Wednesday 19 June, Delirium and ghostly sovereignty @the Parking Gallery

Weds 19 & 26 June: Delirium and ghostly sovereignty curated by Helena Chávez Mac Gregor with artists: Mariana Botey, Fernando Palma, Enrique Mendez de Hoyos and Ximena Labra at the Parking Gallery.

Botey_1

 

Still from the film The Passage of a Few, Mariana Botey, 2002. (Hail to the Clandestine Revolutionary Forces).

In 1966 Lacan visited Mexico. He spoke[1] of the existence of a past in its perfect form in his narrative of the trip. This perfect past was manifested, he thought, in the murals of Rivera and O´Gorman, where they inscribed the past in a way that had never existed. What happened there was, in the words of the famous analyst, something enigmatic and amazing: the murals served as a vehicle for “an invisible bond through an irremediable tear that survives through the generations”. For Lacan, the work of the muralists creating history with those images can only be interpreted by the structure of the “objet petit a”, that is to say in very simple terms, desire.

Time: 06:00 for 06:30pm

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Five Drawing Lessons: A performance by William Kentridge

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Post-Oil City – The History of the City’s Future

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At a time when more than half of the world’s population is living in cities, the effects of climate change on urban life can no longer be ignored. The exhibition Post-Oil City: The History of the City’s Future, as well as the accompanying catalogue edited by ARCH+, present innovative projects in Asia, Africa, and America that address urgent questions: How will the transition from fossil fuels to renewable energy affect the process of urban planning and the city? How will the use of renewable energies affect urban metabolism and the politics of sustainability and mobility?

Date/ Time: June 25 at 6:30pm until July 31 at 6:00pm

119 Jan Smuts Avenue – Parkwood

2193 Johannesburg

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Johannesburg Workshop in Theory and Criticism (JWTC) Workshop 23.06.2013 – 02.07.2013 Various Locations in Johannesburg

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The 2013 session of the Johannesburg Workshop in Theory and Criticism (JWTC) will take place at Wits University and other venues in Johannesburg from June 23 to July 2, 2013 under the theme: The Life of Forms. 

Public events include panels, exhibitions, round tables, film projections (with Trinh Minh-ha), book launches, as well as lectures by William Kentridge, Arjun Appadurai, Jane Guyer, Eyal Weizman, Sue Van Zyl, Ato Quayson, Achille Mbembe, and others. Composer and musician Neo Muyanga will perform and Ntone Edjabe, the founder of Chimurenga, will hold a conversation about the magazine.

The following areas of debate and inquiry will be privileged: architecture and city forms, literature, politics and the arts, fashion and design, dance and music, technologies of the digital age.

All events are open to the public on a first-come-first-seated basis.

 JWTC full program

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Scratching the Soil. A solo exhibition by Eduardo Cachucho

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Scratching the Soil is a new solo exhibition by Eduardo Cachucho.The project examines the creation and propagation of education models and law systems imposed by the British Empire over its colonies, by presenting a series of imagined root causes & results that institutionalised these structures almost two centuries ago.
As a precursor to the exhibition a performance titled Penal Illustrations developed and directed by the artist will be premiering at the National School of Art’s Downstairs Theatre at 6 pm on the same day as the Opening reception.

Opening Performance:
NSA Downstairs Theatre
Thursday, 20 June 2013 at 18h00

Opening Reception after Performance:
Thursday, 20 June 2013 at 18h45

 

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The Life of Forms: Project Space

 

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The GoetheonMain project space becomes a satellite venue for hosting exhibitions, stagings and interventions related to JWTC, conceptualised by Zen Marie. Participants of the workshop are invited to extend their theoretical work space, through visual, audial, performed and spatial dimensions.

The project space becomes a platform for theoretical/aesthetic model building, a laboratory for practice-based theory or a stage for concepts to be performed.

Life of Forms: Project Space opens to the public on Friday 28 June at 18H30.

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K! Words- Friday, June 21, 2013 6:00pm @Keleketla! Library in Johannesburg

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Audience. Books. Centre. Cinema. Classification. Clubs. Community. Complex. Concert. Conversation. Culture. Dance. Dewey. Drill Hall. Education. Exchange. Forms. Freedom. Future. Gallery. Ghosts. Gospel. Guns. Heritage. History. Imagination. Inner City. Johannesburg. Knowledge. Kwasa Kwasa. Leaders. Listening. Making. Map. Markers. Material. Music. Noise. Noord Taxi Rank. Organise. Pamphlets. PDF. Plein and Twist. Police. Posters. Pupils. Radio. READ. Skopo. Smoke. Social. Spiders. Studio. Structures. Taxi.Teachers. Trade. Transformation. Treason Trial. Visitors. Walls. Youth. Zabalaza. Zine.
As a preliminary consolidation of the 5 year archival project, Call & Response: K! Words pulls together Keleketla’s activities over the last 5 months. The event marks the culmination of two library intervention residencies by Marie Fricout (FR) and Francis Burger (SA). Made visible through keywords, maps, shelving appendages and other structures, the residencies reflect a dual conversation with the library collection and the knowledge that Keleketla generates. K! Words will be launched as part of a growing vocabulary that registers the current and suggests the future Keleketla! Library catalogue. The imaginings will also include a discussion on the cataloguing and classifying process by librarian Lot Kafesu, as well as an update of K!Discography, a growing audio archive.

K! Disco
Mma Tseleng,
Nomakhepu
Jabu Electronica
Djzakes Mixmaster
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Wednesday 12 June, Juan Gaitán: Forms of Travel/ Travelling Forms @the Parking Gallery

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In 2013 Juan A. Gaitán was appointed curator of the 8th Berlin Biennale. Since its first edition in 1998, the Berlin Biennale has become one of the major international events for contemporary art.

In order to prepare for the Berlin Biennale, Juan A. Gaitán is travelling to South Africa. In the Parking Gallery in Johannesburg he will speak about the contextualization of the recent history of the Berlin Biennale, its international relevance and comprehensive impact on the cultural life of Berlin. Further, elaborating on its 8thedition to be held in spring 2014, Juan A. Gaitán will introduce the beginnings of his curatorial research as well as the artistic team he has invited.

In the coming edition, Gaitán seeks to treat Berlin as a subjective microcosm, tracing its globality and mercantile linkages in the late 19th to the early 20th centuries as well as its journey from empire to nation-state. The migration of historical forms and circulating figures within the formation of Modernity will be interrogated through the contributions of individuals such as Alexander von Humboldt and his scientific explorations across the Americas.
Currently based in Mexico City and Berlin, Gaitán was trained as an artist and art historian at the University of British Columbia and the Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts.

Wednesday 12 June
18h30
Talk and discussion
Parking Gallery, Johannesburg

In collaboration with the Goethe Institut, Johannesburg.

 

 

 

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Upcoming: Delirium and ghostly sovereignty @ the Parking Gallery

 

Weds 19 & 26 June: Delirium and ghostly sovereignty curated by Helena Chávez Mac Gregor with artists: Mariana Botey, Fernando Palma, Enrique Mendez de Hoyos and Ximena Labra at the Parking Gallery.

Botey_1

 

Still from the film The Passage of a Few, Mariana Botey, 2002. (Hail to the Clandestine Revolutionary Forces).

In 1966 Lacan visited Mexico. He spoke[1] of the existence of a past in its perfect form in his narrative of the trip. This perfect past was manifested, he thought, in the murals of Rivera and O´Gorman, where they inscribed the past in a way that had never existed. What happened there was, in the words of the famous analyst, something enigmatic and amazing: the murals served as a vehicle for “an invisible bond through an irremediable tear that survives through the generations”. For Lacan, the work of the muralists creating history with those images can only be interpreted by the structure of the “objet petit a”, that is to say in very simple terms, desire.

This proposal emerges from the above comment, where the thing that underlines is the idea of an irremediable tear. Using Lacan as a provocation, we could say that, in Latin America at least, because of its particular colonial past, there is something in time that is broken. If the colonial condition marks a tear, how can we elaborate history in order to inscribe what was been erased and crossed out? How can we use the force of the symbolic of a bygone past to create temporality? How can art be a form of desire for a construction of the political?

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