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
51zero/festival is back this yearfrom the 25th October to the 17th November in Rochester and Canterbury
Imagining the two towns as ‘galleries’, public venues and outdoor spaces as interlinked‘exhibition rooms’, the festival aims to be accessible to everyone.
The festival’s programmewill showcaseartists and practitioners that are among the best and most representative working in film and contemporary art alongside new talent,presentinglocal, national and international visual artistsand filmmakers whose production is between contemporary art and cinema. Together, with moving image, the festival also presents live music, performance, sculpture, talks and participatory projects.
One of this year’s themes is the idea of rebirth, renewal and starting again.Resident artistDavid Goldenberg will introduce Granulation, a collective public installation, encouraging contributions to a collaborativeartwork 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.
We invite contributionsfrom artists, filmmakers, musiciansand the general public; submittedwork will become an integral part of 51zero festival 2019and inform theGranulationproject.
Granulation – Open to All
As part of 51zero festival, UK-based artist David Goldenberg is coordinating a newcollective 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 whoseinput and contribution are key for the installation to be realised. People are invited to contribute ideas, material and objects, take part in discussions andmake 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 theInstallation
Contributing ideas,material and objectsshould respond to the concept ofrebirth 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 questionsas 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 alsobeinterested in collaborating, taking part in:
– collaborating with building the new installation during the festival
– meeting the artist for aninformal exchange leading into to the final talk and discussion
– proposing talks and activities related to the theme
Expression of interest are invited betweenJune – September.
Please email firstname.lastname@example.org the subject line
– 51zf/19 – Granulation – material
– 51zf/19 – Granulation – talk/collaborationspecifying a time to meet the artist, drop in at the Guildhall or attend the Talk.
To discuss the opportunities further, receive advice and guidance, or for more information please contact email@example.com.
Publicity: allOpen 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.
Please see 51zero website for further information: http://www.51zero.org
We look forward to hearing from you,
51zero focuses on international collaboration, artistic production and exhibition of moving image and related contemporary art practice. Working from within the region of Kent, as the project’s base, 51zero partner with cultural organisations in the UK and overseas to commission, curate and present contemporary moving image work.
51zero creates platforms for expanded moving image practice and opportunities for emerging talent, delivering two core strands, 51zero Festival and Voyager:
51zero/festival showcases biennially international visual artists and filmmakers whose film, video and digital art production is between contemporary art and cinema. Established practitioners are exhibited alongside new talent, in alternative venues, public settings and gallery spaces, and collaborate with the community to bridge the gap between the art and people, contributing to the cultural landscape of Kent.
51zero/voyager presents a programme of touring activities, events, and projects through partnership and coproduction that support artists and engages audiences across Kent, the UK and beyond.
51zero have a successful track record of working with young people, engaging students and graduates in activities meaningful for their professional development.
51zero is embedded in the area; it takes its name from the geographical coordinates of Medway.
Parts 6 – 5 Years Gallery, London, UK
Parts 5 -Envisioning the Economy of the Future, and the Future of Political Economy
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
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
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.
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 firstname.lastname@example.org
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
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
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
Assembling a platform to stage Participating Cultures
Chair: Inga Burrows (University of South Wales)
The term Participating Cultures originated in a lecture that I delivered for the 2010 Mongolian Land Art Biennial, as a critique of participatory practices and the Biennial form as a platform for staging art in a Global context. Then expanded and visualised in installations for the Venice Biennial and the Caspian Sea Biennial, and more recently in a text for the Pavilion Journal in 2014 where Participating Cultures is recognised as the second term in the formulation of the scheme of Post Autonomy.
In the new lecture I propose to provide a general introduction that covers the initial steps towards the conceptualisation and visualisation of Participating Cultures, beginning with how to translate the concepts into recognisable forms and language that makes the ideas understandable to a wider audience and contributors. And at the same time establish a platform to both discuss and stage a project examining Participating Cultures against a background of stasis and obsolescence and the current state of sociopolitical emergency, that forefronts the health and capacity for art and thinking to register this state of affairs? As a term it is intended to signal and trigger re-imagining starting again, leading to re-configuring the spatial global role of art. Yet before this possible any discussion of change, starting again, and reconfiguration is only possible through a general understanding of the space of art and cultural power.
David Goldenberg, (Hitchin, Hertfordshire, UK, 1956) is an important English conceptual artist. For years, his research has been concentrated on the Post Autonomy concept, which he has developed in a number of shows held at important international institutions, standouts amongst which are the recent (2012) The Scenarios of Post Autonomy, Glenda Cinquegrana: the Studio, Milan, Italy; Template – Mobile Documenta, Chisenhale Studios, London (2011), The Space of Post Autonomy, Arts Depot, Vienna (2011), Plausible Artworlds, Basekamp, Philadelphia (2010), Mobile Documenta, Fordham Gallery, Londra (2009), The Time of Post Autonomy is Now, Your space, Van Abbemuseum, Eindhoven, Holland (2009), The Space of Post Autonomy, Local Operations, Serpentine Gallery, London (2007).
Arts Initiative Tokyo, Rosanne Altstatt, Amasté, Artlab, Anthony Auerbach, B+B: Sophie Hope & Sarah Carrington, Marius Babias, Basekamp, Ute Meta Bauer, Lorenzo Benedetti, Tobias Berger, Ursula Biemann, Beatrice Von Bismarck, Blok, Lionel Bovier, Tim Brennan, c a l c, camouflage, Ele Carpenter, Daniela Cascella, Vaari Claffey, Barbara Clausen, consonni, Copenhagen Free University, CRUMB, Alice Creischer & Andreas Siekmann, D.A.E: Peio Aguirre & Leire Vergara, Catherine David, Joshua Decter, Clémentine Deliss, Claire Doherty, Barnaby Drabble, Sergio Edelsztein, Eichelmann, Faiers & Rust, EIPCP, Octavian Esanu, Jacob Fabricius, Elena Filipovic, Fiteiro Cultural, Freee, Mark Garry, Sönke Gau, Catalin Gheorghe, GMK, David Goldenberg, Horst Griese, Frederikke Hansen, Kent Hansen, Maria Hlavajova, Justin Hoffmann, Manray Hsu, Andrew Hunt, Per Hüttner, Instant Coffee, International 3, K&K, Christoph Keller, Alexander Koch, Annette Kosak, Holger Kube Ventura, Kuda.org, Kuratorisk Aktion, Daniel Kurjakovic, Simon Lamunière, Kelly Large, Maria Lind, Locus +, Chus Martínez, Bernd Milla, Elke aus dem Moore, Nina Möntmann, Heike Munder, Lise Nellemann, Tone Olaf Nielsen, Hans Ulrich Obrist, NEID, Paul O’Neill, Marion von Osten, Sarah Pierce/The Metropolitan Complex, Planet22, Tadej Pogacar, Prelom, Aisling Prior, Protoacademy, Catherine Queloz, Reinigungsgesellschaft, RELAX, Dorothee Richter, Maria Riskova, Stella Rollig, Sabine Schaschl-Cooper, Annette Schindler, Katharina Schlieben, Eva Schmidt, Trebor Scholz, Marco Scotini, Yukiko Shikata, Nathalie Boseul Shin, Gregory Sholette, Joshua Simon, Lisette Smits, Reinhard Storz, Bettina Steinbrügge, Szuper Gallery, Toasting Agency, TNC Network, Attila Tordai, Trinity Session, Mark Tribe, Unwetter, Value, Sencer Vardaman, Yvonne Volkart, Stevan Vukovic, Gavin Wade, Florian Waldvogel, Cristine Wang, Astrid Wege, Lee Welch WHW, Jan Van Woensel, Ina Wudtke, Florian Wüst, Tirdad Zolghadr, Tal Ben Zvi.
The archive of curating degree zero is open to the public at the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK).
The Curating Degree Zero Archive (CDZA) documents the work of over 100 contemporary art curators who are known internationally for their critical and experimental positions. This collection of exhibition documentation, gifted to the archivists by the curators themselves, contains, among other materials, catalogues, DVDs, magazines and ephemera. In this way the archive presents a representative cross-section of the critical curatorial discourse at the beginning of the 21st Century.
The project began with the three-day symposium ‘Curating Degree Zero’, organized in Bremen in 1998 by Dorothee Richter and Barnaby Drabble. Between 2003 and 2008 the two curators worked together again on the Archive, which grew in size as it travelles to 18 venues around the world as an exhibition and program of live events and public discussions.
In 2011, the resulting collection was gifted to the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK). Since the opening of the University’s new premises in the Toni-Areal in 2014, the archive ist accessible as a permanent refernce collection in the lower floor of the MIZ.
The entire contents of the CDZA are listed in the NEBIS Catalogue, and material that, due to conservation issues, cannot be accessed directly in the reference section can be ordered for viewing through the NEBIS catalogue. Several unedited video recordings are listed in the eMuseum and can also be requested for viewing in the MIZ archive.
Further information about the archive and the touring exhibition can be found on the former CDZA website which is documented in the Arts Media Archive (Medienarchiv der Künste).
Material on David Goldenberg and works stored in the archive