As part of the group exhibition “Mutualisms” Erik Hagoort and Caroline Picard have organized a symposium to take place on Sunday 11th of September from 1-5 pm. That Sunday the artists participating in “Mutualisms” together with guests from Chicago (Kevin Kaempf, Jason Pallas, Anni Holm, Abigail Satinsky and Karsten Lund) and Holland (Philippine Hoegen, Marjolijn Dijkman, and Rune Peitersen) will gather at the CoProsperity Sphere to address the theme of Art & Reciprocity.
Anni Holm, is the Co-Founder, Director and Curator of People Made Visible, Inc. (PMV). PMV is a non-for-profit organization based in the city of West Chicago with a mission to facilitate community while fulfilling the artistic, social, educational and cultural needs of the community through an innovative physical and web based presence. Besides claiming to be a conceptual artist, she works as the Art Coordinator at Waubonsee Community College in Sugar Grove, IL, and has been a teaching artist with CAPE (Chicago Arts Partnership in Education) since 2009.
Abigail Satinsky is the director of programming at Threewalls where she amongst other things initiated Community-Supported Art Chicago, a yearly art subscription service of locally produced art and developed PHONEBOOK 3, a directory of independent art spaces, programming, and projects throughout the United States. She is furthermore a member of InCUBATE, a research group dedicated to exploring new approaches to arts administration and arts funding. Their activities have manifested in a series traveling exhibitions called Other Options, an artist residency program, and various other projects such as Sunday Soup.
Since moving to Chicago, Karsten Lund has worked as a curator and a writer, and pursued a variety of other creative pursuits. He is currently a curatorial assistant at the Museum of Contemporary Art, Chicago and from 2007 to 2009 he worked as a research fellow at the Museum of Contemporary Photography (MoCP). Karsten is currently organizing an experimental exhibition, with four artists, which will be staged at a former factory in West Humboldt Park next month and again at the Hyde Park Art Center in fall 2012.
Jason Thomas Pallas (USA) has worked on collaborative, community-based projects for the past 8 years. As an example, he founded an after-school and summer arts organization for at-risk Latino youth called “Art Y Más”. In his artistic practice, J. Thomas has teamed up with the late activist Beauty Turner for a series of Ghetto Bus Tours, where participants visit Chicago Housing Authority sites to interact with the residents for mutual understanding. In general, Pallas’ work occupies the intersection of the popular, the personal, and the political.
“People Powered”, formed by Kevin Kaempf (USA) and Lora Lode(USA), designs experimental pilot programs that integrate art, environmentalism, and communities. Examples are the re-use of bikes (“Shared: Chicago Blue Bikes”) and the recycling of excess latex paint (“Loop Limited”). By presenting these projects in exhibitions and public locations in the city, People Powered creates a platform for discussing how these practices may intersect.
Rune Peitersen (NL) is a visual artist, focusing on the retinal, but this doesn’t exclude taking position in society as an artist, when needed. Together with other artists Peitersen initiated Platform Re-set, an action group using the knowledge and tools that artists have, to react to alarming recent developments in the political climate in the Netherlands: “At the moment artists and the arts are being talked about, not addressed directly. We want to reaffirm our position in society. ”
Research, display, context, collaboration (often with Carolien Stikker) are some of the keynote concepts in the work and activities of Philippine Hoegen (NL). With other artists in 2010 Philippine Hoegen started Calcite Revolt: an initiative created to provide and research new models of interaction and collaboration between artists, curators and theorists. Critically regarding common structures and hierarchies, its aim is to develop productive, fluid and adventurous ways of contributing to each others development and practice.
Through her diverse work Marjolijn Dijkman (NL) often considers the foundations of how we perceive and experience our surroundings. Perception is for Dijkman always embedded, contextual, therefore her practice has concerned itself with for example futurology, public space, knowledge organisation, cartography, utopian architecture or environmentalism.
In 2005 together with Maarten Vanden Eynde she founded Enough Room for Space (ERforS). ERforS is an artist-run organization to create a platform where investigations by individual participants in projects can overlap and lead to new collaborations.
I’m usually not that shy for words, but these poems literally leave me speechless. I have no idea how to respond to them. I know where they come from, some of the words I recognize or have even found online, but still, how does one respond to computer-poetry?
The images and scanned letters are part of an old love story, or perhaps several love stories. I’m becoming addicted and I’m puzzled by finding the same longing in the non-human poems as I read in the letters from all too human humans. Do I read my own longings into both the letters and poems? And, if so, how come they’re triggered with such accuracy by the intimate writings of people I never knew and algorithmic generators? And even more strange: If I had never been introduced to Mark and Judd, I would’ve never read any of this. But what if I had been coupled with someone else, or Lise had moved to Russia instead of Chicago; would I be reading the same emotions into someone else’ work, recognizing the same longings? In other words, am I only being confronted with myself, screaming in the solipsistic void, or do Mark and Judd really exist?
In 15 minutes I’ll know more.
Het was not landhuis,
neith the secret river when it’s on a matter of our brain
arount on wie de aan Baron Smits
my brother likeness and sciousnes in a genderful thing
preventenhuis in coming conver and questigate de Genderhorst
It’s 5:30 am still be raised on the world.
If the like us world
always keep our ideas even by thing
the true lady will serve
if you to a do
and already in a wonder you to are – or smile.
This is a mathemation Smits-van Ooijen
to reciate the ring and part what ways of pictural experiode
and aan Baron Smits on 21st
Peited a number, once familie vanday mixing about
this dag van Ooijen.
There’s also a good flowing
and how small a my dag van
the question overted to fit the hous system
This linen verkocht down.
Upside down and I feel door of our daughting
I don’t means this year’s upside day that a awful the we are two
of living convers artists personally
De name candy would be an awful think if all stree different was neithe redder than the ring
De name has de fabrieksged nog steeds.
From: Judd Morrissey <firstname.lastname@example.org>
Date: August 3, 2011 8:41:52 PM CDT
To: Rune Peitersen <email@example.com>
Cc: mark jeffery <firstname.lastname@example.org>
Subject: 51.4133682, 5.417976
and the perception of the name
house the pattern
huis is in the other
the secret base
trying to see just a awful lot of us.
The spotlight in you is praying to travel
Martien has decided problems
Let’s keep the name is,
would you to teach there
ever tear apart what the coachman house
(if studentenhuis, De Gender god above.)
I feel two disciplines in what it is or if and who had to travel, but it..
If these we create meaning?
To further in our dezit came
Trying that is: I can alway get home
and put another lesson.