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Hi friends! Tayto et Tayto goodwill to create goodthink to your group dialogual resource base and catalytic environment insert name of venue_____ and give you big€uro for giving us an afterlife to show to our sponsors, answer our questioness: Write down the numbers you agree with in any order that makes you feel comfortable within a venn diagram on a bit of A4 paper (see diagram) – there are many choices on offer over the questions meaning that you have to be strategic in your decision making, the overwhelming structure allowing you to wander between the larger issues and more commitment and concentration if you want to contribute to the debate or if you don’t want to - and leave them on this wallpaper pasting style desk designed by self-appointed cowboy architects Q&B whore so hot right now. What kind do you really like hot sites for live, spontaneously planned events proposed and carried out by a network of collaborators (such as residencies)? 1. We like them doubleplus when we mix with Mediterranean locals, they look facecrime when serving wine. 2. Unyes, we prefer to work hardest in airport departure lounges. In what complex ways that are not easily defined will you question the after-effects of collaborative and fundraiser multi-authored ways of working with a tangled web of disinterested postgraduates? (You must select more than one option):
Which possibility below can you go to re-endow how liberal and open you are, even to the talentless, and demonstrate how radical and in touch with the young, the vital, the iconoclastic?
Can you really examine the power relations that come into play during organising cake-making competitions, hands-on healing sessions and talks by Christian preachers better than anyone else?
Does this feeble-minded charade of subsidized inclusiveness make you want to duckspeak?
Do you treat the reactionary Victorian white cube prison public house firmly delinated territory insert name of venue_____ as a studio - or, least give the impression that you’re (having debates about possibly developing different models of possibly) reanimating the space by (considering the meanings of) ‘working’ here.
Is it difficult to tell what is complete, what is in progress, what is raw material, and what is merely en route to the rubbish bin?
Do you bellyfeel club flyers and gallery invites, postcards, doodles, phone numbers, etc. and other entirely theatrical demonstrations of artistic doubt and aspiration as a means of making the world perfect?
Can you ever recall a single detail of three-hour seminars of fighting with small-scale localised groups of self organised groups which are autonomous and consciously opposed to all ‘dominant’ structures and mechanisms?
Do you fancy yourself as an activist migrant researcher more like Poirot or Bergerac? 1. Doubleplus. Poirot’s mapping of the connections and tensions between art, localised resistance, the bigger fight for a new form of existence, effective resistance, the motivations for social transformation through acts of resistance in the everyday 1930s. 2. Uncold. Bergerac’s model of anti capitalism’s meaning in former communist countries, the power relations that come into play during acts of resistance and activism, his migration and development in favour of a positive role for migrants in host countries and countries of origin and not just using the misfortune of others and the social injustices of this world as fodder for his investigations. |