KUNO Students: 4
Please send short motivation with your email application to email@example.com (Susanne)
Deadline 1st October 2016
The 5 days workshop entitled the echo of the sign of writing aims to investigate writing practices in contemporary art beyond the mere notion of writing as textual information. Divided in two parts, and including writing exercises both on paper, in space and in speech during the first days, it will first focus on the materiality of language to then investigate the ‘non-verbal’ in language. The workshop will end with a public presentation. From the handling of material between hands, the folding of paper, the turning of a page, towards a move of a body part in space, the building with words, the making in speech, or the precise placing of things, writing can be understood as something more than a construction of words within a sentence to be delivered in speech or diction. Indeed the non-verbal embeds handlings, gestures, sounds, movements, in other words: the writing in space and the writing beyond codified language, in which the non-verbal becomes more than language but also is language.Looking at the possibility of writing in space and the materiality of language, the first two days of the workshop will include exercises in writing practices – both on paper and in space -, short experiments with language – in spoken, written, performative and material forms -, readings of artist’s writings as well as the usage of diagrammatic language to explore writing beyond writing. Thinking of the echoing of the sign of the writing, we will try to think of language construction as something that goes beyond the codified gaps between material and immaterial, understanding and misunderstanding. The second part, led together with Imogen Stidworthy, will explore the non-verbal in language, focusing especially on the voice and spoken language, particularly in relation to questions concerning translation, thinking between languages, conflicts of communication which generate language, as well as ideas of opacity and relational resistance.This workshop is aimed for students interested in the voice, experimental writing, poetry, performance, sculpture and writing in a larger sense. It will also tackle notions of translation, transcription, subjectivities and misunderstandings between languages.
Students are invited to present their works in a short presentation during the first day of the workshop. A presentation by Imogen Stidworthy will take place on November 10th.
About Dominique Hurth :
In the formats of exhibition displays, installations, images, and readings, Dominique Hurth is interested in the framing and reading of objects and events. Edison, Mathias Rust, Le Corbusier, Pavlov’s experiment table, Herbert Bayer’s exhibition designs meet France Gall, the countdown to zero, Rodin, Sarah Bernhardt, Cessna, Mallarmé, or Heinlein, thus transposing historical data into a subjective voice-over. While her installations are concentrated on the form, a long and detailed research is strongly embedded in the development of this same form. It is by ways of archival research, journalistic investigation, writing and material experiments that the works develop, and it is by way of editing that the installation operates in the exhibition space, the geography of the page or the accent in the voice. She has exhibited a.o. at Palais de Tokyo, Paris; Fundacio Tapies, Barcelona; Villa Oppenheim – Museum Charlottenburg, Berlin; Tiroler Kunstpavillon, Innsbruck; LOOK 13 – Liverpool International Photography Festival; MAMO – Cité Radieuse, Marseille; Hordaland Art Centre, Bergen; after the butcher, Berlin; Hamburger Bahnhof, Berlin; Literature House, Aarhus; Weserburg Museum für moderne Kunst, Bremen; Fiebach-Minninger, Köln, MABA Nogent-sur-Marne; Haeler Echo, NYC; solo shows at Souterrain and clockwork gallery Berlin; Künstlerhaus Büchsenhausen, Innsbruck; Wildtsches Haus, Basel; Die Raum, Berlin; Lydgaleriet, Bergen. She publishes frequently in the format of artist editions and pamphlets. Her first book “language in the darkness of the world through inverse images” was published in 2012. Her new book “séance de lecture” was released in September 2016.
Next to residencies at Jan Van Eyck Academie (Maastricht, NL), Künstlerhaus Büchsenhausen (Innsbruck, AT), Triangle (Marseille, F), Østre (Bergen, NO), she was recipient of several grants and prizes, such as the Prize of the Berliner Senate at ISCP, New York and the FNAGP in 2014-15. In 2016-17 she is recipient of a grant from the Pollock-Krasner Foundation (NYC).Dominique Hurth has taught at the Bauhaus University, before joining Bergen Academy of Art and Design as professor for sculpture and installation in 2014-15, where she initiated the series «chewing gum, stones and crystals», investigating current sculptural and installation practices through a series of conversations and performative encounters between women artists. She has taught at a.o. KHIO, Oslo; Bauhaus University Weimar, Sandberg Institute, Amsterdam; Werkplaats Typografie, Arnhem; UdK Berlin.
About Imogen Stidworthy :
Imogen Stidworthy’s work focuses on the voice as a sculptural material, in her investigations into different forms of language and relationship. She works with people who inhabit the borders of language, whose relationship with language is affected by conditions such as aphasia or the impact of overwhelming experiences. Often combining the staged with the observed, she makes films and installations and uses a wide range of media including sculptural objects, print, and photography.
Recent solo exhibitions at Imperial War Museum, London (2015), AKINCI, Amsterdam and Galerie Raum mit Licht, Vienna (2013); Matt’s Gallery, London (2011); Kunstpavillon, Innsbruck and Arnolfini, Bristol (2010). Group exhibitions in 2016 include Suzhou Documents, Suzhou (CN), This is a Voice and States of Mind at The Wellcome Collection, London, and British Art Show 8 at The Scottish National Gallery of Modern Art, Edinburgh; in 2015: Kiev Biennale 2015 (Ukraine), British Art Show 8, Leeds Art Gallery; in 2014: São Paulo Bienal 2014; Listening, Hayward Touring exhibition, at SITE, Sheffield, Bluecoat, Liverpool and Baltic 39, Newcastle; in 2013: Bergen Triennale; in 2012: Busan Biennale (S. Korea); October Salon, Belgrade (2011); in 2007: documenta 12, Kassel.
She curated the group exhibitions BLACKOUT! at ERC, Liverpool (2013); In the First Circle (in collaboration with Paul Domela), Fundació Antoni Tapies, Barcelona (2011–12) and Die Lucky Bush, MuHKA, Antwerp (2008). Her work is represented by Matt’s Gallery, London and AKINCI, Amsterdam.
Stidworthy has taught in many art schools and research institutes including a guest professorship at the University of Applied Arts, Vienna and as Advising researcher at the Jan van Eyck Academy, Maastricht (NL); she is currently as a Senior Lecturer at Liverpool John Moores University and a doctoral student in the PhD in Visual Art at Lund University.