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Fig.6. An Academy, an Opera and Other Fictions. A Series of Events on the Production and Dissemination of Knowledge (15 Nov 2012 – 23 Feb 2013)

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Fig.5: An Academy, an Opera, and other Fictions, is a four months educational project, presented in tandem with the exhibition A House of Leaves. Fig.5 is the fifth in a series of initiatives launched at DRAF in 2011 investigating the production and dissemination of knowledge. “Fig.” (short for “Figure”) points towards Marcel Broodthaers, evocating the peculiar arrangements of objects, details, references, and inscriptions included in his Musée d’Art Moderne, Département des Aigles. “Academy” emphasises the programme’s educative potential; “opera” calls for a theatrical, musical and participatory context; “fictions” manifest cumulative efforts to draw plural narratives and conversations through the museum.

Fig.5 explores the pedagogical potential of DRAF and questions the role of the audience. We want to stimulate cultural democracy rather than the democratization of culture, as we produce together and for individuals, rather than publics. Fig.5 is free and open to all, but we ask for an active engagement that rejects the museological rhetoric of combining ‘amusement without excess and knowledge without fatigue.’

Fig.5 comprises three courses: FormContent, Vision Forum and DRAF. FormContent’s course explores issues within visual language that lie at the core of its current programme It’s moving from I to It. Within the framework of a class run by an artist, a performer and an academic, each mode of thinking and working is presented indistinctively in a setting of knowledge-production.

Vision Forum Course: An Opera in Five Acts invites enrolled participants to take part in its course of production. This unconventional art opera is constructed as a series of five acts – each of which bears witness to a cumulative process, leaving traces of the acts that came before it.

The DRAF course focuses on the progressive opening up of the notion of the museum. It starts from a focus on location (First session: The London Eye), by pointing to the problematics that affects the relationships between programming and its context. Fig.5 becomes a forum for different museographical methodologies – sharing ideas and imaginative processes with a range of institutions not devoted primarily to contemporary art (Second session: On Museology). We believe that knowledge could be visual and linguistic, immediate and time-based. Different artworks and events by artists (Third session: Practicing Knowledge) will explore how knowledge can be an artistic material. Academies traditionally frame knowledge through a rigorous and hierarchical allocation of power. Fig.5 aims to consolidate its scope by eschewing codified information for processes that empower the notion of ignorance (Fourth session: On Education). The project tests a pointed query: how can the museum investigate knowledge if not by placing it within ignorance?

Fig.5 is conceived by Vincent Honoré and Nicoletta Lambertucci.

THE INCLUSION

The Inclusion is a blog – an independent structure extending in parallel with Fig.5. Sharing resources essays, projects and articles, The Inclusion operates as a forum and platform for the diversification of discourse. The Inclusion is conceived by Nicoletta Lambertucci and Alex Ross. Please visit: http://theinclusion.davidrobertsartfoundation.com/

  • 9 February from 1.30 to 3.30pm.

FormContent Course. In the end, as a worm: a melodrama, by Sîon Parkinson

Siôn Parkinson performs “In the end, as a worm: a melodrama” displaying a system of philosophical thought that first fictionalises a thing of absolute Otherness then speculates about its relation to truth of us humans.

Siôn Parkinson is an artist based in Edinburgh. His practice combines objects, text and voice. His work has been exhibited internationally and he has received awards, public commissions and residencies. As a writer he has been published widely, including recent commissions by FormContent, Chisenhale Gallery, and the ICA. Book Works published his first monograph in 2006. He was born in Dundee, Scotland. He has a daughter.

From 4 to 6pm. An Opera in Five Acts. ACT V: Soundtrack and Scene
Please join us for the hearing of the soundtrack of An Opera in Five Act composed by Jean Louis Huhta sourced upon the four former acts, within the scenery conceptualised by Anna Berglind.

An Opera in Five Acts is initiated and led by Fatos Ustek and Per Huttner with Ariella Yedgar, Joel Vacheron, Annalisa Sonzogni, Jean Louis Huhta, Anna Berglind and Manuela Ribadeniera.

An Opera in Five Acts is an interactive production of an imaginary opera where each act is treated as the place of  proliferation for one of its components, namely libretto, stage, orchestra.  An Opera in Five Acts is based on the conceptual framework of A House of Leaves and sources its content from the exhibition.
An Opera in Five Acts seeks for audience who are willing to take part in its course of production hence requests for pre-enrollement except ACT V.

An Opera in Five Acts is a project of  Vision Forum realized in collaboration with DRAF.

ACT I – 17.11.2012 : Libretto
Please join us for the production of the characters and the script of the Opera. Led by Ariella Yedgar, Fatos Ustek, Annalisa Soznogni, Joel Vacheron.

ACT II – 15.12.2012: Musical Instruments
Please be invited to join Joel Vacheron, Manuela Ribenaidenira, Annalisa Soznogni, Fatos Ustek, Ariella Yedgar and Per Huttner to produce the musical instruments for the characters of the Opera from the installation tools of DRAF.

ACT III – 19.01.2012: Choreography
Conceptualised by Manuela Ribadeneira and Fatos Ustek, realised with Annalisa Sonzogni, Joel Vacheron, Ariella Yedgar, ACT III invites you to take part as performers both on stage, in the orchestra and in the audience.

ACT IV – 26.01.2012: Stage and Lighting
Please join Per Huttner, Fatos Ustek, Annalisa Sonzogni, Joel Vacheron,   Manuela Ribenaidenira creating the stage  and lights for the opera built on ACT III.

 

  • 7 February 2013 from 6,30 to 8pm. On Education and Ignorance.

What is in danger when education permeates all practice?

The talk will investigate the effect of the recent proliferation of schools, academies and educational projects. The scholastic model seems to be adaptable to many practices and purposes; is this trend about learning, the need-to-learn or a “fear of ignorance”? Recent pedagogical euphoria inside and outside of the academies necessitates a new understanding, a cultural shift away from the didactic and instead towards the performative, the active, the self-informed, the collective. The last session will be triggered by the intervention at DRAF by Luis Camnitzer A Museum is a school, 2010 and will focus on the concept of ignorance as a possible key to the reading.

Guests:

Luis Camnitzer (External intervention). German-born Uruguayan artist and academic who resides in the United States.

Simon Sheikh, Programme Director MFA Curating, Goldsmiths College.

Stefano Velotti, Associate Professor of Philosophy (Aesthetics) at “La Sapienza, Università di Roma”.

Mediator: Nicoletta Lambertucci, Assistant Curator, DRAF.

Kindly supported by the Italian Cultural Institute.

 

  • 26 January 2013 from 4 to 6pm. An Opera in V Acts

Please join Per Huttner, Fatos Ustek, Annalisa Sonzogni, Joel Vacheron, Manuela Ribenaidenira creating the stage  and lights for the opera built on ACT III.

An Opera in Five Acts is initiated and led by Fatos Ustek and Per Huttner with Ariella Yedgar, Joel Vacheron, Annalisa Sonzogni, Jean Louis Huhta, Anna Berglind and Manuela Ribadeniera.

An Opera in Five Acts is an interactive production of an imaginary opera where each act is treated as the place of  proliferation for one of its components, namely libretto, stage, orchestra, musical instruments, choreography, stage and lighting, soundtrack and scene.  An Opera in Five Acts is based on the conceptual framework of A House of Leaves and sources its content from the exhibition.
An Opera in Five Acts seeks for audience who are willing to take part in its course of production hence requests for pre-enrollement except ACT V.

An Opera in Five Acts is a project of  Vision Forum realised in collaboration with DRAF.

ACT I – 17.11.2012 : Libretto
Please join us for the production of the characters and the script of the Opera.
Led by Ariella Yedgar, Fatos Ustek, Annalisa Soznogni, Joel Vacheron.

ACT II – 15.12.2012: Musical Instruments
Please be invited to join Joel Vacheron, Manuela Ribenaidenira, Annalisa Soznogni, Fatos Ustek, Ariella Yedgar and Per Huttner to produce the musical instruments for the characters of the Opera from the installation tools of DRAF.

ACT III – 19.01.2012: Choreography

Conceptualised by Manuela Ribadeneira and Fatos Ustek, realised with Annalisa Sonzogni, Joel Vacheron, Ariella Yedgar, ACT III invites you to take part as performers both on stage, in the orchestra and in the audience.

ACT V – 09.02.2012: Soundtrack and Scene

Please join us for the hearing of the soundtrack of An Opera in Five Acts composed by Jean Louis Huhta sourced upon the four former acts, within the scenery conceptualised by Anna Berglind.

 

  • 19 January 2013. Fig.5 Third Session.

1 / FROM 1.30 TO 3.30PM: FORMCONTENT COURSE

Michael Newman will present The impossible relation: Bellmer, Sade, Blanchot, a lecture in which he will engage with the movement from I to It and the disappearance of the object. Michael Newman is an art historian and critic whose writing is concerned with the image in its fascination. He teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in the University of London.

2 / FROM 4 TO 6 PM: AN OPERA IN FIVE ACTS. ACT III: The Stage. AN OPERA IN FIVE ACTS invites enrolled participants to take part in its course of production. More details soon.

3 / FROM 6,30 TO 8PM: DRAF COURSE. PRACTICING KNOWLEDGE

There is very often a moment in which the art world meets another world, the world of Palaeontology perhaps or the world of International Trade.‘ (Simon Starling) How does knowledge become a practice? With Aurélien Froment, Jiacopo Miliani and Simon Starling.

6,30pm. A one off screening of one the most elaborate project to date by British artist Simon Starling Project for a Masquerade, 2010-2011. The film documents a solitary Japanese mask-maker meticulously producing a set of six traditional Noh masks while simultaneously overlaying this visual narrative with a web of further narratives in the form of voiceover.

7,15pm. If You Can Dance…You Will Be My Memory, 2013 by Jacopo Miliani is a new project that the young Italian artist conceived exclusively for Fig.5 in collaboration with The Place, the London based premier centre for contemporary dance. Between October 2012 and January 2013, the artist led a series of workshops with six professional dancers collaboratively investigating the idea of memory not only as a visual or narrative stance, but particularly as corporal and emotional. The performance and installation at DRAF, will be an investigation on how movements could translate a total experience of an artwork.

 

During the day, two films by Aurélien Froment will be presented. Pulmo Marina, 2010 is a single 5-minute long shot of a changing form jellyfish seen through the window of an aquarium. Pulmo Marina constructs the notion of the viewer whose social life would shift from the collective experience of the museum towards the private experience of the screen/projection. Rabbit, 2009 present the idea of literally tying things together. The film is about nautical knots and based on the format of instructional films for aspiring sailors.

DRAF wishes to thank The Place and Chris Thomson for the precious help and assistance.

 

  • Saturday 15th December Fig.5 Second Session.

1 – 2 pm DRAF Course: On Museology

Is the role of museums to educate? In what way could educational strategies forge the programme and display (ordering of artifacts and spacial configuration of rooms) of institutions?

Presenting a range of approaches through museums of different scales and histories, the session seeks to understand the current relationship between museology and gallery education, and its future development. The discussion will be based on the programmatic text by Carmen Mörsch At a Crossroads of Four Discourses. Gallery Education in between Affirmation, Reproduction, Deconstruction, and Transformation.

With GLENN ADAMSON (Head of Research, Victorian and Albert Museum, London), KEN ARNOLD (Head of Public Programmes, Wellcome Collection, London), CARMEN MÖRSCH (Head of the Institute of Art Education, University of Arts, Zurich), CAROL SEIGEL (Director, Freud Museum, London). The discussion will be mediated by NICOLETTA LAMBERTUCCI (Assistant Curator, DRAF).

This event will take place in our STUDIO space on the first floor.

4 – 6 pm An Opera in Five Acts. Act II: Musical Instruments.

Join Joel Vacheron, Manuela Ribenadeneira, Annalisa Sonzogni, Fatos Ustek and Per Huttner for the creation of musical instruments (made out of everyday objects, trash, toys etc.) for the Opera, based on the characters profiled in ACT I.

  • 15 December 2012 DRAF Course First Session: The London Eye

How to continue to maintain relevancy within London?

The first session of the DRAF Course aims to open up the relationship that different models of London-based spaces devoted to contemporary art have been establishing with their community and how this relationship was challenged by most recent global economic events. Each organization will contribute to the debates concerning the role and future development of London public institutions. By mapping their respective reactions and management/programme strategies that they have undertaken, the guests will be examining future possibilities for development.

How does each space operate between the conflicting pressures of the didactic vs the contemplative? Has this dichotomy been superseded by that of opposition between the political and the experiential?

Guests:

ALESSIO ANTONIOLLI, Director of Gasworks

Alessio Antoniolli is the director of Gasworks and Triangle Arts Trust. Previously, Alessio ran the International Residency Programme at Gasworks and was also involved in developing an artist-led residency programme for the Triangle Art Trust.

VINCENT HONORÉ, Director DRAF

Vincent Honoré has been the director of DRAF since 2008. Vincent has previously worked at Palais de Tokyo, Paris and Tate Modern, London.

MILIKA MURITU, Director of Cell Project Space

Milika Muritu is the co-founder Cell Project Space, a self-funded not-for-profit organisation which aims to offer a high level of curatorial, administrative and practical support for artists whilst hosting a range of educational talks and workshops, which run alongside an exhibitions programme.

EMILY PETHICK, Director of Showroom

Emily Pethick has been the director of the Showroom since September 2009. Previously, Emily has worked as the curator at Cubitt and as the director of Casco in Utrecht. She is a member of the Afterall editorial board.

Mediator: PAUL PIERONI, Curator of SPACE

Paul Pieroni is the curator of SPACE, where he has been heading an experimental exhibition programme since late 2009.

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  • Luis Camnitzer, A Museum Is A School; The Artist Learns To Communicate, The Audience Learns To Make Connections, 2010. Image Courtesy: Annalisa Sonzogni
    1/1Luis Camnitzer, A Museum Is A School; The Artist Learns To Communicate, The Audience Learns To Make Connections, 2010. Image Courtesy: Annalisa Sonzogni