Special Issue comes as a response to a number of contemporary artistic practices. In order to feed this relation by which practice defines its own frames of presentation, ontributing artists and instigators of the project are invited to gather for round table talks on April, Saturday 30th and May, Sunday 1st 2011. Anyone interested in listening to these talks is welcome.
These round tables (in English) aim at opening the discussion on the stakes of the project, its limits, its contradictions and it potential use. We propose three topics for each session, so that smaller group conversations can be more focused. After one hour, all participants gathers to share their reflection.
Saturday, April 30th, 11 am - 1 pm
"Production of discourse in performance set-ups"
1. Conception of discursive set-ups
Moderation: Mårten Spångberg
What do we need to train or practice to be able to contribute to a performed magazine? Should the contributions be sections that reappear with each # for an adequate technique to develop within each set-up? Or should the contributors always be invited to contribute new sections based on the knowledge to acquired through their participation. Can such a publication provide an alternative to academic artistic research and art schools? Could it be a form of artistic research in art schools?
2. Performance of discursive set-ups
Moderation: Krõõt Juurak
To which extent does the live activity of discourse production differ from the distribution of a pre-set discourse? Limits of improvisation: on the one hand, the repetition of a pre-existing discourse is also a re-contextualisation and thus a form of production; on the other hand, discourse production is the reformulation of pre-set patterns (in terms of collective organisation of discourse, or argumentary chains).
3. Listening rather than reading; forms of participation in discourse production
Moderation: Louise Höjer
On what grounds can we analyse these various set-ups? What do we get, what do we understand when witnessing the live activity of a thought being produced rather than handling its product afterwards? What effect does the presence of the listener have on what is being produced?
Sunday, May 1st, 12 am - 2 pm
"Possible uses of a performed publication"
1. Technique, virtuosity (a space for practice?)
Moderation : Mette Ingvartsen
Do we need to train in order to practice better? Should the contributions be sections that reappear with each # for an adequate technique to develop within each set-up? Can such a publication provide an alternative to academic artistic research and art schools?
2. A toolbox for discourse production?
Moderation: Petra Sabisch
Can these dispositifs be applied to various contents (a.o. not connected to art)? Which tools are necessary to analyse/criticise such set-ups? What are we talking about? What are these dispositifs good for?
3. Documenting discursive practices?
Moderation: Natasa Petresin-Bachelez & Virginie Bobin
Should the # be documented? How? And which part (rules, set-ups, content produced, etc.)? How can we publish without fixating? Without objectifying these practices? How operative is the very concept of publication?
With (participants): Zbyněk Baladrán, Virginie Bobin, Grégory Castéra, Alice Chauchat, Bojana Cvejić, Frédéric Danos, Valentina Desideri, Juan Domínguez, Lou Foster, Gilles Gentner, Natascha Sadr Haghighian, Vit Havránek, Rémy Héritier, Louise Höjer, Mette Ingvartsen, Ivana Ivković, Maria Jerez, Krõõt Juurak, Kiss Me Deadly, Jennifer Lacey, Xavier Le Roy, Maria Lind, Arantxa Martinez, Nataša Petrešin-Bachelez, Laurent Pichaud, Jeanne Revel, Petra Sabich, Noé Soulier, Mårten Spångberg, Loïc Touzé, Katarina Zdjelar (list to be completed)