Installation shots of Herbert Read Gallery “America is the best form of Marxism” after a quote by Kojeve, exhibition. Including details showing Kojeve’s selected photos from archive, charting the end of history in the 1950’s and the role of art after philosophy, in the form of a Richard Prince work, with text “Humans revert back to being animals and speaking like insects at the End of History”. Two identical round tables, Tee-shirt with text caught in a loop, on Dummy, ReadyMades Belong to Everyone, Morag Kiel and Georgie Nettle “Fascism of everyday Life”, Bioswap, Painting by Dan Rees “A good idea is a good idea, after De Kooning, Wall drawings based on the Herbert Read Gallery Archives 2000-2019, Posters and Press Releases 2000-2019.
[ *Please note that the design and info below is under development and will change daily, while the majority of the material is presented as test material or place holders.]
- Pt 1
- New Geographies
- New Histories
- The Body of Art
- Rebuilding the Body of Art
- A New language of Art
- Pt 2
- List of Contributors
- List of material
- Pt 3
Installations examining the material
Date and location of installations
List of Contributors:
Karl Ingar Roy
Azedin EI Ouafi
Bruce A. Barber
Jonathan Lahey Dronsfield
Md Jafar Iqbal
Examples of Far East Asian Art
Project by Steven Wong – Blind Spot: Art from the Malay Archipelago Indonesia, Philippines and Singapore.
Please download images and remake your own work
and send a copy of your new version back to me so l can upload it here on the website
Text on Post Autonomy Parts 1 & 2 Between Revolution and Heresy
Short history of Post Autonomy
Published and unpublished texts and lectures 2007 – 12 examining Post Autonomy
Presented in Mongolia; Baku, Azerbaijan; Arts Depot, Vienna, Austria; TS-1, Belgrade, Serbia
Contact David Goldenberg email@example.com
-- Download Five Years publications: Public series no.8. vol 1-3. Being together is not enough Words & Pictures. A draft. 5 October - 13 October 2019 Saturday - Sunday 12 - 6pm --- Dear_ Five Years draws to a close the call-for-proposals project: Being Together is not Enough. As outlined… this is an open project that aimed to support and examine the ideas of anyone interested in setting up groups. Anyone who already organised together and who wanted to share work practices and experience. Or simply. Anyone who wanted to declare and engage on issues. It’s a sprawling thing that now finds those who participated last year contributing further to a printed publication. As agreed. All editorial responsibility, control and copyright are entirely the authors. The publication will be presented at Five Years (5-13 October 2019) in draft format to go through the process of proofing for final publication (TBC). We therefore, invite everyone who contributed to formally  or informally  talk about their contributions in the space at Five Years: To read, discuss, contest, edit. Together with a public. All welcome. Edward Dorrian (Five Years) A series of timetabled Reading/discussion events to coincide with the draft publication at Five Years (5-13 October 2019) Please see the timetable of events, performances and discussions. Anyone who wants to just turn up at Five Years (5-13 October Sat-Sun 12-6 pm) and go through the pages... Please do. ----- Saturday 5 October 2019 12-1 pm Latinos Creative Society: Manifesto 3-4 pm David Goldenberg: This Historic Moment: Route out of our Cultural desert An event and publication This event continues mining the implication of Neoliberalism destruction and the cultural desert left in its wake, examining practices capable of registering and engaging this environment through developing a new language of art, practices and concepts that we work towards. 1. Institutional critique of total power. 1 hr slide show of screen shots. 2014-. The Iraqi war, Egyptian military coup. Rise of the new right, secrecy, attacks against civil liberties, censorship and corruption, financialisation of art, structuring and linking material together. 2. Text/diagram: What is this Historic Moment? A new language of art. 2019 New Geographies Tax havens, Migrated colonial Archives, UBS Global project with the Guggenheim 5-6 pm: Lucia Farinati From transcription to transduction: the voice of Joseph Beuys in Audio Arts (revisited), a live audio essay performed by Lucia Farinati. - 3-4pm: Patrick Loan: Bryan Parsons and Oliver Cloke: The Hour (Record) - 12-4pm: Michael Curran and Joe Walsh This Historic Moment as PDF --
A new text on The New language of Art is to appear in a new book on current Art
Date to be announced soon
This Historic Moment
Granulation Pt 8
The topic of the fourth edition of FMAV due to be in Tangier Morocco from
16 to 19 Oct
Europe’s other Borders with North Africa
FMAV will dedicate all its main time to activities of exhibitions and workshops and panels to the issues of migration and refugees
Over the last two decades, human catastrophes at sea have indisputably transformed the maritime borders of Europe into a macabre deathscape. Untold tens of thousands of refugees, migrants, and their children have been consigned to horrific, unnatural, premature deaths by shipwreck and drowning, often following protracted ordeals of hunger, thirst, exposure, and abandonment on the high seas. The most comprehensive database documenting migrant and refugee deaths during attempts to traverse the maritime borders of Europe estimates the total number at more than 30,000 for the period since the year 2000.
Although such statistics are imperfect and the records surely involve a significant undercount, that is an average of 4-5 people who died every day during this period. With 4,329 migrant and refugee deaths recorded in the Mediterranean, 2016 became the deadliest year on record: on average, approximately 12 people died every day that year. Although 2017 saw a modest decline in the number of recorded deaths, this figure remained alarmingly high: on average, roughly 9 people died every day. Thus, it is no exaggeration to declare that EU-ropean border enforcement policies and practices have actively converted the Mediterranean into a gruesome mass grave.
Artists from the North of Morocco namely Tangier,Tetouan and Assilah and Europe Spain,Italy and England will work on this theme and celebrate it through meeting and panels for fans of visual arts and performance.
Nicholas De Genova
Parts 7 – Granulations
of contemporary art and moving image
25th October – 17th November
co-curated by David Goldenberg
One of this year’s themes is the idea of rebirth, renewal and starting again. Resident artist David Goldenberg will introduce Granulation, a collective public installation, encouraging contributions to a collaborative artwork and a discussion on art in response to the festival program. Goldenberg aims to use exhibited artworks and festival activities to construct formal ideas of how art takes place today, exploring how these ideas could be unfixed and reconstituted to develop new languages of art, in particular, a new language of art for Medway.
Granulation – Open to All
As part of 51zero festival, UK-based artist David Goldenberg is coordinating a new collective public installation entitled Granulation, situated in Rochester High Street.
“How can we use art works and other activities as molecules to build an overview of how art takes place today, then take those molecules and rebuild the body of art differently? ”
”If it is possible to start again, how do we start a new language for art and what form should it or can it take? To develop a new language of art for Medway, people should have an active role in shaping this language, where we are all starting from the same position”.
The project belongs to the people of Rochester whose input and contribution are key for the installation to be realised. People are invited to contribute ideas, material and objects, take part in discussions and make work during the first week of the festival, collaborating with the artist in creating the installation.
Guildhall Museum, 17 Rochester High Street, October 27th – 3rd November.
– Participating in the Installation
Contributing ideas, material and objects should respond to the concept of rebirth and renewal, “starting a new language of art for Medway”. These can take any form e.g. a text, text/image, essay, images, found objects from the public realm, personal items, that tells a story about art in the area. Unless agreed all objects should be small scale and portable.
Please send text/image material via email or Wetransfer along with:
Title of text –
Your name –
Contact No –
Link to website / online profile / link to other work –
If you wish to contribute hard copies or objects please arrange to bring it along to the installation during October 27th – 3rd November, between 10am-5pm.
Please note that your contributions may become part or be developed into new work or a discussion, so please bring copies only. If you wish your objects to be returned, do please state it clearly and arrange collection.
– Participating in the talk and discussion (Sat 2nd November – NB venue may change)
The aim is to develop a discussion from material that is sent to the festival. The collective material will be used to provide an informed insight into how art works today, framing a context to pose a further question: how does art function in Medway and what language is specific to discussing this art?
Key questions as introduction to talks and discussions include: What resources, material and information do we need to stage an event that facilitates this process? Why do we want to do this? How will we do this? What are the expectations? What form should a new work (art installation) take in building a new language of art?
You may also be interested in collaborating, taking part in:
– collaborating with building the new installation during the festival
– meeting the artist for an informal exchange leading into to the final talk and discussion
– proposing talks and activities related to the theme
Expression of interest are invited between June – September.
Please email firstname.lastname@example.org with the subject line
– 51zf/19 – Granulation – material
– 51zf/19 – Granulation – talk/collaboration specifying a time to meet the artist, drop in at the Guildhall or attend the Talk.
Publicity: all Open Call contributors would be listed in our publicity.
Fee: all selected artists/musicians/contributors/work experience will be offered a nominal fee to cover expenses.
Parts 6 – 5 Years Gallery, London, UK
Parts 5 -Envisioning the Economy of the Future, and the Future of Political Economy
International Conference, Lille, France
3-5th July 2019
Neoliberalism has destroyed what exists leaving a blank, a clearing, a new space.
In a sense we can say we have entered a moment where it is possible to re-imagine art again for the 1st time in 200 years
How do we meet this challenge?
We can pose the question another way “If you were offered the opportunity to shape art and thinking would you take up the challenge?”
Is it possible to coordinate a situation where cultures and peoples meet to exchange ideas to contest existing thinking and positions to reshape centres of cultural power?
This opening is where art and thinking starts again
This is stage one in developing a project, whose extent and breadth will develop and become apparent over time.
What are the issues that require to be looked at, who is interested in engaging and exchanging ideas and what form should this exchange take?
A series of introductions to This Historical Moment through developing a non-visual practice
What is a non-visual practice?
How do we discuss, analyse and break with neoliberalism from within neoliberalism?
What is a Participating Culture?
5 Years Gallery, London, UK
Sunday 27th May 4-5 pm
Documentation of the event
Art as Global Currency
Art as Global Currency in 8 simple clusters and 2 complex clusters and one image molecular images combining all the images into different patterns
Drunken Walk Algorithm used in the stock Market,
Descartes “I think therefore l am”, location of folders on
my desk top, Art about nothing
Plotting the rise of the Right wing, Arts links to the Art Market, excavating Western Ontology as the root and core of Western Global White Supremacists
How do we assemble a work that is capable of operating today within the existing complexity, what issues and aspects does it need to assimilate?
What is the context against which we exist and produce culture and which art and culture contributes in shaping?
A work assembled from 10 x clusters of screen shots of images extracted from Multiple internet sites. Selected images from the Mining the internet series 2014-18, building a picture of total power. Key figures who contributed to the conceptualisation and shaping of the Post Historical environment we exist in and against which art functions and promotes.
Figures who shaped the British Empire and who went onto assist in the rebranding of the British Empire into the British Commonwealth, the formation of a Global Government, writing of British History. The formation of the EU, Nonlinear Warfare, images of the end of history and political historical events.
The texture of post Global Market collapse 2008, the financialization of art, arts link to the art market, and arts role in Globalisation, and the capacity of art to address this complexity.
Tate Liverpool Exchange, Liverpool, UK
“Production – Process – Collaboration”
28th July – 5th August
in parallel to the Liverpool Biennial
The talk and project take place in the Tate Exchange main space
My text in the catalogue VVM 7
I will give a talk on Saturday August 4th, 3 pm on
“What is a Participating Culture?”
with the curator Camilla Boemio
For further information, dates and names of venues, ideas for engaging with the concept and joining a debate, and suggestions for responding to the material, please look through the material below
Contribution to the material
The start of any contribution and contact should be in the form of statements and diagrams on local newspapers
Then statements from different contributions will be extracted to make something similar to Luthers 95 thesis
From this beginning other forms are planned, for instance
How do we translate these ideas into a way of living for a place and setting for experimental living?
Unfortunately the project for Uddebo will now no longer continue beyond the initial research
Realising ideas in the village of Uddebo, Sweden
Please email material or enquiries to David Goldenberg on
Forthcoming events, projects and exhibitions
The New Language of Art
Curator David Goldenberg
Festival of the moving image and Contemporary Art, Rochester and Canterbury, UK
5 Years Gallery, London, UK
Imago Mundi Museum, Treviso, Italy
IIPPI conference, Lille, France
A new slide show and audio work on “This Historic Moment”, sketch for “A new institutional critique of total power” using constellations of screen shots.
Infinite Multiples, London, UK
Presentation of new 4 new versions of texts on temporal/cultural looping on waste bags plus T-shirt versions
Example of text on T-shirt 2019
Unpublished interview with IM
3rd August – 2nd September
Join the Dots
Imago Mundi, in collaboration with Fabrica – Art Theorema #1: New Highlights of the International Art scene, Saloni degli Incanti, Trieste, Italy
Including Christo, Palladino, Franz Graf, Heimo Zobernig,
The Surplus value of Art, 2018
My 2nd text to explore Agamben and Tiqqun’s ideas of the body
The catalogue for the Odessa Biennial has just been published
Please see below
3rd March Din Dins sonic event organised by Seth Guy, East London, UK
8th – 15th March
Nomad air residency Oslo, Norway and Uddebo, Sweden
View of presentation at nGbk in Berlin with our poster “This Historical Moment” with concept and visualisations
I have material included in Steve Willats exhibition of Control Magazine, Tate Liverpool exchange
25th April – May 16th
Sunday 27th May 4 pm
“Being together is not enough”
5 Years Gallery, London, UK
Introduction to a long term project This Historical Moment
Documentation will follow shortly and a transcript of the event will be available later in the year
Interviewed by Manuela Johanna Covini
To be published in September
Below is a rather crude and unedited reply to a series of questions that Manuela sent me that formed the basis for her film interview.
I will show an excerpt from a 2014 slide show for the NGCA, Bucharest, Romania, re adapted for the new context and renamed as Global Currency
organised by 51zero
David Goldenberg, Dan Rees, Smadar Dreyfus, Sung Tieu, Bas Jan Ader, Nikita Kadan, Sarah Cameron, Derek Ogbourne, The Play, Semiconductor
Whitstable Biennial Off site project
The Old Neptune Pub
4th August 2 pm
Tate Liverpool exchange project, Liverpool, UK + tour
Introduction to Participating Cultures
Further information will follow shortly
My new interview is just about to be published in Meio 3, a Dutch Brazilian publication. It is basically a short autobiographical text that traces my interest in art since the age of 7 and allows me to clarify recent thinking and concepts.
Reviews of my work for the Odessa Biennial
Reviews of 51 zero Festival
51zero Festival of Moving Image and installation
Rochester Cathedral, Guildhall Museum, Huguenot Museum, Kent University, Rochester, Kent
PV Rochester Cathedral Friday 27th October 7 – 9 pm
27th October – 2nd November 2017
Co-curated by David Goldenberg
View of work clustered into a series of 4 displays inside the Guildhall Museum
Programme notes for the Festival
With Bas Jan Ader, Acconci, Dan Rees, Nikita Kadan, Sung Tieu, Alia Syed, Derek Ogbourne, Maria Khierkhah, Smadar Dreyfus
Friday 27th Opening Rochester Cathedral, Sunday 29th October Opening of the Guildhall Museum with a day of discussions titled New Coordinates, Tuesday 31st October Talk around an installation, Wednesday 1st November Developing a new script, Thursday 2nd November Decreation and new coordinates and developing a new script for art.
Download Odessa Biennial digital Catalogue here
Photos of opening speeches
My contribution to the 5th Odessa Biennial fleshes out ideas first proposed for Distributing Obsolescence: Food bank, Art bank, Technology bank last year for Villa Capri, Italy, that sought to establish a set of coordinates to situate contemporary art.
The new project is structured through a series of negations, it is untitled and without a press release and the material is inserted into an existing installation across two rooms, using a found Russian press release juxtaposed with press releases I have amassed over the past few years which are changed each day. The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward.
The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward, reflected in the change of register in the material across the two rooms.
Below is just a trial area and will undergo considerable changes over the next few weeks. The files are low resolution, but if anyone wants copies of high-resolution material please email email@example.com
Below are a series of publications to accompany the installation for Odessa and are intended to provide detailed background information on the new installation/visual essay. Booklet 3 is currently being designed and the 9th Booklet of recent texts will also be produced, while the 4 books designed with Ioana Pioaru in 2012 that summarised the history and ideas behind Post Autonomy is also available again. Booklet 10 on the language of the body is under development and will be published soon
Publications to accompany the installation for the Odessa Biennial
Booklet 3 Catalogue currently in the process of being designed
Publications on Post Autonomy
5th Odessa Biennial of Contemporary Art – Turbulence. August 26th – September 3oth, 2017
Curated by Mikhail Rashkovetsky and Semen Kantor, The Museum of Odessa Modern Art, Odessa, Ukraine
Including Dan Prejovschi, special section to include Boris Mikhailov, and a special section curated by Monika Szewczyk with Artur Zmijewski
Zanny Begg, Kristina Paustian, Renee Ridgway, Ghost of a Dream, Nikita Kadan & Yuri Leiderman, Martinka Bobrikova & Oscar de Carmen
The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project
Curated by Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg
The following information on the Biennial is the English translation of a text on the Biennial website
” The Odessa Biennial once again confronts artists with Global problems. That, according to many authoritative experts, is one of the signs of provincialism and marginality. However, in the era of fundamental crisis, and even more so – a crisis of fundamentals, the true outline of the future often encountered in the margins of canonic texts, at the boundaries, are melting in the fire of innovations.
Half a century later after “Future Shock” by Alvin Toffler outstanding sales manager discovered that we are shaped by turbulent flows of V.U.C.A, volatility, uncertainty, complexity and ambiguity.
If earlier turbulence in culture has been defined as a crisis or transition with their spatial-temporal boundaries, now the state of turbulence claims to be boundless. The ancient curse “May you live in an era of change” becomes meaningless as contemporary culture fails to reach a state of stability. Out put from turbulent area is considered a catastrophe that could end human existence as a whole.
Unity and opposition, private and the general enter into the most dangerous zone of risk. Radical design modeling is urgently needed as permanent change accelerates exponentially. One such means has been art. A daily challenge of art at all times has been working with universal relationships, including dynamic ones. Value’s of this function in turbulent zone trends to infinity. We are once again called to look into the essence of social problems from the specific and universal art optics. But we exist at a moment where audiences for contemporary art are isolated ( which is a generation of a postindustrial society) becomes unbearable. ” The Odessa Bienniale is curated by Mikhail Rashkovetsky and Semen Kantor
Text and images from Distributing Obsolescence: Food Bank. Art Bank. Technology Bank show, background information for the new installation in the Odessa Biennial can be found in the following publication
Article by Camilla Boemio
Forthcoming events and projects in 2017/18
July 2018 Tate Liverpool, talks, workshops, performances
Early 2018 Vinyl Factory, organised by 1000 miles an hour, London, UK
Early 2018 Imago Mundi Highlights, Imago Mundi Museum, supported by the Benetton Foundation and Fabrica, Teviso, Italy. [Cata]
December a new interview is to be published by Meio, a Dutch Brazillian Journal
My text for Iris republished in Imagista
New text for Reflektor M
La Cuisine Allmonde, galeriedutableau. Marseille, France
October/November Medway Arts Festival, Rochester, UK
November 3rd Ghost Pavilion, organised by Reflektor M, Museum Villa Stuck, Munich, Germany
October Venice Biennial, Venice, Italy
Artists´ Books for Everything
An exhibition of the Centre for Artists´ Publications
Juni 3rd – August 6th 2017
Centre for Artists´ Publications / Weserburg
Museum für Moderne Kunst
6th December, What happens to us, curated by Marsha Bradfield and Amy McDonnell, Welcome at the Same Table with CINZIA CREMONA. Wimbledon Space, Wimbledon School of art, London, UK.
23rd November I have work in Art-e-motion, presented by Marina Moreno, Palazzo Mora, Venice, Italy
Three new texts 2016/2017
January 2017 new version of “After the catastrophe” for the Catalogue of “Diane La Chasseresse” Iris Brosch, Published by Editions Rue de Temple
“After the catastrophe” Published by Normal Magazine
“Switch on and off (new version) ” Published by Pavilion Magazine
Excerpt from my text on Participatory Practices written for Fillip Journal No 8 quoted by Fabiola Hanna 3.6.2017
Pavilion homepage New book on Art after Autonomy
Text by Suzana Milevska “Infelicitous” Participatory Acts on the Neo Liberal stage, Participatory art’s promises and hopes for Democratization of Society, with reference to my Fillip 8 article and A short history of Post Autonomy
AND Journal 27 & 28
Texts from the early 1990’s on Microwaves and Frozen stills and Flexible Response
10th November Talk on recent work at The University of the Arts Canterbury