The wooden chair sits hard under my bones, my neck is tense. My view is partly obstructed by the heads of students. The projection field is small compared to the size of the art space in Zurich West, where the public event takes place. On view is Andrea Fraser’s 2022 video performance This meeting is being recorded. The artist reenacts parts of Group Relations meetings she had held with other white- and female-identifying people about manifestations of internal racism in the U.S. I am following this well-tempered conversation. And while I analyze the group dynamics in the film from a certain distance, my chair suddenly begins to tremble. This piece is a field report on the collapsing boundaries between art work, audience and class room, on confused speakers-positions, shared silences and monophonic discussions.
Flurina Rothenberger und Franziska Kristensen im Gespräch mit Mara Züst über Klaym, ein Workshop-Projekt, in dem sich junge Fotograf*innen in afrikanischen Metropolen weiterbilden können, und über das ‹kreolische› Hochglanzmagazin NICE, das in den Workshops entsteht
Advantageous (2015) and Sleep Dealer (2008) are two recent indie science fiction films evoking themes such as economic hardship, corporate greed, and the privatization of education. Advantageous takes place in an unspecified North American megacity, while Sleep Dealer’s main location is Tijuana in Mexico. The characters in both films live in an economic regime that pushes them towards challenging decisions.
Educational formats are an integral part of artistic curatorial practice today. With this educational hype in art, a new format has recently come into play: that of the reading group. The Chicago-born and Zürich-based artist Philip Matesic talks about his seven years’ worth of experience with Theory Tuesdays, (self-)education and the significance of theory for artistic practice.
