TransActing Biogs and/or Project Descriptions

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Ruth Maclennan

Title: Eden of the Dispossessed

Description: Eden of the Dispossessed is the fifth Reading Aloud performance by Ruth Maclennan. It is a public art project that seeks to reclaim public space for intellectual exchange through cultivating the pleasures of reading and listening to words read out loud. The intimacy of the act of reading to someone is transposed to this private-public square. The performance enacts the tension between public and private experience and the responsibilities and potential of each. A call will go out for readers, and to the living authors of some of the books. These will include speculations and plans for the future, dystopian and Utopian worlds, and evocations of the city.

Bio: Ruth Maclennan’s work includes films, video installations, photography, bookworks, live events, interdisciplinary, collaborative and curatorial projects. Her single and multi-channel video installations focus on overlooked moments, material remains and fragments of stories that reveal unresolved conflict. Reading Aloud was first performed for Polytechnical Institute for the Study of the Expanding Field of Radical Urban Life, her participatory art project, in association with AIR at Central Saint Martins, www.archwaypolytechnic.org. Maclennan exhibits widely in Europe, USA, Central Asia, and recently in Greece, Korea, Taiwan and Ireland. Her most recent film, Call of North, filmed in the Russian Arctic, premiered at the 58th London International Film Festival. Her films are held in public and private collections, and distributed by LUX. Maclennan has a Masters in Fine Art from Goldsmiths College, and in Modern Languages from Cambridge University.

Captions (all images, see documentation): Ruth Maclennan, Slender Human Islands, May 22, 2015, performance in Granary Square, London, part of Unannounced Acts of Publicness, by AIR. unannouncedacts.org/May-22

Minor Compositions

Title: Minor Compositions

Description: Minor Compositions is a series of interventions and provocations drawing from forms of autonomist thought and practice, avant-garde aesthetics, and the everyday as a politics. As a research – theorizing – publishing project it is currently located within the London metropolitan basin of collective intelligence. Importantly, the production of a text is not something that is thought in isolation but how it connects and develops moments of thinking collectively; taking inspiration from the autonomist notion of militant research and workers’ inquiry, and expanding it beyond inquiry into particular bounded workplaces into a more general investigation of cultural labour, social reproduction, and the relationship between antagonistic energies and attempts to govern them. www.minorcompositions.info

Alicja Rogalska and Łukasz Surowiec

Title: Tear Dealer
Description: Tear Dealer is a pop-up stall where anyone can produce and sell their tears for cash. The project relates to issues of affective labour and the commercialization of emotions - the essential elements of the modern labour market. It also creates a space for the collective experience of sadness as work. The collected tears will not be on sale as a fetishistic art object. Thereby the project contradicts the logic of the art market whilst distributing arts funding to those who need cash. Tear Dealer had its first iteration in 2014 as a temporary shop commissioned by Rewiry Gallery in Lublin, on a high street lined with pawnshops and loan sharks in the city located in the South-East part of Poland (an area of high unemployment and related socio-economic exclusion). The project is a collaboration between Alicja Rogalska and Łukasz Surowiec.
Bio:
Alicja Rogalska is an artist based in London and Warsaw. She mostly works in context on projects that involve interdisciplinary research, collaboration with others and social actions.
Łukasz Surowiec is an artist based in Bytom, Poland. He creates sculpture, video and public projects, and his interventions follow extensive research of social relations.

Elena Cologni

Bio: Elena Cologni is an artist and academic, she has a PhD in Fine Art (with psychology and philosophy) from Central Saint Martins College of Art (CSM, University of the Arts, London), 2004. Her academic positions as artist include a Post-Doctorate Fellowship at CSM (Arts and Humanities Research Council UK 2004/06), a Research Fellowship at York Saint John's University (Arts Council of England, 2007/09). She contributes to the Commonwealth Intercultural Arts Network (University of Cambridge) as the founder and director of Rockfluid, research platform outcome of a residency at the University of Cambridge, Faculty of Experimental Psychology (awarded with two Grant of the Arts, Arts Council of England, and Escalator Visual Art Retreat at Wysing Arts Centre, Escalator live art, Colchester Arts Centre). This includes many international site specific interventions, most recently at Impington Village College, Cambridgeshire (75Gropius Art Residency 2014/2015), and the IART European/Unesco funded residency in Sicily, Italy (2015), while evolving in the direction of social cognition.

Values: The value of openness and acceptance in a visualization of dialogic exchange, through touch (prelinguistic). A 'question' already implies an openness to the others' response, towards their background and differences (cultural, gender...). In particular, in the encounter the space between hands is inhabited, the distance between two persons become materialized, and acts as point of contact, exchange and separation. This is also how "communicative memory works, through the integration of different traditions, an aspect of which will be lost or discarded along the way... 'lo scarto', offcut, scrap, residue of culture..." In this process the space as residue and difference is articulated through touch, and the knowledge of each other is embedded in the resulting produced objects. This process refers to the Reciprocal Maieutic Approach (RMA Dolci 1988, Cologni 2016), as a way of sharing one's own experience to inform the other's. RMA usually happens between two people and it's done within a group. One of the recent participants to my project 'Lo scarto' said: 'a new way of learning, taking from giving'.

References:
Cologni E., rockfluid.com/lo-scarto
Cologni, E.(2016) 'A Dialogic Approach For The Artist As an Interface in an Intercultural Society '. In: Burnard, Mackinlay, Powell, The Routledge International Handbook of Intercultural Arts Research New York, London: Routledge
Dolci, D. (1988) Dal trasmettere al comunicare, Non esiste comunicazione senza reciproco adattamento creativo, Casale Monferrato: Ed Sonda

Description: I would like to organize 4 sessions for 4 different groups of people taking place in a defined spatial context. During these the participants will be sitting with me in a circle. The sessions will be focused on physical encounters: the space between the hands of two people at a time in the group, become materialized into clay objects, which will be left to dry in the stall, were some informative material will also be available.

Doris Koch

The Finance(-ing)-System for Art-Dealing

The Finance(ing)-System for Art-Dealing takes up, reflects, and transforms aspects of the global financial system. Share-Takers can gradually discover these aspects. They receive insights into processes and experience interdependencies, which can also potentially lead to crises.
The Finance(ing)-System for Art-Dealing represents an alternative financing model for projects. Share-Takers can use it solely as an instrument for facilitating these projects. They take possession of Koch-Shares, enjoy their participation rights, and exchange their Koch-Shares for Pieces-of-Evidence after a period of time.
The Finance(ing)-System for Art-Dealing is a work-in-progress. It realizes an artistic practice that focuses on dealing and/or taking action in art as a form of reception and reflection.
In the system, three elements (working areas) are connected with one another: the projects, the Pieces-of-Evidence, and the Koch-Shares.

The Elements: Koch-Shares are stocks and currency, participatory notes and money. Koch-Shares are part of a work of art. The artist Doris Koch created the Koch-Shares for the first time in 1998. She prepares paper batches as if they are blocks of wood. For this, she uses woodworking materials and tools. Each batch has a different shape.
Each Koch-Share is one sheet from one batch of Koch-Shares. Each Koch-Share is numbered and signed. It is dated when first issued.
Every natural person can take possession of Koch-Shares.
New Koch-Shares: The Büro komPleX issues additional batches of Koch-Shares from time to time. Sheets from these batches are new Koch-Shares. They are being issued for the first time.A new Koch-Share has a constant issue price of 30 Euro. Old Koch-Shares: Four batches of Koch-Shares have been issued in full thus far. The issuing of them is hence closed. Sheets from such batches are referred to as circulating Koch-Shares. These can – as is common in the case of stocks – increase or decrease in value. The future price of these Koch-Shares depends on the dealings of the Share-Takers. Circulating Koch-Shares therefore vary in price. The current prices are published on the issuing platform.

You can take possession of Koch-Shares in exchange for euro, services, or payments in kind. 

As a possessor of a Koch-Share, you are a Share-Taker in the Finance(ing)-System for Art-Dealing. The proceeds, services, or payments in kind – from your participation – flow into art and research projects. You support both the artistic work-in-progress as well as the development and realization of new projects. By doing so, you facilitate the development and realization of unusual projects with the participation of the public in the public space.

The Projects Important characteristics of the art and research projects are: ‣ People from various social groups, professions, generations, and of different backgrounds are involved. ‣ Various forms of participation are possible (e.g. selective, long-term, binding, non-binding, anonymous, by name). All project areas are open to the participants. ‣ A space for communication and action that contrasts with the familiar is created. ‣ Situations (in both urban spaces and rural areas) and topics that are relevant to the participants are addressed. ‣ The projects have a temporary character. Actors on site can continue them – after the end of the project. ‣ Suggestions from participants can be implemented in the short term. This requires open spaces, transparency, openness, and flexibility. ‣ Each project is evaluated throughout the process.

The Pieces-of-Evidence Pieces-of-Evidence are objects (incl. drawings, photos, things) that are saved within the context of a project. They document artistic working processes. Up to now, Doris Koch has saved 540 pieces of evidence. Ten complexes of Pieces-of-Evidence have been processed and catalogued as chains of evidence. Pieces-of-Evidence are objects of exchange and can be exchanged exclusively for Koch-Shares. This is possible at any time on the Evidence-Exchange-Platform (www.indizien.info). Through being exchanged, the Koch-Shares remain in circulation and make it possible to withdraw from the system: if, for example, a Share-Taker exchanges all of his/her Koch-Shares so that he/she no longer possesses any.



What‘s Happening Issuing The Büro komPleX operates a Koch-Share-Issuing-Platform on the Internet. It also sets up temporary or mobile issuing points at project sites, at events, at exhibitions, or in public spaces. Interested individuals fill out a Certificate of Participation and send it to the Büro komPleX by mail, fax, or post. After the price has been transferred or a payment in kind has been rendered, the Koch-Shares are handed out or sent by post.

The Share-Takers Koch-Shares are connected with participation rights and options for Participation-Takers: ‣ the option of Pieces-of-Evidence, which are specific art objects that can be received at any time in exchange for Koch-Shares, ‣ the pleasure of the Cooking-For, a set meal cooked using a specific number of ingredients, ‣ meeting with other Share-Takers (including from projects in other regions) at the annual Share-Takers Meeting, ‣ receiving the Share-Taker Circulation-Letter, which is sent two to four times each year, ‣ speculating on their appreciation, since it is possible to deal in Koch-Shares and receive the exchange price yielded in return, ‣ the enjoyment of art through taking action in art.

Art-Dealing Koch-Shares are unique stocks: They are objects of dealing and taking action in art. This means that Share-Takers can carry out particular dealings: ‣ exchanging Koch-Shares for pieces of evidence, ‣ drawing on Koch-Shares, ‣ dealing or trading in Koch-Shares (not yet possible).

Performance How the value of the circulating Koch-Shares performs depends on the dealings of those who possess them. If the Share-Takers hoard their Koch-Shares without acting, the value of the Koch-Shares decreases. If enough Share-Takers draw on or exchange their Koch-Shares, the value increases. Koch-Shares thus retain their value – as in the case of a complementary currency – only when they remain in circulation or are taken in action. The exchange rate for Koch-Shares is calculated per batch on specified key dates. The calculation of the rate is based on the number of Koch-Shares that have been exchanged, drawn on, or dealt in during the time period between two key dates.

Circulation When Koch-Shares are exchanged for Pieces-of-Evidence, they are then returned to the Büro komPleX and re-issued. The Koch-Shares therefore remain in circulation: they migrate from Share-Taker to Share-Taker, from project to project, and from region to region. Circulation prevents the inflation of the Koch-Shares! Since, if circulation stagnates, new batches of Koch-Shares have to be issued and the number of shares increases.

The Goal The on-going financial crisis has shown that a new understanding of economics is required. It is therefore necessary to develop a different “culture of economic activities” and stimulate understanding of such activities. The Koch-Shares represent one element of the Finance(-ing)-System for Art-Dealing, which promotes comprehension and communication in this respect. Projects that are developed in dialogue with the population and realized with broad participation require the financial, ideational, and active support of many individuals. The Koch-Shares are part of an alternative financing model for such projects. Koch-Shares lead to an expectation of not so much monetary, but rather social and cultural gains.

Who Concept: Doris Koch The conceptual artist and cultural researcher Doris Koch has been developing and realizing projects in public contexts since 1991. Administration: Buero komPleX The Büro komPleX, initiated by Doris Koch in 2010, is an office for her own as well as outsourced productions of art and research projects with the participation of the public in public spaces. It is also responsible for the realization and administration of the Finance(ing)-System for Art-Dealing.

Information on the Koch-Shares and on current projects is available at www.kochscheine.de and

Mark McDonnell

Title: Listening Stall
Description: Listening is about the other. It is an approach to another, they are listened to. Listening is about how I get out of the way and provide a space for someone. It's an act of respect, even love. Perhaps we all want someone to listen to us without judging, censoring or imposing themselves upon us? What could be changed at work, in politics and in everyday relationships if people really listened to each other?
Bio: Mark McDonnell is a trainee psychotherapist in the person-centred tradition. He has been a school teacher, a salesperson, a marketing manager and a senior director in industry working in Barcelona, Miami and the UK. He hopes this life experience will make him a better therapist.

Natalia Romik

Title: Liquid Memory
Description: Memory is a subject of evaluation. Secretive and revealed, private and collective, real and non-real. Constituted in the most intimate moments, articulated through exchange. My stall will transact in the substances of remembrance. As a prop to trigger memory exchange I will use liquors infused with the ambiences of places, people, situations. To the Market, I will bring bottles containing phantoms of economic transformation, rustic idleness of remote Kaszubia, specters of abandoned, Jewish buildings. In my stall, strangers will be invited to taste my solutions and share my stories. Activating senses on deeper layers of consciousness, my stall will bring back the tastes and memories long forgotten.
Bio:artist and architect, working with the urban memory, disappearing, reflections and illusions, present absence of annihilated communities. Since 2012 PhD candidate in Bartlett School of Architecture, title of research: (Post) Jewish architecture of memory and emptiness in contemporary urban reality of former Shtetls. In 2013 establish architectural collective “Senna”.

The People's Bureau

Rebecca Davies, Eva Sajovic and the People's Bureau community Title: People's Bureau
Description: People's Bureau is an artist led participatory project based in a dedicated shopping cart at the Elephant&Castle shopping centre. The project aims to:

  • exchange skills and needs across the community;
  • create a pool of collective local knowledge and a supportive network; and
  • to draw attention to diversity and the existence of different modes of economy.


It is supported by Tate Modern, Delancey, Arts Council England, Southwark Council and Siobhan Davies Dance.

The People’s Bureau will travel from Elephant &Castle to engage with the community at Chelsea Parade in an exchange of skills in sewing (bunting making with the Rockingham Women), debate around the value of informal roles we play in society with activists from ATD Fourth World, bread fermentation with Siriol, language exchange with Jason, beauty and massage with the Latin Women, Irish singing with Seamus and more. The PB will also provide for a space where other stallholders in the market and anyone interested is able to come and exchange their skill/trade/knowledge: PLEASE GET IN TOUCH IF YOU ARE WILLING/INTERESTED.

www.peoplesbureau.tumblr.com

Rosalie Schweiker

Title: Tarot Readings £5
Description: When artist Rosalie Schweiker realised, that "having conversations" had become her work, she was faced with the question of how to give this work value. She then remembered that some time ago, she had paid a woman in Blackpool five pounds to have her tarot cards read. "Mh," thought Rosalie, "Reading tarot cards is quite similar to the services I already offer and somehow people don't mind paying for it." So Rosalie decided to make her own deck of tarot cards, which she now offers to read at art events but also in shops, in the streets and in markets.

Shane Waltener

Title: The Weave Exchange
Description: A collection of woven and stitched objects, produced during Shane Waltener’s Land of Plenty project with the community arts atelier Oya in Ghent, will be offered to visitors at the market. This will happen on the provision new pieces are made to replace these and only once members of the People’s Bureau have deemed the exchange equitable. The new collection of objects will then travel back to the atelier in Ghent.

This scheme for exchange, with a collection of objects originally made using natural plant materials found on location, will question the value of making and work, as well as locality, ecology and sustainability.

Tal Drori and Giovanni Innella

Title: Money Weaver
Description: At the Money Weaver stall, the visitor will be able to give two banknotes of £5 and get them shredded and then woven into one banknote.

The Money Weaver explores the relationship between three elements: the material value of the things we buy, the value of the labour required to turn materials into products, and the cultural context in which products are traded takes place.

The Money Weaver aims to visualize the economy generated by the cultural industry, its set of values and principles. In doing so, it looks into the overlapping area between the “cultural” and the “commercial”.

The dynamics and mechanisms of the cultural industry are at times hard to decipher. Under a varnish of cultural values, the produced artefacts hide the agendas of several stakeholders. As a consequence, just like any other industry, also this cultural industry adopts processes and principles from capitalism and consumerism.

Trish and Dan Scott

Title: Open Circle Feedback (ceramic version) 

Description: YOUR OPINION MATTERS! Whether you want to share a thought, ask a question, trial an idea or just let off steam. Open Circle Feedback (Ceramic version) will be hosted by artists Trish and Dan Scott in an open space of live critique and evaluation. All participants have 10 minutes to air their thoughts to a group, collectively giving voice to an active feedback system of the TransActing market.
Bio: Dan and Trish Scott have been collaborating on projects since 2007. Their current joint practice involves staging encounters to explore the conditions which enable different forms of exchange and listening to occur Having originally trained in Social Anthropology at the London School of Economics, and then carried out MAs at UAL in Fine Art (Trish) and Sound Art (Dan), they are both completing practice based PhD research at the UAL London, “Socialising the Archive” (Trish) and “The Listening Artist” (Dan). Recent joint projects include Spaceship School at Tate Britain (2015) which involved working with families to create an alternative art school; We know what we like and we like what we know for Ideas Test in Kent (2014) in which Swale households commissioned contemporary artists to make bespoke works for their homes and Our Father for Binaural Media in Portugal (2013) a collaboration with a Catholic Priest exploring intergenerational attitudes to religion. Based in Margate, Kent, Trish also works as Research Curator at Turner Contemporary and Dan is an Associate Lecturer at The Royal Central School of Speech and Drama. In the past Dan and Trish have carried out projects, residencies and exhibited internationally including at Tate Modern, The Serpentine Gallery, The Whitstable Biennale and Centre de Cultura Contemporània Barcelona.





Doris Koch

The Finance(-ing)-System for Art-Dealing

The Finance(ing)-System for Art-Dealing takes up, reflects, and transforms aspects of the global financial system. Share-Takers can gradually discover these aspects. They receive insights into processes and experience interdependencies, which can also potentially lead to crises. The Finance(ing)-System for Art-Dealing represents an alternative financing model for projects. Share-Takers can use it solely as an instrument for facilitating these projects. They take possession of Koch-Shares, enjoy their participation rights, and exchange their Koch-Shares for Pieces-of-Evidence after a period of time. The Finance(ing)-System for Art-Dealing is a work-in-progress. It realizes an artistic practice that focuses on dealing and/or taking action in art as a form of reception and reflection. In the system, three elements (working areas) are connected with one another: the projects, the Pieces-of-Evidence, and the Koch-Shares.

The Elements Koch-Shares Koch-Shares are stocks and currency, participatory notes and money. Koch-Shares are part of a work of art. The artist Doris Koch created the Koch-Shares for the first time in 1998. She prepares paper batches as if they are blocks of wood. For this, she uses woodworking materials and tools. Each batch has a different shape. Each Koch-Share is one sheet from one batch of Koch-Shares. Each Koch-Share is numbered and signed. It is dated when first issued. Every natural person can take possession of Koch-Shares. New Koch-Shares The Büro komPleX issues additional batches of Koch-Shares from time to time. Sheets from these batches are new Koch-Shares. They are being issued for the first time. A new Koch-Share has a constant issue price of 30 Euro. Old Koch-Shares Four batches of Koch-Shares have been issued in full thus far. The issuing of them is hence closed. Sheets from such batches are referred to as circulating Koch-Shares. These can – as is common in the case of stocks – increase or decrease in value. The future price of these Koch-Shares depends on the dealings of the Share-Takers. Circulating Koch-Shares therefore vary in price. The current prices are published on the issuing platform.

You can take possession of Koch-Shares in exchange for euro, services, or payments in kind. 

As a possessor of a Koch-Share, you are a Share-Taker in the Finance(ing)-System for Art-Dealing. The proceeds, services, or payments in kind – from your participation – flow into art and research projects. You support both the artistic work-in-progress as well as the development and realization of new projects. By doing so, you facilitate the development and realization of unusual projects with the participation of the public in the public space.

The Projects Important characteristics of the art and research projects are: ‣ People from various social groups, professions, generations, and of different backgrounds are involved. ‣ Various forms of participation are possible (e.g. selective, long-term, binding, non-binding, anonymous, by name). All project areas are open to the participants. ‣ A space for communication and action that contrasts with the familiar is created. ‣ Situations (in both urban spaces and rural areas) and topics that are relevant to the participants are addressed. ‣ The projects have a temporary character. Actors on site can continue them – after the end of the project. ‣ Suggestions from participants can be implemented in the short term. This requires open spaces, transparency, openness, and flexibility. ‣ Each project is evaluated throughout the process.

The Pieces-of-Evidence Pieces-of-Evidence are objects (incl. drawings, photos, things) that are saved within the context of a project. They document artistic working processes. Up to now, Doris Koch has saved 540 pieces of evidence. Ten complexes of Pieces-of-Evidence have been processed and catalogued as chains of evidence. Pieces-of-Evidence are objects of exchange and can be exchanged exclusively for Koch-Shares. This is possible at any time on the Evidence-Exchange-Platform (www.indizien.info). Through being exchanged, the Koch-Shares remain in circulation and make it possible to withdraw from the system: if, for example, a Share-Taker exchanges all of his/her Koch-Shares so that he/she no longer possesses any.



What‘s Happening Issuing The Büro komPleX operates a Koch-Share-Issuing-Platform on the Internet. It also sets up temporary or mobile issuing points at project sites, at events, at exhibitions, or in public spaces. Interested individuals fill out a Certificate of Participation and send it to the Büro komPleX by mail, fax, or post. After the price has been transferred or a payment in kind has been rendered, the Koch-Shares are handed out or sent by post.

The Share-Takers Koch-Shares are connected with participation rights and options for Participation-Takers: ‣ the option of Pieces-of-Evidence, which are specific art objects that can be received at any time in exchange for Koch-Shares, ‣ the pleasure of the Cooking-For, a set meal cooked using a specific number of ingredients, ‣ meeting with other Share-Takers (including from projects in other regions) at the annual Share-Takers Meeting, ‣ receiving the Share-Taker Circulation-Letter, which is sent two to four times each year, ‣ speculating on their appreciation, since it is possible to deal in Koch-Shares and receive the exchange price yielded in return, ‣ the enjoyment of art through taking action in art.

Art-Dealing Koch-Shares are unique stocks: They are objects of dealing and taking action in art. This means that Share-Takers can carry out particular dealings: ‣ exchanging Koch-Shares for pieces of evidence, ‣ drawing on Koch-Shares, ‣ dealing or trading in Koch-Shares (not yet possible).

Performance How the value of the circulating Koch-Shares performs depends on the dealings of those who possess them. If the Share-Takers hoard their Koch-Shares without acting, the value of the Koch-Shares decreases. If enough Share-Takers draw on or exchange their Koch-Shares, the value increases. Koch-Shares thus retain their value – as in the case of a complementary currency – only when they remain in circulation or are taken in action. The exchange rate for Koch-Shares is calculated per batch on specified key dates. The calculation of the rate is based on the number of Koch-Shares that have been exchanged, drawn on, or dealt in during the time period between two key dates.

Circulation When Koch-Shares are exchanged for Pieces-of-Evidence, they are then returned to the Büro komPleX and re-issued. The Koch-Shares therefore remain in circulation: they migrate from Share-Taker to Share-Taker, from project to project, and from region to region. Circulation prevents the inflation of the Koch-Shares! Since, if circulation stagnates, new batches of Koch-Shares have to be issued and the number of shares increases.

The Goal The on-going financial crisis has shown that a new understanding of economics is required. It is therefore necessary to develop a different “culture of economic activities” and stimulate understanding of such activities. The Koch-Shares represent one element of the Finance(-ing)-System for Art-Dealing, which promotes comprehension and communication in this respect. Projects that are developed in dialogue with the population and realized with broad participation require the financial, ideational, and active support of many individuals. The Koch-Shares are part of an alternative financing model for such projects. Koch-Shares lead to an expectation of not so much monetary, but rather social and cultural gains.

Who Concept: Doris Koch The conceptual artist and cultural researcher Doris Koch has been developing and realizing projects in public contexts since 1991. Administration: Buero komPleX The Büro komPleX, initiated by Doris Koch in 2010, is an office for her own as well as outsourced productions of art and research projects with the participation of the public in public spaces. It is also responsible for the realization and administration of the Finance(ing)-System for Art-Dealing.

Information on the Koch-Shares and on current projects is available at www.kochscheine.de and

Stallholder: Catja de Haas

Bio:

Catja de Haas works as a sole practitioner and artist. Her work, which explores the design and use of the home, the house and domestic objects, consists of art pieces, (miniature) installations, as well as real buildings.She explores through miniature installations and writing aspects of the home and domesticity that are usually overlooked in conventional architecture. The result of these explorations feed into her (architectural) projects. The projects, however, are first and foremost people and client oriented, professionally executed and careful in scale.

Catja has exhibited and presented her work at the Bartlett, and has lectured at the Architectural Association and the Chelsea college of Art at the University of the Arts London. Over the years she has been a visiting critic at various schools of architecture and universities in the UK and the Netherlands and has completed a PhD by Design at the Bartlett school of Architecture at University College London.

She grew up in the Netherlands and obtained her MSc at the Technical University of Delft in the Netherlands, where she graduated under Professor Herman Herzberger. She obtained a MA in 'Housing and Urbanism' in London at the graduate school of the Architectural Association in London (with a scholarship from Fonds voor beeldende kunsten).

Prior to setting up on her own she worked at Itsuko Hasegawa in Tokyo and Will Alsop in London.

Description:

Catja de Haas co- founded the Giant dolls' house project as part of her exploration into the values of the domestic in miniature. The Giant Dolls’ house is a collaborative arts project in which participants are invited to make a dolls’ house in a (shoe) box. The resulting boxes are assembled onto a black canvas and connected with ropes, ramps and ladders to create one sprawling dolls’ house.

At the ♯TransActing: A Market of Values, we will invite participants to contribute to a giant dolls’ house. However, while creating the dolls’ house, we will simulate a dolls’ housing market with its shortages and surplus. Dolls’ houses can be put up for sale and bidders are invited to buy and redecorate.

The proceeds of the project go to the housing charity Shelter.


Silvia Krupinska

Biog: Silvia Krupinska is an artist specialising in organic sculpture and communication about art and nature. The ideas and forms of her current practice revolve around the understanding of rivers, from their immediate ecosystems to how they influence people and local habitats. The Rivers Project aim is to create a discussion about the environment, rivers, water and nature, contributing to the ever-growing movement of people standing up and asking questions: what can we do to help, what can we do to change things in relation to the environment and how we think of it? Silvia is reporting her personal visions with supporting science and art-based research as part of her creative stimulus. I'm exploring how we relate to the river environments and areas surrounding it through our experiences.
Steel might not be the first material associated with a river or its flow, but for Silvia it became the medium for The Rivers Project case study Flowing Roots sculpture, inspired by a river near where I grew up in Poprad, Slovakia – the 167.4 km long Poprad River. “She” is for me a kind of symbol representing my roots, my belonging and natural beauty.

Silvia is a Postgraduate Fellow of the Royal Geographical Society with the Institute of British Geographers. I'm the UK ambassador for an international non-profit organization LivePozitive based in Slovakia. She is currently studying MA Art and Science at CSM.

Values/stall description: Silvia's stand/wall are will be serving water to drink and create conversations about importance of water, rivers, and natural resources. While chatting, people can also see and read about my recent Rivers Project and my woven steel sculpture of the Slovakian Poprad River called Flowing Roots, which will be on display as a crucial part of my stand area. This sculpture is an artistic representation of the Poprad River and inspired by its beauty but also by a harmful cyanide poisoning which happened in February 2014 and killed thousands of fish and wiped out its ecosystem on 5 km of length. She will have lots of books about ecosystems of rivers and related reading on hand, for people to pick up and browse or sit down and stay for as long as they like. She'll supply some cushions to sit down on.

Heridea will create discussions about the importance of WATER. Silvia's stall will be jointly activated by scientist Richard Barter. His ethnographic work explore the practices in/through which modern water is abstracted, naturalised, rendered governable, circulates as a political devise, and both constitutes and is constituted by a multiplicity of agencies that problematise the boundedness of the territorial, institutional, and embodied state normatively defined. to accompany me on my stand to contribute in our discussions with their professional insight. WOW! A dynamic duo!






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