This Monday, 10 November 2014, I am going to lock myself in a room with eight other people overnight in the spirit of feminist consciousness-raising sessions of the 1970s. Organized by Mikaela Assolent and Flora Katz, the experiment is part of a larger project entitled If We Carry On Speaking the Same Language to Each Other, We Are Going to End Up Repeating the Same History. The title is incredible; the sentiment sharp. What is the shape of change? And what do we agitate for? And what form do our tools take? In an exciting way, I have no idea what to expect, but here’s how Assolent and Katz have framed it:
At the end of her book This Sex Which Is Not One (1976), Luce Irigaray addresses another woman and imagines what their experience could be outside of a social construction created by men, for men. She observes, “If we carry on speaking the same language to each other, we are going to end up repeating the same history.” For Irigaray, women’s liberation is not only about deconstructing imposed roles and identities, but also re-appropriating and/or inventing a language of our very own, that allows us to invent and live entirely new stories. To do so, we must start from scratch and independently rebuild what was previously confiscated.
In the spirit of collective encounters, as conceived by Lois Weaver (The Long Table) and Malin Arnell (The Oncoming Corner) and inspired by texts which reflect on art as a space for a community to come (John Roberts, Art, ‘Enclave Theory’ and the Communist Imaginary, Third Text, July 2009) we will further investigate the questions evoked above through a series of collaborative evenings taking place at PARMER in November 2014. We would like to experiment using the sharing of experiences and knowledge to undo the inherent power dynamics of the groups assembled. Thus, we aim to consider these sessions as a space for the collective production and exchange of singularities.
Participants in the November sessions include: Maia Asshaq, Arlen Austin, Corrie Baldauf & Megan Heeres, Lindsay Benedict, Amber Berson, Maibritt Borgen, Sara Constantino & Rochelle Goldberg, Catherine Czacki, Leah DeVun, Alaina Claire Feldman, Ariel Goldberg, Saisha Grayson, Joseph Imhauser, Liz Linden, Kylie Lockwood, Jane Long, Jordan Lord, Jacqueline Mabey, Trista Mallory, Anna Ostoya, Michala Paludan, Rit Premnath, Chloé Rossetti, Julia Trotta, cheyanne turions and Wendy Vogel.
Each person is invited to bring an element, prepared beforehand, that is as close as possible to their own area of expertise. The element, such as a text, anecdote, performance, video, object, et cetera, will be up for discussion according to the conversation format and staging chosen by its presenter. Listening, commenting, and contributing will be open, with participants being free to speak spontaneously, whenever possible. Each individual will thus be able to negotiate their own contribution to the session.
With the aim of questioning even the parameters of these sessions themselves, the procedure used to compose the participant groups will also be discussed. As a space open by invitation, PARMER seeks other strategies of inclusiveness to redefine the boundaries of what is public. What defines the level of accessibility of an artistic space? How this ephemeral community that we will constitute during the session can have strong common grounds and the right level of openness?
The sessions will conclude with a public reception on November 23rd that will include material collected and developed over the course of the sessions.
For more information please visit the website.
A series of sessions following the same protocol took place in Paris, France, at the artspace Chez Treize, in Fall 2013. See documentation here (in French).
This project is supported in part by the Danish Arts Foundation and the Visual Arts Department at the University of California San Diego.
My contribution will depart from my on-going project No Reading After the Internet and its concern with collective forms of knowledge production. My interest specifically is in non-institutionalized learning, particularly methods that de-emphasize scholarship and prioritize improvisation, intimacy and a multiplicity of meanings. Given the notion of expertise at the heart of If We Carry On…, I wonder if these methods are in opposition to one another, or if there is the potential for a productive, mutual implication between a stance of knowing and a stance of engaged not-knowing. There’s something also about the way that ideas move, about translation and adaptation, that I hope to bring to the conversation by way No Reading’s history: an itinerant project now collectively supported and transformed, rhizomatic, producing strange but related fruit in many places around the world. How does knowledge begin and end? Inspired by the different forms that the No Reading project has produced—like its life in Vancouver with Amy Lynn Kazymerchyk and Alex Muir out of VIVO Media Arts or its translation into No Looking after the Internet with Gabrielle Moser—I will use the opportunity of If We Carry On… to think through methodology as substance. Quite aside from any of our singular fields of expertise, I imagine the result of our evening of *not* carrying on will be a thing that none of us can yet anticipate and hopefully that the orientation of No Reading will be one way of registering whatever collective thing will transpire.