Think of society as a complex structure of rules, where some rules are hidden and not spoken off, while other rules are on full display and in the open, through our daily life we navigate this web of rules, more or less intuitive, not aware of how they operate. This deep web of rules is the agreement that we all subscribe to while participating in society. These rules define both what’s allowed and what’s not allowed. On general terms the net consists both on super levels, but also fragmented into different sub-structures, these sub-structures could be called discourses.
To allow things to change, society needs transformational functions to bind different threads together and make the web ever-growing and ever reform into new shapes.
This transformational function is the author-function. The author-position is charged with a certain sovereign authority to act inside and outside of the structures. To disturb or disrupt the rules of the game. These author-functions may be shaped in different contexts, where art is one.
Artistic practices balance on the border between being inside and outside of given rules and acts by this, trans-discursive. Somewhere there are other powers, that may hide on the super levels that hand out this authority. The artistic authority to declare a state of exception, and to seek to define what’s necessary and urgent. But the sovereign position is never given from above, but always empowered from below. Those who empower the sovereign position are also those who allow the offset to slide outside of the rules. It’s a critical position that needs to be scrutinized and inspected.
We’re happy to have Rabota, from Moscow Russia, in residency May 2020. Rabota was founded in 2014 by artists Marika Krasina and Anton Kryvulia. Relying on the practice of dialogues, they have defined a concept of non-knowledge. This theme unfolds into the idea of «Human as an Arch»: arch is a contour, filled with different content (sky, trees, other arches) that makes it arch visible. Rabota strive to interpret nonknowledge as an incompleteness, unheld, something that didn’t occur, as an incognito companion of human: a trace of the absent.
”We plan to introduce our personal belongings as a material for the construction. The recordings that we collect in our expeditions will become the sound basis for the creation of interactive musical objects, managed in the performative act process. We consider opening our developments for discussion with specialists, colleagues, and an audience is required. For this purpose, we developed media-rave-conference, the format of performative lectures using multimedia technologies. Along with the performative installation, we are going to operate with this format in our future works.”
The result of the project will be public performative and lecture events, theoretical materials and other documentation rendered in a book and art objects created in the process.