BAR module is an intensive working week in the city of Barcelona which aim to create learning opportunities from different topics and dynamics. As part of BAR TOOL#1, the BAR module sessions will be opened to a larger public (researchers, students, curators, artists, educators, etc):.
BAR module February 5th-9th: The program will consist in seminars by Emily Pethick (The Showroom director, London) and Susan Gibb (curator of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam) on the processual and performative development of the institutions the direct; as well as a workshop on ethics and legality held by Nuria Güell (artist, Barcelona); and the unmissable My studio visit. The city as studio with Aimar Pérez Galí (dancer, artist and researcher, Barcelona).
BAR module April 9th-13th: The program will consist in seminars by Philippe Pirotte (director of Fine Arts School Städelschule and of the exhibition space Portikus, Frankfurt) and Vivian Sky Rehberg (director of the Fine Arts Master at Piet Zwart Institute, Rotterdam), respectively on art and activism at the Jakarta Biennale and speculative writing; as well as a workshop on the phenomenological experience in arts held by Daniel Steegmann Mangrané (artist, Río de Janeiro); and the unmissable My studio visit. The city as studio with Jordi Ferreiro (artist and educator, Barcelona).
They must be sent to email@example.com and firstname.lastname@example.org in a single email and single PDF document (max 2MB) including:
Motivation letter (up to 500 words)
Working knowledge of English is required
DEADLINE FOR REGISTRATION:
BAR module February 5th-9th: January 25th, 2pm (GMT+1)
BAR module April 9th-13th: 18 de Marzo, 2pm (GMT+1)
Price of each BAR module: 300€
Price of both BAR module for registration until January 18th: 500€
BAR project offers a grant covering registration for a national or international participant for each of the BAR module, and a grant offered by Fabra i Coats Art Factory covering the registration for a participant based in Barcelona for each of the BAR module. The 4 grants will be awarded based on need and merit; the candidate must specify it on the application.
Emily Pethick is director of The Showroom, London, since 2008. She’s teaching the programme Curating Positions at the Dutch Art Institute and is a jury member for the 2017 Turner Prize.
Susan Gibb is curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam, since 2013. Susan also writes regularly for art periodicals and teaches at the Dutch Art Institute as well as at the School of New Dance Development, Amsterdam.
Nuria Guell is an artist. Some of her work flirt with the established powers, which tactics diluted into her own life and which are developed in specific contexts intending to question commonly-assumed identifications and cause a disruption in power relations.
Aimar Pérez Galí develops his artistic practice in the dance and performing arts field as a dancer, choreographer, researcher, pedagogue and writer, always departing from the body as a reference place, understanding dance as a tool for critical transformation.
Philippe Pirotte is director of Frankfurt’s Städelschule art school and its gallery Portikus. Recently, he was curator of the 2017 Jakarta Biennale and the 2016 Montréal Biennale.
Vivian Sky Rehberg is Course Director of the Master of Fine Arts at the Piet Zwart Institute in Rotterdam, the Netherlands, and a contributing editor of frieze magazine.
Daniel Steegmann Mangrané is an artist from Barcelona based in Rio de Janeiro. His practice covers various media and oscillates between subtle, poetic, and crude experimentations that question the relationship between the world and language.
Jordi Ferreiro is an artist and educator. His work explores the processes of reception and interpretation of artworks – in both the educational and artistic contexts – via the use of performance and public participation.
Emily Pethick will present The Showroom, a contemporary art space in London that focuses on collaborative and process-based approaches, as well as on cultural production inside and outside its locality, linking experimental artistic practice with a variety of communities of interest and political concerns.
Susan Gibb will introduce the work of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, a curatorial production house based in Amsterdam, The Netherlands, which explores the evolution and typology of performance and performativity in contemporary art. If I Can’t Dance develops and produces projects and thematic programmes with artists, curators, and researchers on the basis of long-term collaboration, and present these through a network of partner institutions and venues in the Netherlands and abroad. Through this mode of working, projects are developed through their very enactment, at each event, and each location, over time. Drawing on examples of If I Can’t Dance commissions, the talk will consider what it means to curate via production, and to consider ‘liveness’ from the perspective of ‘presentness’.
With Good intentions are not enough Nuria Guell will critically analyze some of the political projects that Nuria Güell has carried out over the last few years, addressing both the inherent contradictions of these practices and their possibilities of impacting and affecting the real; devoting special attention to ethical issues -not moral- and to the thin line that separates ethics of consequences from ethics of intentions.
Philippe Pirotte will discuss Jakarta Biennale within the context of a long related history of art and activism in Indonesia.
One Must be an Owl as Regards Experience by Vivian Sky Rehberg will be a seminar grapple with the theories of creativity and experience that emerge from Marion Milner (1900-1988) writings and encourage speculation around their possible value for thinking about and writing about contemporary art. Over the course of her long life, British author and psychoanalyst , who published her best known book A Life of One’s Own (1934) under the pseudonym Joanna Field, used the diary form to develop a singular method of introspective analysis of her daily activities, occurrences, observations, thoughts, and interactions. Her prose, at once deeply personal and clinically dispassionate, is cleaved to her thinking processes, a mixture of free-association and keen, quasi-objective insights influenced by her psychological training.
In his workshop Daniel Steegmann Mangrané will investigate how art can reconfigure our relationship with reality. From the intertwining between viewer and work, the importance of the phenomenological experience, the collapse of binary divisions and the ontological reformulation that this implies, the emergence of new subjectivities or the ecological crisis that we live and the interdependencies that are revealing, he will propose to analyze some of the different possibilities of involvement that are open to us. Always remembering that the important thing is not what happens inside the museum, but what happens to us when we face reality again.