TransActing Biogs and/or Project Descriptions
Stallholder: 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'.
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.
Stallholder: 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.
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.
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.
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.
Stallholder: 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”.
Stallholder: 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.
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.
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
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.
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