*Please note this page is under construction and further information will follow shortly
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
*Material on the event will be published in a 5 Year publication later in the year
Documentation of the event
Art as Global Currency
Molecular images
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
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
Festival of the moving image and Contemporary Art, Rochester and Canterbury, UK
Sept
5 Years Gallery, London, UK
+ publication
Imago Mundi Museum, Treviso, Italy
July 3-5
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
2018
New interview
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
March
3rd March Din Dins sonic event organised by Seth Guy, East London, UK
8th – 15th March
Nomad air residency Oslo, Norway and Uddebo, Sweden
April
View of presentation at nGbk in Berlin with our poster “This Historical Moment” with concept and visualisations
May
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
Within neoliberalism
Documentation will follow shortly and a transcript of the event will be available later in the year
New interview
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.
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
Decreation
New coordinates
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 dged03@hotmail.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
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
Special Section
The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project
Curated by Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg
TURBULENCE AREA
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
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 Teerhof 20 28199 Bremen
Germany
2017
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
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
New text by Camilla Boemio in Joomag. startup 2 on my installation “Distribution Obsolescence: Food bank, Art bank, Technology bank” Villa Capri, Italy July 2016
Art Riot Exhibition and book launch, Chelsea School of Art, London, UK
PV 5th September
5-9th September
Room A119a
July 2016
“Delivering Obsolescence: Art bank, Data bank, food bank” One person show at the Palace of Villa Caprile, Le Marche, Italy. Curated by Camilla Boemio and AAC Platform
July 2016, Group show, Kunst Altonale 18, Hamburg, Germany
Title: Stasis and Looping, 2016
A new work “A visual essay on the effectiveness of art against the background of a protest against austerity”
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
( ) Collapse, 2015, Şevket Sabancı Kültür ve Sanat Merkezi, Turgutreis
“In a technical sense the project is looking at the erosion of thinking and art under the regime of Neo-Liberalism primarily through the prism of Post Autonomy, which I no longer understand as a theory but a means to record the erosion and loss of the attributes of art and thinking leading to this historical moment – so the work is a meditation on this. It also poses a provocation if art is truly free which aspects of society is art capable of interrogating, and making transparent, which leads onto locating images for Colonialism and Globalisation, then ideas for reinventing a new institutional critical practice. But central to the work has to be how to break colonial behaviour, actions and thinking, but foremost what is art able to say today, are we able to say anything?” In many respects’s the pooling together of these fragments can be seen as a path to reimagining an Enlightenment.
