Message posted on 03/08/2021

Call for Applications: Saas-Fee Summer Institute of Art 2021 | sonsbeek20→24

Call for Applications:

Saas-Fee Summer Institute of Art
2021 | sonsbeek20→24

online in collaboration
with sonsbeek20→24 conjunctions

August 18 – 22, 2021 – 3-8:30pm CET

Curating Noise: Reverberations and the Polyvocal

The special five-day Saas-Fee Summer Institute of Art program, Curating
Noise: Reverberations and the Polyvocal, will take place online in
conjunction with the 12th edition of the quadrennial sonsbeek20→24,
developed in close dialogue with its curatorial team (including artistic
director Bonaventure Soh Bejeng Ndikung and co-curators Antonia Alampi,
Amal Alhaag, Zippora Elders, and Aude Mgba) and framework, Force Times
Distance. On Labour and its Sonic Ecologies, that invites and encourages
different modes of listening to make audible that which is already there,
but remains unseen and unheard.

“No longer considered only a factor of disturbance, detrimental to
information like static noise in the channel of communication, the evolving
concept of noise also becomes constitutive of new forms of knowledge and of
new ways of understanding organization.”

– Cécile Malaspina, An Epistemology of Noise

This special session of Saas-Fee Summer Institute of Art (SFSIA) will focus
on a contemporary conception of noise that builds from the idea of
listening as a participatory practice. Where in the past noise was
something to be controlled and suppressed, today noise and uncertainty are
entangled with one another as key concepts in the production of contingency
as a driving force of innovation, creativity and resistance. As Reza
Negarestani surmises in his essay, “Contingency and Complicity,” the
contingent artwork can become the basis for new interactions and dynamic
processes that drive the artist to novel realizations and opens up the
potential of the work not assumed at its inception.

At the epicenter of sonsbeek20→24 is an investigation of global power
structures which, as a result of the drift towards digitality, have taken
on increasingly non-linear, unstable and topological distributed space/time
forms. In the process, new plateaus – shock waves upon which extended and
embodied stratifications exist as fields of immanence – have emerged.
“Curating Noise: Reverberations and the Polyvocal,” uses the Third Havana
Biennial 1989 as a model upon which to build a self-reflexive problematic
provoked by an intellectual and discursive turn in the apparatus of
biennial production. “Curating Noise” engages the biennial apparatus in
relation to its colonial history, as well as its economic and intellectual
opportunity, through the epistemological problem of noise. Many of the
published books and past curatorial efforts on noise (with a few exceptions
such as Charlotte Mormon and Pauline Oliveros) promote a linear narrative
that centers European and patriarchal perspectives. As such, most histories
begin with Futurism and pass through Fluxus on its way to new forms of punk
and free jazz such as in the works of Throbbing Gristle and the Boredoms.
While including these histories, “Curating Noise” aims to include more
geographically, culturally and otherwise diverse perspectives in order to
estrange and expand the histories of noise production and understand it in
radically new post-humanist ways. Considering Gilles Deleuze and Felix
Guattari’s definition of puissance in A Thousand Plateaus as, “a capacity
to multiply connections that may be realized by a given ‘body’ to varying
degrees in different situations…thought of as a scale of intensity or
fullness of existence (or a degree on such a scale), analogous to the
capacity of a number to be raised to a higher ‘power,’” we are excited by
potential new forms of power, or puissance, that may be generated as a
result of these shared discussions.

Guest Speakers

Amal Alhaag, Ina Blom, Mathieu Copeland, Christoph Cox, Sanne Krogh Groth,
Paz Guevara, Satch Hoyt, Cécile Malaspina, Paul D. Miller aka DJ Spooky,
Warren Neidich (founder/director), Pablo José Ramírez, Holger Schulze, Greg
Tate, Victoria Vesna, and Anuradha Vikram.


Applications for Curating Noise are open to students, practitioners and
scholars from the fields of art (including sound, video, photography,
installation and multimedia), music, philosophy, design, architecture, art
criticism, science and technology studies, critical theory, cultural
studies, film and media studies, and beyond. Please see our application
for more

About Saas-Fee Summer Institute of Art

Saas-Fee Summer Institute of Art (SFSIA) is a nomadic, intensive summer
academy with shifting programs in contemporary critical theory. SFSIA
stresses an interdisciplinary approach to understanding the relationship
between art and politics. SFSIA originated in Saas-Fee, Switzerland in 2015
(after which it is named) and then migrated to Berlin, Germany in 2016 to
engage a larger audience for it’s free public programs. Additional programs
have been hosted in Los Angeles and New York City. SFSIA was founded and is
directed by Warren Neidich and is co-directed by Barry Schwabsky. Sarrita
Hunn is the assistant director.

About sonsbeek20→24

Since this first edition in 1949, sonsbeek has significantly contributed to
and helped redefine international contemporary art exhibiting. The 12th
edition of sonsbeek takes place under the auspices of artistic director
Bonaventure Soh Bejeng Ndikung and his team of co-curators: Antonia Alampi,
Amal Alhaag, Zippora Elders and Aude Christel Mgba. In this new, more
sustainable form, sonsbeek will abandon the usual rhythm of contemporary
art production and exhibition, and instead stretch out in a continued
public process until 2024, thereby consolidating and encapsulating two
editions. This means that sonsbeek20→24 will be a platform in which various
activities like exhibitions, discursive programs, residencies, publishing,
radio and more can emerge throughout its time-frame.

Please see our website or contact for
more information.
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