SHOW AND TRY AGAIN
jana dohmann
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.
INITIAL QUESTIONS TO THE AUDIENCE

What (new) questions arise for you from your participation in Show and Try Again?

Which questions will you take with you from this event?

Which questions (with which you may have come) have remained unanswered?

Which question are you spreading? Which question brought you here?

Is there a question circulating in your mind after you have participated in Show and Try Again program?
Questioning the after-show
SHOW
—How can the act of showing be shown itself?
—How does exhibition design work as a practice of knowledge?
—How does a model relate to the actual exhibition space?
—As an artist how to get rid off responsibility in the context of showing?
—Sehen Sie sich mehr als Dadaisten oder als Konzeptkünstler?
—Würden Sie das Nichts erkennen, wenn ich Sie nicht darauf hinweise?
—What is a work and what is not a work?
—What does it do when there is always light on?
—Welche Position nehme ich ein?
—How does your position as an art director influences your position as a graphic designer?
—What ist the relation between producing & showing?
—What is the function of an archive when it is empty?
—Where do you get your information from?
—Can you be befriended with the artist as a curator?
—Was für eine hierarchische Beziehung besteht zwischen KuratorIn und KünstlerIn?
—Wie kritisch darf & muss ich in meiner Rolle als Kuratorin zur Arbeit & Person der KünstlerInnen stehen, mit denen ich arbeite?
—Warum diese Beiträge bei „Show and Try Again?
—Welche räumlichen Bedingungen führen zu Passivität?
—Welche Bedingungen verhindern sie - im Kontext von Veranstaltungen wie „Show and Try Again?
Why is the idea of order so important for an artist and how does it affect your work as a curator?
—What happens if, in places where the information is supposed to be given, it is not accessible to the visitors?
—Imagine a library where you are not allowed to touch the books, how do you behave in such a setting?
—Which day would you have chosen to work with it curatorially or artistically?
—Does exhibiting the work of a photographer, which is specifically very photographic, makes the photographer an object of photography?
—Are libraries places of public knowledge? In which way - if at all - can libraries be understood as democratic?
—Inwiefern fördert der Einsatz von Technik - im Kontext einer öffentlichen Präsentation - eine Routine der Performance?
—What is a healthy number of exhibitions per year for a curator?
TRY
—How do (these) processes of experimenting and re-arranging of given contexts perform as a laboratory?
—How do they question and re-formulate the conditions on being on display?
—What role does translation play when cultures are dominated or suppressed by language?
—To what extent can translation be used as a tool of change within a global art language”?
—Within dominant languages, can new concepts be formed and communication spaces opened?
—And how can untranslatability be included in a process of cultural exchange?
—Warum erzeugt es discomfort jmd. beim ausprobieren zuzuschauen?
—Darf ausprobieren öffentlich sein? Muss ausprobieren öffentlich sein?
—Wie lassen sich (zu) schnell etablierte Strukturen und Rollen in sozialen Gefügen dekonstruieren und neu definieren?
—Was bringt dich dazu eine Frage zu stellen?
—Who is in power?
—Who’s research is it? And who is benefiting?
—How is it possible to transfer knowledge?
—How is it possible to talk back?
—Does the talking back use the same terms?
—What are the terms we rely on?
—Is there a post-representational museum?
—Do we need language to communicate?
—How is it possible to invite someone to speak first?
—How important are social contracts?
—To whom ist the question addressed?
—Erwartet man an einem Veranstaltungstag mit dem Titel Try eine professionelle, für die Öffentlichkeit relevante Performance?
—How to create a space where to show and rehearse at the same time?
—How is cultural appropriation exhibited?
—How is it possible to invite the moment of trying (in a show, or an exhibition)?
—What is critique?
—How to situate critique?
—Wie sehr beeinflusst die räumliche Gestaltung eines Veranstaltungsortes meine Zugänglichkeit als BesucherIn?
—Was könnten Modelle der Raum- und Situationsgestaltung sein, die feste Hierarchien und Machtstrukturen innerhalb eines Settings vermeiden?
—Inwieweit hat die Offenheit und Unfertigkeit eines Vortrags Einfluss darauf, wie ich mich adressiert fühle und mitdenke?
—Ohne Lücken kein System — wie sehr bestimmen die Lücken in einem System darüber, ob ich Eingang darin finde?
—How is it possible to invite and to use the potentials of failure?
—How can we use the potentials of the unplanable in curatorial situations?
—How can, in terms of the curatorial, the backstage of a topic, an exhibition, a context be shown and documented?
—Do I take the mic?
—Are there guidelines in artistic research?
—How to implement the potential of waiting?
—How can one ask back?
—Is there an accessibility policy in the HGB?
—Wie und woher kommt es, dass es oft nur die zwei klaren Positionen, Antworten & Fragen, innerhalb von Q&A- Situationen gibt und diese so unumstößlich etabliert sind?
—Inwieweit ist die Schüchternheit in Q&A Situationen Fragen zu stellen, Spiegelung eines erlernten hierarchisch geprägten Musters aus dem Kontext von institutioneller Wissensvermittlung (Schule, Ausbildung, Studium)?
—Wenn man sich seiner Meinung enthält, kann das als ein Moment des Pausierens verstanden werden? Oder ist es generell immer die Voraussetzung, eine Meinung oder eine Frage zu haben?
—Warum wie ausstellen?
—Welche Arten des Ausstellens bzw. Zeigens schließen wie, wen aus?
—Can we extend methodologies of researching back to encompass wider questions of access and accessibility?
AGAIN
—How can this process of re-framing lead into an ongoing oscillation between the past and the future? 

—What if we consider the exhibition in terms of rehearsal, a medium commonly defined by its static appeal?
—And what if the rehearsal process itself is put on public display? How does that potentially change the notions of performance and rehearsal?
—How would it affect our understanding of what exhibitions do, how they are processed, who is involved and in what way?
—Was könnte situatives Kuratieren bedeuten?
—Wie lässt sich, im Kontext des Kuratorischen, ein sozialer Raum im öffentlichen Raum einrichten?
—Speaking of rehearsal as a performance/exhibition, how can it be archived?
—Denkt man eine Chorprobe als öffentliche Ausstellungssituation, was passiert mit den Noten aus einer Chorprobe und welche Rolle haben sie im Nachhinein?
—How to create a space where to show and to rehearse at the same time?
—Wenn wir Geschichten von Frauen erzählen, die in Männerdomänen eingedrungen sind, um diese aufzubrechen, zementieren wir dann durch unsere (Wieder)-erzählungen eben diese Machtstrukturen?
—Was macht eine Situation zugänglich?
—Is an exhibition a yesterday or a tomorrow?
—How can an exhibition involve a side for showing and trying? What if the rehearsal process itself is put on display?
—Wie unterschiedlich kann ein und der selbe Raum bespielt werden?
—Wie sehr beeinflussen Vorprägungen oder Erinnerungen die Wahrnehmung eines Raumes?
—Muss eine Frage ‚gut‘ sein, damit sie gestellt werden darf?
—What do you do when you are invited to the party but do not feel welcome?
—Wie lassen sich (allzu) schnell etablierte soziale Strukturen und Rollen in sozialen Situationen dekonstruieren und neu definieren?
—What are the potentials of rehearsal that we can use for the curatorial?
—Was ändert Wissen? Kann Wissen alleine etwas ändern? Oder braucht es eine (dazugehörige) Handlung?
—Wieviel hat das subjektive Gefühl von involviert sein Einfluss auf meine tatsächliche Teilnahme, Partizipation an einer Veranstaltung, an einem Format? Und wieviel hat mein Befinden mit der räumlichen Gestaltung einer Situation zu tun?
—Wie bedingen sich geschriebenes Recht und ungeschriebene sozialen Normen gegenseitig?
—Welche Vor- und welche Nachteile bringen Formate, die Theorie und Praxis in einer Veranstaltung zusammenbringen?
—Inwiefern ist eine Ausstellung in ihrem Format offener oder flexibler als eine Theater- oder Tanzproduktion?
—Wie lange kann man proben, bis es sich erschöpft?
—Was ist die tieferliegende Ebene hinter dem Moment des rehearsals , die wir für das Kuratorische nutzen wollen und können?
—Gibt es einen Zusammenhang zwischen der physischen Position, in der man sich als ZuschauerIn während eines Vortrags befindet, und der Aufnahme des inhaltlich präsentierten?
—Wo ist der Basketballkorb?
—Wie kann man das Publikum in etwas involvieren, ohne das es sich dabei unwohl oder zu etwas genötigt fühlt?
—Ist die Probe, durch die ihr inne liegenden Momente der Wiederholung eher eine Limitierung oder eine Erweiterung ihrer Möglichkeiten/Potenziale?
—Bezogen auf die SprecherInnenrolle bei Vorträgen: Was ist das stimmigste Verhältnis zwischen Vortrags- & Partizipationsmomenten? Wann habe ich die Stimme, wann gebe ich die Stimme ab?
—How to curate (cultural situations in) the public space?
—Would have been there a possibility to manifest something in the public trough our bodily gathering?
—How do you want to appropriate the (public) space?
NON-SHOW
—With every act of showing something invisible is performed as well: institutional frameworks, questions of representations,and practices of collaboration are an essential part of every moment of display. How do they relate to the process of showing?
—Is protocol something that you also use as a term?
—How is it possible to speak for a collective as a single person?
—In what way are you experimenting, adopting the framework you are working in?
—What if you pose a question and someone does not answer?
—What if you invite someone and the person does not come?
—What if you ask about it and the person says not my problem ?
—Wie gehe ich ein konzeptionell geprägtes Projekt an?
—Wie interessant kann/muss eine Non-Show aus künstlerischer Perspektive gestaltet sein, um beim Publikum Interesse herstellen zu können? Oder anders: Wieviel tatsächlich sichtbaren Inhalt braucht eine Non-Show, um für das Publikum ästhetisch/inhaltlich greifbar zu bleiben?
—How can we find methods to make working in a hierarchical cultural institution more comfortable—beside money and time pressure?
—What are the potentials of a hangout?
—Can everyone in his or her position boycott?
—How can one deal with the limits of translation?
—What is my responsibility as part of an audience?
—How can we built up conversations where people can feel comfortable and invited in?
—How do I create a space as an audience? What role can I take on? What role do I want to take on?
—How do we embody knowledge that we unlearn?
—How is it possible to show the context of the how?
—What is the nature of a canon? What does it consist of?
—If we only change the mode of the choice, how do we come to our new canon?
—How can one deconstruct the canon?
—Who needs the canon?
—What does the canon actually tell?
—How is it possible to participate in the canon? From what angle for what purpose?
—How is value created?
—How is the canon constructed? What might be other constructions be available?
—How can one rethink critique without reproducing what is criticized?
—How can we be a bit more generously?
—How can an individual speak for a collective?
—Can wasting time be used as a method, as a resource, a chance?
—Why is it not healthy to get funding?
—If curating is a research method, what role does the artist have?
—Why should we still use the format of exhibition, when using the curatorial as research? Why not a book, instagram..?
—How can we use artistic practice to talk about more social issues in the public?
—How much responsibility do I have as a host for the dialog when creating a common space in a public event?
Is Show & Try Again an exhibition or a happening?
—How much is this title of Show & Try Again connected to the term of friction?
—Is the curatorial more important as a noun or as an adjective?
—How can all voices be heard—even the silent ones?
—How to use bodily movement to deconstruct the power structure of a situation?
—Is there a protocol for a hangout?
—Can one be host and guest at the same time?
—How can you throw a brick at a bank while you can't walk out of that bank?
—To assembly or not to assembly?
—To biennial or not to biennial?
—How can we talk about the topic of language in a language we all understand? Wie können wir über das Thema Sprache sprechen, in einer Sprache, die wir alle verstehen?
—How can we dissolve a structure in which we immediately act in a certain role and hierarchy with which we do not feel comfortable?
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?
IN ADDITION

All questions are coming from the context of Show and Try Again-formulated by speakers, used by artists, written by the initiators, asked by the audience, thought by myself.

No claim to completeness and correctness.

And a warm thank u to all my interview partners for sharing their knowledge and experiences - in the form of questions.

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