising the collective action in the last Assembly.
Binna Choi is a curator, and the Director of the Casco Art Institute: Working for the Commons in Utrecht, The Netherlands, in which she, together with her team, re-established in 2018 under its current name and modus operandi after a 10-year trajectory within the institution. During this time, she conceived the long-term, art-driven transdisciplinary project, “Grand Domestic Revolution” (2009–2013) and the artistic research program, “Composing the Commons” (2013–2016). The latter includes a collaborative project between artist Annette Krauss and the Casco Team Site for Unlearning (Art Organization) and the Arts Collaboratory, a trans-local ecosystem that practices art in an expanded sense of inventing new ways of living and working together. Currently, she is working on a project focusing on the Gwangju Democratic Uprising (aka 5·18) and, together with You Mi, the exhibition on Eurasia both as a relevant geopolitical and geopoetical space for imagining the commons, both set to unfold in 2020. Choi has been a faculty member at the Dutch Art Institute, and a member of Akademie der Kunst der Welt as well as the Community Economies Research Network.
hans d. christ &
iris dressler

Talk

Models of Collaborative, Transcultural and Transdisciplinary
Forms of Curating
From the very beginning of our work at the Württembergischer Kunstverein, we were interested in developing models of collaborative, transcultural and transdisciplinary forms of curating. The exchange and sharing of knowledge, as well as process-based, polyphonic ways of exhibition production, were at the core of these projects. In general, the starting point is a question – how can we relate, communicate and translate between the local and the global, art and activism, institutions and off-spaces (On Difference, 2006 and 2006 – cannot be the same year twice); which forms of resistive artistic practices were developed under conditions of dictatorship in the East and South (Subversive Practices, 2009); or how can we reflect the voice and its social, political, and aesthetical implications from the fields of visual arts, dance, and theory (Acts of Voicing, 2019)? In the context of Bergen Assembly 2019, our point of departure was the concept of assembly. What does it mean when a biennial (or in this case a triennial) is called an assembly? What expectations of art and the curators does this articulate? These questions are reflected and discussed from various perspectives and areas of expertise, questioning the general narrow boards of expertise itself. We will present the various structures, experiences and results of the aforementioned projects focusing on Bergen Assembly 2019, titled, Actually, the Dead Are Not Dead.
Hans D. Christ and Iris Dressler have been the directors of the Württembergischer Kunstverein (WKV) in Stuttgart since 2005. One of their priorities is the exploration of collaborative, transcultural and transdisciplinary practices of curating. They are currently the conveners of Bergen Assembly 2019, titled, Actually, the Dead Are Not Dead. In Stuttgart, Hans D. Christ and Iris Dressler presented solo exhibitions by artists such as Imogen Stidworthy (2018, with Katia Krupennikova), Alexander Kluge (2017, with La Virreina Centre de la Imatge, Barcelona, at La Virreina and WKV), Ines Doujak (2016), Pedro G. Romero (2012, with Valentín Roma), Teresa Burga (2011, with Miguel Lopez and others), Peggy Buth (2009), NOH Suntag (2008), Daniel G. Andújar (2008), Anna Oppermann (2007, curated by Ute Vorkoeper) and Stan Douglas (2007, with Staatsgalerie Stuttgart). Recent group exhibitions include 50 Years after 50 Years of the Bauhaus (2018), Tito’s Bunker (2017, with Biennial of Contemporary Art Sarajevo, at Tito’s Bunker in Konjic and WKV), The Beast and the Sovereign (2016, with MACBA, Paul B. Preciado and Valentín Roma, at WKV and MACBA), Acts of Voicing (2012, with a core group of twelve co-curators) and Subversive Practices (2009, with a core group of thirteen co-curators).
Assembly as Curatorial Strategy
What are the potentials and limitations of assembly as a strategy for facilitating open and inclusive discursive spaces, that is, spaces where a transformative processes of negotiation can take place?
Day 5 – assembly busy anxiety fear program composing commons resource organizing cummunity situated system divided public private state maintain system collective research project knowledge generate artistic thinking unlearning privileges habit question-learning economy unaware blind perform embody knowledge important bodily engagement impossible precarious rely wobbly situation exercise produce need demand pressure busy frustrated obstruction habit cleaning office protect presentation domestic revolution curate ongoing conversation exercises images background time-machine network iceberg relation salary backbone dialogue introduction essays glossary bark common elephant-in-the-room art-institute office annual assembly backside programming presenting interrogation formalize editorial committee draft facilitate writing-process morals transcultural practice modernist transparent democratic participatory institution association tunnels constellation embedded recycle logic economy porosity board backup jury interest architecture exhibition library copy protest ignorance member interest relationship top-down need camp occupation neighbor-help workshop-space cleanup elections escalation administration research knowledge corruption civic obedience homeless competence survive city action-conference political design insurance-value participatory practices organize results invited translated museum local context gather discuss move formation black-board rent events access artist-scene demonstrating legal play opportunities infrastructure institution transition sharing de-curate curator free zones grass-root Mus�e imaginaire medium sharing knowledge fragmented research archive kitchen table representation projection reordering tableau montage constellation collaboration subversive practices isolated generational context dictatorship production canon modernity subjects transfer transition architecture sections conflict political bodies mail-art resistance evidence tomorrow censorship substitute visualize material commentary irritating language imitate adept dissident tactics urgency history official rethinking silk-screen suspicion comprehensive implications inappropriateness experts expertise unusual perspectives productive acts of voicing viewer curiosity story non-seen hidden intimate experience environment chorus rehearsal queer manifesto assembly conference convener logics of production artistic metaphorical rhizome goals processes control to dare sense communality collectivity dissolve revelers singularity network disembodiment pre-formulated unexpected alliances understanding rereading parody utopian thinking narratives emancipatory the ungrieveable vulnerability
Show and try again?Showing as non-action, as a state of being.

Treating show as a process that constantly evolves as on open space that welcomes new participants and ideas. Accepting the neutral space and not treating the activities and knowledge as goods.
 There is no “us” and there is no “them”, there is no “inside” and there is no “outside”.

We should talk more about art. Trusting the process of the show, thus trusting the pause, the gap, the anarchic dimension.

Considering to not show, not try or never again. Freeing the show, emancipating it from the structures. Thinking about what to offer to the show and what to offer to try. Questioning the show and questioning what do you want to show. Finding the right addressee for the question. Showing the try is already a show. Showing the things that are not supposed to be shown. Trying to show on behalf of others, the ones who don’t have the tools to assembly. Trying to avoid the clashes of the show.

Being careful not to be stuck in the loopholes of the show. Not bringing boredom to try again or to show.

Being careful not to cross the line between the show and the show off. Showing the assembly, not assembling the show.

Remembering and caring about the spectator who finally shapes the show. Walking with the spectator through the show. Imagining the show, as seen from non-show, assembly or try!
QUESTIONING THE AFTER-SHOW is the result of a field research - trying to capture the voices of the audience in the form of questions. It created an archive of collected questions, that have grown out of the participation in the 5 days of „Show and Try Again“. Following the approach of generating a living archive that stimulates new reflections and serves as a starting point for new discussions, this encyclopedia was translated into a game - that brings the manifold thoughts of visitors, participants, artists and initiators into motion and contact. This format uses the active, discursive qualities inherent in the nature of the questions and tries to catalogue some of the experiences of the various participants in the program. You are cordially invited to download the game and question the follow-up of the program-week in a playful way.
ASSEMBLY „What is the political and emancipatory potential of an assembly? And how can this open up spaces for discussion?“ „How can these temporal structures become productive in terms of meaning production?“ „How can this meaning production participate in shifts and changes of existing knowledges as well as existing social, economic, institutional conditions?“ „How can coming together support urgent solution building processes?“ „Where is the crack in every system, that allows us to change the structure?“ „Have you had a productive day?“ „What is the role of the pause in public events? And how is it possible to use it more consciously?“ „With what kind of practical measures will art and art institutions take care for our planetary?" „How is it possible to create touchabilities?“ „Where and when to stop or to boycott?“ „Can a discussion also be an artwork?“ „How to talk back? Does the talk back use the same terms as the talk?“ „Is there a post-representational museum?“ „What does it take to stop? When do you say enough is enough?“ „How to perform things that are philosophically impossible?“ „What are the consequences of failure?“ „How is infrastructure embedded in our aesthetics?“ „Was macht einen Vortag für mich lebendig und lädt meine Lebendigkeit als BesucherIn in den Prozess mit ein, in der Form, dass ich mich dazu berufen fühle Fragen zu stellen, zu partizipieren usw.?" „Welche Bedingungen braucht Humor, um sich wohl zu fühlen?“ „How to use movement to restructure hierarchies in curated situations?“ „Who is aware of which friction?“ „Who is allowed to talk about which topic?“ „Can a biennial be an assembly?“ „How is it possible to hack the system?“ „Welche Frage, die du gerne gestellt hättest, hast du nicht gefragt? Und warum?“ „How to invite the (potentials of) vulnerability?“ „How do you dissolve and conserve singularity?“

Memory Shots

31 November, 2019
This morning there is no wake up call at 7:30am and I don’t have the time to remember the day before. Therefore these notes were written down at a later time of the day while trying to remember what I thought about when rushing to the train station after the event.
That really unpleasant moment in a staged situation of an assembly -- people sit in a circular arrangement for one and a half hours (although we learned the day before how long-lasting assemblies can/should be), Mia and me chose to be the ones to hand over the mics between those who want to speak in order to (at least me) be in a background position -- somebody hands over the microphone to me and wants me to explain what he just summed up in a quite abriged way. Actually, I don't want to say anything, I'm still on my way to comprehend the previous speaker’s not voiced line of thought. But instead of not saying anything, my mouth starts speaking and urges others to be part of my gradual production of thoughts while speaking. Sorry. If only I was quicker, I would have said: I prefer not to, thanks, another time. And then I would have handed over the mic to someone else. Or, better: Yes, you’re right, Hans. Thanks. And then I would have handed over the mic to someone else. How to disrupt a preconceived situation. That was the question hovering behind. By singing when singing is not part of the protocol. That’s what Hans proposes. To change the protocol by ignoring it. By intervening when the protocol suffocates the air in the space. Which means not to ask a question in a room full of questions (even if the question tries to twist the perspective and the direction). But to simply change the whole register. To learn how to change one’s own register. Otherwise one can only try to repair. So one option would be to repair the sinking ship while keeping on track at full speed. The other option would be to let the ship sink intentionally, jump overboard (everyone) and start anew.
Everything I haven’t done during this last week. Everything I haven’t said during this last week. ______ ______ ______
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______ ______ ______ ______ ______ ______ ______ ______ ______ ______ ______ ______ ______ Archive of Things Left Unsaid or Undone.

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