voice
what does it mean for us to "act" with our own voice and personality
what is our relation to speech in these situations, in this frame
language
which misunderstandings do we produce in our use of language
what do we miss because we miss a language fully together and what would it be to have a language fully together
difference language of narration and language of negotiation
voice of a group
how does a group develop its own voice?
does it happen through common understanding or experience?
what about the possible collapse of communication?
artistic practice as a form of language
how can the different personal artistic practices influence the working process
negotiation of what one sees and what one interprets - what does one need to know in order to interpret
in order to address whom
from the guests we invite, to the audience we will have, to a later audience through documentation that we have in mind
method of narration
what kind of work on the scenes and situations in question is necessary for them to be retold by the group (level of abstraction, becoming exemplary)
production contexts
what difference will it make that we will work in berlin instead of in kiev or ukraine (in relation to: is the topic "ukrainian art" or more exemplary or more "internationalist" - how does it influence our positions, maybe will it "unbound" our relation to certain audiences or constraints
round stage/stage as square
organising the stage with regard to a certain temporality, where another form of collectivity is demanded throug being already enacted
Documentation
-------> what role will our interpretations, negotiations, commentaries play in developing the presentation?
-------> which function will the commentary of the audience have - from us as audience (as in invisible theatre)
-------> can the production extend a discussion, stage a discussion instead of being a theatre play?
| some scenes
being ahead or behind one's own time
interviews with Leonid Vojtsechov and Jurij Leiderman in Guelman Archive/Zombie
continuity/discontinuity; temporal gap
apartment exhibition Relatives
relations, exhibiting of relations, gestures of the opening
personal histories
After the Wall (Kulshitzky, Chekorsky, Harm Lux)
Rashkovetsky - Bourriaud
Museum for Ukraine
founding of CCA Kiev
SCCA Odessa/Kiev, closing of SCCAs/CCAs
professionalism, curating through CCA Kiev
local versions
constitution of R.E.P.
problem of language and mediation of experience in CCCK, problem of exhibiting experiences of others without language/perspective
Octavian Esanu on institutions
development of institution in relation to "modern" and "contemporary"
misunderstanding, language, practice
practice of working together, question of language in understanding, of history and experience
(double colonialism)
art project in Union of Artists
|
opening gesture, adressing ourselves, revealing underlying conditions, mis-understanding, self-understanding, place and addressee not necessarily opening
address in order to address whom: question of the place of the work and the period of working
documenting for whom - rehearsal, presentation, development |