Online-Assembly: Not Fully Human, Not Human at All
Processes of dehumanization are taking place in Europe while we are writing these lines. Rooted in Europe’s long history of colonial and imperial projects, such processes have become even more exposed during the ongoing Covid-19 pandemic, showing class violence and racial divisions across Europe. During this time we have been witnessing how the most vulnerable social groups become widely disposable, reminding us of the inhuman conditions that peoples—for example refugees, people of color, migrant workers or indigenous minorities—within or outside of Europe are subject to.
The presence extreme right-wing politics in many European countries has induced some profound change in the conditions of creating and representing contemporary art. This has involved increasing social, political and economic pressures, silencing, appropriation or even dangerous recuperation. With this series of conversations that form the Online Assembly, we would like to ask the question, of how re-humanization can take place and how one might imagine it within the institutional art landscape in Europe?
The online assembly brings together various artists, thinkers, partners and scientists to discuss the main themes of the exhibition, bringing into focus different aspects of the discourse on dehumanization. For example, thinking through issues of border control, structural racism, migration, colonial heritage and the neo-colonial present, alongside possible rehumanizing processes such as healing and care practices.
All events are held in English. Each event is followed by a moderated online public discussion. These discussions will be archived on our website afterwards.
The online assembly runs throughout November and is available live on our website / and via zoom every Tuesday. Participation is free of charge. For receiving the zoom links please e-mail: firstname.lastname@example.org
Session IV – 24 November 2020, 5-7.30 pm
Talk V: Jelena Jureša in conversation with Arlette-Louise Ndakoze.
As a philosopher, fiction writer, and curator, Arlette-Louise Ndakoze researches on pan-African sciences and their forms of mediation. Since September 2020, she is the artistic co-director of the art space SAVVY Contemporary – The Laboratory of Form-Ideas. It engages with systems of oppression through artistic articulations towards their potential transformation, into a co-living with the multidimensional common.
A.-L. Ndakoze focuses on the connection between text and sound, in the broader sense the one between spiritual-immaterial and physical-material spheres - those spaces of possibility in the making.
For more than ten years, A.-L. Ndakoze has been drawing on artistic and intellectual movements - in Rwanda in particular, and across pan-African cultures in general - with research on philosophical disciplines, sonic history, literary scenes, and the link that holds cultures together to this day.
A.-L. Ndakoze co-guides the radio SAVVYZΛΛR, a transposition of SAVVY Contemporary on air, launched in June 2020. In this sonic world of potentialities, forms of pain move to channels
Talk VI / Round table with the directors/curators of the participating institutions of the project Not Fully Human, Not Human at All:
Bruno Leitão (HANGAR, Lisbon, Portugal), Ares Shporta (Lumbardhi, Prizren, Kosovo), Luís Silva (Kunsthalle Lissabon, Lisbon, Portugal), Bettina Steinbrügge (Kunstverein in Hamburg, Germany), Pieternel Vermoortel (Netwerk Aalst, Aalst, Belgium), Emilie Villez (KADIST, Paris, France), moderated by Nina Möntmann (Professor for Art Theory, University Cologne)
Bruno Leitão is the curatorial director of Hangar – Artistic Research Center. In Hangar, he has curated and programmed several exhibitions, talks and seminars with artists such as Luis Camnitzer, Coco Fusco, Carlos Amorales, The Otolith Group, John Akomfrah, Rosa Barba, João Onofre, Lawrence Abu Hamdan, Elena Bajo, João Maria Gusmão and Pedro Paiva, Alfredo Jaar, Fernanda Fragateiro or Zined Sedira, among others. As an independent curator, he curated among these Pouco a Pouco, the first solo exhibition by Ângela Ferreira in Spain at the CGAC (Santiago de Compostela, 2019); Affective Utopia at the Kadist Foundation (Paris, 2019) with the artists Sammy Baloji & Filip De Boeck, Luis Camnitzer, ngela Ferreira, Alfredo Jaar, Kiluanji Kia Henda, Grada Kilomba, Reynier Leyva Novo and Paulo Nazaret; A Ilha de Vénus by Kiluanji Kia Henda in Hangar (Lisbon, 2018); Cubismo Ideológico by Carlos Amorales in Hangar (Lisbon, 2017). He contributed as an editor and with texts for several magazines and catalogs. Among these, Curating Coloniality in Contemporary Iberia, published together with Carlos Garrido Castellano by the University of Wales Press. And texts for Atlantica: Contemporary Art from Angola and its Diaspora (Hangar Books), The Gap (curated by Luc Tuymans for Parasol Unit, London, and Mukha, Antwerp), Atlántica magazine, Dardo Magazine, Artishock (Chile) and Artecapital. "En Construcción" curated by Santiago Olmo (CGAC-Santiago de Compostela).
Ares Shporta is the co-founder and director of Lumbardhi Foundation, a non-profit that was established as a follow-up to the Initiative for the Protection of Lumbardhi Cinema. His work includes of programs, strategic development, inter-institutional partnerships, capital fundraising and revitalization. Shporta is also Chairman of the Network of Cultural Organizations in Prizren and Platforma Kooperativa, advocating for a better position of independent culture in Kosovo and the region.
Luis Silva is a curator based in Lisbon, Portugal, where he currently serves as co-director of Kunsthalle Lissabon, a contemporary art institution he founded in 2009. He is co-curator of the 2015 edition of ZONA MACO SUR, the solo project section of Mexico City's contemporary art fair. A selection of recent shows he curated includes solos by Patrizio Di Massimo (Me, Mum, Mister, Mad, 2014), Amalia Pica (Memorial for Intersections, 2013), Leonor Antunes (a linha é tão fina que o olho, apesar de armado com uma lupa, imagina-a ao invés de vê-la, 2013), Jonathas de Andrade (Cartazes para o Museu do Homem do Nordeste, 2013), Mona Vatamanu & Florin Tudor (I dreamt the work of another artist, 2013), Daniel Gustav Cramer and Haris Epaminonda (Early Summer, 2012), Melvin Moti (Echo Chamber, 2012), Pilvi Takala (Flip Side, 2011), Ahmet Ogut (Stones to Throw, 2011), Wilfredo Prieto (Landscape with the Fall of Icarus, 2011) and Mounira Al Solh (The Sea is a Stereo, 2010). Besides his curatorial practice, Silva is also co-editor of the ongoing book series Performing the Institution(al), published by Kunsthalle Lissabon and addressing recent developments in institutional practice.
Pieternel Vermoortel is artistic director of Netwerk Aalst. She is co-founder and director of the curatorial institute FormContent. FormContent's most recent project, "The Subject Interrupted", looks at the motivations and conditions of cultural production. She teaches curatorship at Curatorial Studies in KASK, Ghent and was previously associated with Goldsmiths, University of London. She has also taught at LUCA, in Brussels, and HISK, in Ghent. Vermoortel has written for Art Agenda and Metropolis M, among others, and has compiled publications including (2016, Sternberg Press, with Els Silvrants-Barclay), (2014, Mousse Publishing), (2011), and (2008). Recent exhibitions include, in SixtyEight Art Institute Copenhagen (2016), in ICA Singapore (2016); with Tim Etchells, Tate Modern, London (2015), Amsterdam (2015); and, in GAM, Turin (2010).
Emilie Villez is a curator based in Paris, France. Since 2008 she has been working with Kadist, a non-profit arts organisation based in Paris (France) and San Francisco (USA) and a member of the collection’s acquisition committee. After holding the position of Program coordinator, she became Director of Kadist – Paris in 2013. She has worked with a number of international artists in producing solo presentations of their work, collaborated closely with invited curators from all over the world, initiated the online journal Qalqalah (a collaboration with Bétonsalon – Centre for Art and research), and developed educational programs in relation to the collection.In parallel, she has been curating exhibitions independently with the collective Le Bureau/ (www.lebureau.tk), which she co-founded in 2005.
Nina Möntmann is Professor of Art Theory at the University of Cologne, curator and writer and PI at the Global South Study Center (GSSC) at the University of Cologne. Before she has been Professor of Art Theory and the History of Ideas at the Royal Institute of Art in Stockholm, and curator at NIFCA, the Nordic Institute for Contemporary Art in Helsinki, and has worked as a curator at various institutions. Her essays have appeared in numerous anthologies and exhibition catalogues. Her research interests include the decolonization of art institutions and models of social and political reorganization in artistic, curatorial and institutional practice.
Information on live transcription for the d/Deaf community: the remaining two sessions of the Online Assembly will be transcribed live thanks to the services by Ton Taste Text. The captions provided by human scribes will go directly into the Zoom seminar room. Please be mindful that the errors can still occur.
For more information, registration for obtaining the link to Zoom, assistance or suggestions please contact email@example.com