SAME(difference)_sculpture in relation
Kunstkammer AZB Schlieren 2013/2014
Curated by: Tanja Trampe, Anne Koskiluoma, John Canciani, Nkule Mabaso
A cultural engagement of the AZB, working collective of sculptors in Zürich
This curatorial concept for the Kunstkammer Schlieren 2013/14 intends to explore the notion of sculpture and its potential for transformation. The AZB – an artists collective beginning in the early 1980’s and located at the site of the historic gasworks in Schlieren – has since 2005 contributed to the cultural life in Zürich with it’s independent exhibition space, which forms the background for this curatorial undertaking.
The concept develops through four separate interventions within the subtext of critical reference to the terminology of Social Sculpture –as it was introduced by Joseph Beuys in the 1970‘s and the text Relational Aesthetics – written by Nicholas Bourriaud in1998, which corroborates the notion of relational art by defining it as the plenty of all artistic functions that find a theoretical and practical source within the social context of the entity of interpersonal relations.
«SAME(difference)_sculpture in relation» is a play on words and a proposal where sculpture as a finished work is transformed into a relational space for activity through process-related artistic interventions. The invited artists in Schlieren are asked to sound out site-specific possibilities and create participatory sculptural playgrounds putting the exhaustless potential for transformation to test; differentiating similarities and joining the disparate, intertwining social concerns with artistic strategies and thoughts. «SAME(difference)» is a dialogical encounter between artists and audience that is bound to engender direct experiences of exchange, that hold additional benefits for both sides.
The four interventions congregate under specific working titles and all of them carry performative characteristics and are no longer duration than two days. Each occurrence consecrates itself to a form of process-finding in dialogue with the notion of sculpture:
(1) «EAT ART!»,
(3) «Social Processing» and
(4) «Take a Seat – Draftsmen’s Poetic Social Club».
From June to October 2013, between Zürich and Schlieren, city and periphery, nature and industry the audience can expect open ended, dialogic, and eclectic encounters that grant manifold participatory experiences.
SAME(difference)_sculpture in relation (2)
WALKING: The City as stage and Walking as Performative medium
The second event, under the heading “walking”, explores the production of linkages that form through conversation during the walking or other commonplace, ephemeral actions may occur. Under the artistic motif that an object is not a Measure experience leave, took the British artist Hamish Fulton in 1984 with “A Seven Day Walk in the Mountains Switzerland early Summer 1984 “in Switzerland an Art Walk, and in framework of the festival “Art & The City” in 2012, he initiated another along the Limmat River. “WALKING” takes on Fulton’s process oriented business terms, but notes available via the collective physical experience of space the individual’s perception of the distance between the centre and Periphery. The selected artistic interventions in relation to each other and evoke through dialogic confrontation a possible organic intangible and time based on experience given location.
In the past decade a number of performances and artworks that were premised on walking in the city, indicative of wider proliferation in participatory and site-based art from the late twentieth-century onwards. The process of walking has the potential to generate a new kind of politico-aesthetic engagement with the contemporary city; an engagement that is contingent upon the personal response of the participant as well as the artists’ framing of the walks as art.
The artists for this event, as per their practice, are asked to create structures for individuals to engage with the city in alternative, personal and creative ways that connects it to Schlieren. They may blur the boundaries between the centre and periphery, and seek to use the cityscape differently rather than alter it physically.
Through walking and related practices the artists and participants of each walk and performance may critically consider what kind of politics is at stake in pedestrian-based performative practices, and if they effectively contribute to our agency as citizens and our rights to the city.
All walks end up at the Kunskammer where there is an installation, a musical/ sound performance/ artist and a food/ cooking artist for the rest of the evening.