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"LAND-GRAB FOR AN IVORY TOWER". Although the Vienna Declaration will likely become a future constitution and framework for artistic research in European art schools, no public debates of its content seem to have taken place in the six months after its publication. Florian Cramer and Nienke Terpsma think that it is time to speak up – and fundamentally disagree with its concept and framing of artistic research. Here at DAI we have to hold ourselves back to not quote their ENTIRE excellent article as it truly strikes a chord with us. It was published online by Open! already quite some time ago but we only stumbled upon it now (click on this post to find the link). Here is one quote by means of a teaser: "With educational institutions now claiming ownership of artistic research, and introducing their own quality and validation standards, they factually create their own art system........ As a result, artistic research will be split into two forms and systems: ‘AR’ in art schools as opposed to artistic research in art practice and art worlds at large. Is this desirable? We don’t think so. Instead of creating hospitable spaces, infrastructures and institutional recognition for artist-run research initiatives (from the Bureau de recherches surréalistes to the Community Futures Lab of the Afrofuturist Affair in Philadelphia or Lifepatch in Indonesia), ‘AR’ is in danger of ending up as its own self-referential system, with artistic researchers and projects that are recognised only within that system, and the system serving the ultimate purpose of preserving itself; in other words, a land-grab for an ivory tower."
Evil Eye: The parallel history of Optics and Ballistics ~ From the ‘visual ray’ metaphor to Pierre Jules César Janssen’s ‘revolver photographique’, the history of optics and the history of ballistics developed in parallel to one another, ultimately conflating in the figure of the drone: a camera that can kill. But under the aegis of, and working in tandem with, this technoscientific trajectory one also finds a whole racialised and gendered regime of visibility, suggesting an ideological process at work that, as theorist Meg Armstrong argues, makes ‘what is contingent and local, perhaps even idiosyncratic, in matters of taste appear to be natural, and thus beyond dispute’. The present group exhibition aims to map the structuring force of this white gaze in both its concrete and abstract dimensions. Opening on the 28th of January at Tabakalera.Till the 24th of June 2023. Among the participating artists is Izaro Ieregi González (DAI, 2022). Curators: Oier Etxeberria Bereziartua and DAI theory tutor Ana Teixeira Pinto.
TO THOSE WHO CAN IMAGINE ~ On the artist Gluklya’s artistic practice and exhibition “To those who have no time to play” ~ This is the first part of an essay by our alumna, the curator and writer Anna Bitkina (DAI, 2018) published by the fantastic NERO magzine. "The video installation in the yurt, Gulmira’s Fairy Tales, performed by Kyrgyz actress Gulmira Tursunbaeva, could be interpreted as a collective historical and contemporary female voice of Kyrgyzstan. Its narratives include parts of biographies and dream fragments of Dinara, Rakhat, Zaina and Samira collected by Gluklya through a number of personal encounters with the seamstresses during her trip to Bishkek. Disrupting their automated and zombified 15-17 hours daily working routine, Gluklya conducted a series of listening and creative sessions with them in order to abstract women from their reality and to make space in their minds and working schedule for play, dreams and imagination. The results of these collective creations are presented in the yurt in the form of textile zoomorphic and angel-like creatures." Find the link to the full text here.