Publishing:FiguringThingsOut-Dissertation
Contributors
- Anja Groten
- Maisa Imamović
- Heerko van der Kooij
- Juliette Lizotte
- Karl Moubarak
- André Fincato
- Loes Bogers
- Pernilla
- Stefanie
- Olivia
- Erin
- Naomi
- Gabriel
- Gerko & Julia
- Heike Roms
- Anja Groten
- Zon & Katherine
- Sarah Garcin
- Nienke & James
- Angela
- Suzanne
- Mio & Johanna
- Read-in (..)
- Jessica & Yasmin
- Jara
- Petra
- Lale
- Lulu
- Sandy
- Sally
- Siwar
- Mannetta & Joana
- fanfare
- Name
- Name
- Name
- Name
making matters
a vocabulary for collective arts
The world today faces overwhelming ecological and social problems and the concern for material existence on earth is more pressing than ever. When looking at the field of art and design, this means that research into our relation to the world around us and the actual making of things has acquired a new urgency.[1] Making Matters asks what role visual artists and designers can play under these conditions. The book gathers a number of relevant making practices and investigates the urgency from which they arise.
One of the main departure points of Making Matters is the realization that collective action is necessary and inevitable, in society at large as well as in the field of the arts. Collective art and design practices therefore are the main focus of this book. They point to a transformation of working methods that not only shapes and changes practices but also affects artists and designers in their position and identity: from individuality and autonomy to experimental collectivity and collaboration, locally
as well as globally.
A new perspective on ‘making’ becomes apparent here. When practices shift towards collaborative making processes instead of individual products, what does ‘making’ and the production of concrete, material ‘things’ mean? Artists collaborate with non-artists and in doing so may take on other identities, such as researcher, community activist, computer hacker, or business consultant. The research done by these artists departs from the most diverse areas, from logistics and biotechnology to geology or dance. As a result, the distinction between art, design, research, and activism is dissolving. It follows that these practices may hardly be recognizable as art or design practices any longer, nor are their outcomes necessarily identifiable as artistic outcomes, let alone as specific art works. Some of these practices no longer conform to a conventional Western idea of art and art making. This book aims to identify some of their key concepts and to make their vocabularies accessible to a larger public.
The practices brought together in this book address specific ecological and social problems, sometimes explicitly, sometimes implicitly. All of them embrace the complexity of the various crises that we find ourselves in and try to develop ways of dealing with them. They experiment with and embody examples of new ways of living together and of
a sustainable existence on Earth with all living beings.
Material artistic practices, i.e., ways of concrete making and doing, often go hand-in-hand with
a theoretical inquiry. The textual and visual contributions in this book embody this intertwinement of conceptual and material thinking. The authors share an interest in artistic research, a relatively newly institutionalized research field that connects doing and thinking, making and theorizing, in a reciprocal exchange that does not prioritize one over the other. In artistic research, practical action (making) and theoretical reflection (thinking) go together, action and thought are inextricably linked.
Art contests the age-old dichotomy of theory and practice. Since Modernism, it has involved a constant questioning of the role of art and artist. The practices presented in this book put these questions on the table once more. They exemplify the attempt to bridge the distance between theory and practice, or even (in some cases) to obliterate the distinction between art production, critical reflection, and everyday life.
The roles of artist, curator, institution (museum, Kunsthalle, artist-run spaces, biennial, documenta) and audience may become fused in the production of art.
This development raises fundamental questions
of authorship and of the status quo of the art object and process: where is it situated and how can it be perceived or experienced? The materialization of art, its aesthetic dimension, its ‘aesthetic—felt, spatio-temporal—dimension’,[2] is acquiring new meaning and importance. In the light of the pressing challenges that we are facing on a global scale, and in the light of the critical and discursive potential of contemporary art practice, ‘making’ matters more than ever before.
how, on what ground, have the contributions
to this book been selected?
Artists collectives are at the centre of attention
in contemporary art discourse.[3] The 15th edition of the world’s leading contemporary art exhibition documenta (2022) will bring the contemporary art phenomenon of multidisciplinary collectives to a wider audience. Not only are its curators, the Indonesian ruangrupa collective, such a collective themselves; most artists invited to documenta 15 are multidisciplinary collectives, too.
This book aims to contribute to the growing body
of literature on the phenomenon of the art collective in its present-day, multidisciplinary, and hybrid form.
It aims to provide insight into the subject matter of these collective multidisciplinary practices. Most contributors are practitioners whose work falls in
the cracks between the disciplines of art, design, critical theory, research, performance, community organization, social activism, and critical engagement with technology. Even when their work is grounded in one of those disciplines, it usually encompasses at least two others. In the end, these practices and the texts in this book complicate the following questions: What is research when it is done by artists? What is ‘making’ when it is informed by critical theory and turned into activism? What is ‘technology’ when it is articulated by performance artists and in community projects? What happens when their implicit concepts, definitions, and vocabularies, which differ from mainstream understandings of those same concepts, are explicated in a specific vocabulary?
The project began with a four-year research project by our material practices workgroup into the possibility of a crossover between art, design, and technology as an alternative to the capitalist-driven concept of the ‘creative industries’ consortium.
It ended with the observation that alternative crossovers exist in the often overlooked and often overlapping fields of artistic research, artists’ and designers’ experiments with commons, Open Source culture, post-humanism and biopolitics, alternative economies, and community organization. Artists do not simply depict or reflect upon these varying perspectives from a critical distance, but radically translate them into their everyday ways of living and working, in other words, into material practices. This book aims to explicate tacit knowledge from artists’ material practices and from real-life experiments conducted in a world in crisis while gaining insight into present-day paradigm shifts in the arts.
The different disciplinary groundings of our contributors correspond to the respective disciplinary groundings and research specializations within the material practices workgroup: Leiden University, Willem de Kooning Academy, Het Nieuwe Instituut, Waag, West Den Haag. Based on the expertise and the discussions in the workgroup, contributors were invited who could help to both focus and complicate the question of how artists practices and real-life experiments amount to knowledge for ways of living and survival in the planetary crisis.
reading guide
The vocabulary of concepts relating to collective material art practices presented here is not an encyclopaedia nor even an inventory and it is by no means complete. It may be regarded as a thought experiment, aimed at stimulating further debate and new vocabularies.
The entries are categorized under seven headings, laid out in alphabetical order: bodies, collective, critique, economy, making, matter, and undisciplined. In some cases, entries refer to connected entries.
The order of reading is not linear. You are invited to read the entries in any given order.
- ↑ The term ‘art’ is used here in its broadest sense, encompassing visual art, design, performance art, new media practices and other artistic disciplines.
- ↑ Peter Osborne, Anywhere of Not at All: Philosophy of Contemporary Art (London and New York: Verso, 2013), p. 48.
- ↑ For the 2021 Turner Prize only artist collectives were nominated: Array Collective, Black Obsidian Sound System, Cooking Sections, Gentle/Radical and Project Art Works.