LINE OF FLIGHT
Symposium:15 December 2018
Exhibition: 15 – 22 December 2018
Old Goa Institute of Management (GIM), Panjim
The project was supported by Goethe Insitut Max Mueller Bhavan, Institut Francais de Inde, & Pro Helvetia Swiss Arts Council
Line of Flight was a two-part project, showcased at Serendipity Arts Festival 2018, from 15-22 December 2018. It aimed at addressing artist mobility as an essential component of artistic work—consisting of a daylong symposium and an exhibition. The project borrows its name from the concept of nomadic creativity developed by Gilles Deleuze and set out to address mobility as an essential component of artistic work. The symposium was an attempt to reflect on artist residencies as one of the nodal points of the global network centered on artistic production and mobility. It focused on the working of these institutions as part of the international ecosystem of contemporary art. Informed by the understanding that artistic globalization is not uniform the discussion addressed how residencies negotiate the unequal mechanisms of globalization.
Alongside, it initiated a discussion around the growing import of the form of mobility residencies enable for artistic practices. How does the increasing need for movement and networking impact artists’ notions of self-making? How does it engage with the realities of geo-political hierarchies and disparate socio-economic realities? In the face of hardening national borders and increasing limitations imposed on movement never has the need for cross-cultural dialogue been more pressing. Residencies provide a platform for such dialogue in the arts; to enable movement, exchange, and cosmopolitanism. But does it also implant the neoliberal imperative of tourism in artists and artistic practices? The closed-door event consisted of two segments.
Aaron Cezar, Delfina Foundation Cosmin Costinas, Para Site
Marie Helene Pereira, Raw Material Company
Valeria Schulte-Fischedick, Kunstlerhaus Bethanien
Andreas Vogel, Sommerakademie Paul Klee
Mario D’Souza, Khoj
Suresh Jayaram, 1Shanthiroad
Annapurna Garimella, Benedicte Alliot, Nayantara Gurung Kakshapati, Shreyas Karle Rashmi Sawhney (moderator)
Images from the exhibition and panel discussions of Line of Flight at SAF 2018.
SEGMENT 1 | Presentations
15 December, 2018
The first segment of the symposium served as an introduction to the 7 invited residencies. Representatives produced a 10-minute presentation touching upon the following aspects: The reason the residency in question was established; Its location and its relationship with its location; The model it follows; Its residents. (How many? Where from? How are they selected?); The impact the residency intends to have on the residents practice and/or career; The residency’s relationship with the global art circuit.
SEGMENT 2 | Panel Discussion
15 December, 2018
Despite the proliferation of artist residencies over the past two decades and the role they play in the production and circulation of contemporary art, rarely are they the subject of a critical discourse. The purpose of this discussion was to prompt such a dialogue. To respond to the broader themes of this project this moderated segment put the participating residency representatives in conversation with a five-person panel of experts. Together they addressed questions such as:
1) The growing ubiquity of artist residencies.
Subscribe to any art mailing list and a new crop of residency application deadlines lands in your inbox every week. But is more always better? The principal idea underpinning these calls for applications appears to be that an artist needs to be on the move. That to work they need to leave the place they are located in, the community and country familiar to them. To move from residency to residency has become a norm among emerging artists. What impact does such constant movement and these temporary pit stops have on artistic practices?
2) The networked artist. Travel is a fundamental necessity of the networked art world. Although deemed beneficial for all it is often considered particularly advantageous for artists living outside of major centres. But how do we acknowledge the ‘otherness’ of the resident artist and avoid any chance of the guest adapting to and, eventually, being assimilated into the dominant institutional culture?
3) Art tourism and sustainability.
All travel has impact, and not just on the environment. The impact artists and cultural producers have on a place is not necessarily positive. Artist gentrification is just one of them. How can artist residencies be mindful of these impacts? What measures can they take to ensure sustainability for the planet, local ecosystems as well as artists’ careers?
Aaron Cezar is the founding Director of Delfina Foundation, where he develops, curates and oversees its interrelated programme of residencies, exhibitions and public platforms. Over the last 12 years, Aaron has positioned Delfina Foundation as a meeting point and incubator of creative talent, forming partnerships with leading institutions internationally. He has devised Delfina Foundation’s ground-breaking thematic programmes such as Collecting as Practice, the first ever integrated residency programme for collectors and artists.
Marie Hélène Pereira graduated in Management and International Business Law. After a few years of work within the business world, she shifted her professional interest to arts and culture. She is Director of Programmes at RAW Material Company where she has organized a dozen of exhibitions and related discursive programs including the participation of RAW Material Company to “We face forward: Art from West Africa Today” Whitworth Art Gallery, Manchester; ICI Curatorial Hub at TEMP, New York; The 9th Shanghai Biennial, Shanghai; MARKER Art Dubai (2013). She co-curated Scattered Seeds in Cali-Colombia (2015-2017) and curated Battling to normalize freedom at Clarkhouse Initiative in Mumbai, India (2017).
Andreas Vogel (D/CH) is an art historian, curator, cultural worker, critic and writer and has a doctorate in late-absolutist urban planning. He has worked at various museums including, Kunstverein Konstanz (D) as acurator between 1999 and 2000. From 2001-2015, He has been associated with F+F School for Art and Media Design in Zurich (CH) since 2001 and was appointed as their Director in 2011. Since 2015, he is the Head of the Department of Design and Fine Arts at BerneUniversity of the Arts HKB (CH). Andreas Vogel was a member of the Art Commission of the City of Zurich (2006-2014) a member of the jury of the Guggenheim Foundation (2013-2018) and is currently a member of the Board of Trustees of the Bern Design Foundation.He is also the president of the independent association, that hosts and organizes the “Sommerakademie Paul Klee” in Berne.
Suresh Jayaram is a visual artist, trained as an art historian, arts administrator and curator from Bangalore. He is the Founder of 1.Shanhtiroad Studio an international artist’s Residency. He is currently involved in art practise, urban mapping, archiving, curation and arts education. His keen interest in environmental and urban developmental issues influences his work.
Common Ground : Location and Memory in Arts Practices
28th SEPTEMBER 2018
Goethe – Institut / Max Mueller Bhavan Mumbai
As a run up event of the Serendipity Arts Festival (December 15 – December 22, 2018), the symposium “Common Ground: Location and Memory in Arts Practices”, aimed at generating ideas and debate around the place and alternating significance of interplaying and interrelated visual cultures in our present which have led to differing sensibilities about high and low, imitative, innovative and reproductive forms of representation.
The last decade has witnessed an excavation of myriad subcultures and contrasting languages of visual engagement in liberal arts practices. Given this diversity, we explored how one might envision an alternative future for – or a rethinking around arts practices and their institutional mandates with the inclusion of these ‘little’ histories and revisited ‘traditional’ practices, that often are elided with technological change and cultural shifts. The focus was to be with an eye to all interrelated arts practices, seeking a fruitful, if not critical exchange around local and global contexts that has also been the focus of pedagogical engagements in the present.
Sessions was co-chaired by Dr. Annapurna Garimella and Rahaab Allana
Session I – Counting the Contemporary
Practices within the field of visual art, which include the moving image, have restructured the field ever since the overwhelming expansion of media practices through the digital revolution. The session is a way of asking specific media practitioners and pedagogues to discuss the ways in which they create terms of reference for the vernacular, for marginalised practices and histories and how they have changed research and teaching practices and study. Does our field of enquiry need to be further broadened? Can expanding social histories be part of this transition in media and if so, how?
Moderator – Rahaab Allana
Panelists – Dr. Annapurna Garimella, Anusha Yadav, Abhishek Hazra
Session II – Crosscurrents
Visual arts practices have always been concurrent with the written word as well as other inter-media forms. In the visual arts, the move towards archives and collections, the development of social media platforms, the need to use experimental formats and found material all create ways in which the ‘local’ has been articulated and framed. At the same time, writing and exhibitionary forms too have expanded through works in translation, through a focus on new practices and how they enter various fields of curation. The session then speaks to practitioners across arts fields to think about ways in which they have created shifts in practice by reference to elided, fading forms of representation. Can interdisciplinary mandates change how these practices are viewed?
Moderator – Dr. Sabeena Gadihoke
Panelists – Diwas Raja, Dr. Kaiwan Mehta, Abhay Sardesai
Session III – Art and the Everyday
Personal narratives and the documentation of daily life remains a focus in many teaching courses, as ‘little’ histories have become characteristic of photo work in the past five decades. Most recently, the steady growth of popular viewing cultures and the infinite expansion of digital simulacra in all areas of life continue to saturate our eyes and minds via mass replication, manipulation and distribution. All these practices and outputs find place in pedagogical syllabi, as well as in exhibitionary modes through events at cultural institutes, through workshops and seminars, and via international biennales. Are these directions satisfactory enough for arts fields to become more inclusive; and how have the concepts of personal history and domesticity been transformed by them?
Moderator – Ram Rahman
Panelists – Sukanya Ghosh, Hanif Kureshi, Girish Shahane
Session IV – Reframed Futures
The linked issues of location, geography, and cultural specificity that so powerfully influence the grammar of image-making today are at the core of a fraught debate about image hierarchies and the historical privileging of certain visual typologies. ‘Location’ as a key variable in practice is heavily problematised as we negotiate spaces in which art can be harboured. Regional and community imperatives in current image discourses, therefore need attention. How have these played out in terms of museums, archaeological sites, galleries, and other festivals in the postcolonial South – examples of which can be contemporary or historical?
Moderator – Dr. Savia Viegas
Panelists – Naman P. Ahuja, Riyas Komu, Massoud Hossaini
Mohan S. Rao
The Beautiful Game
22nd – 27th November, 2018
Children’s Park, Panjim, Goa
Curated by Jan Tilman Schwab
“When Brazilian legend Pelé describes football as ‘a beautiful game’ kids in Malappuram will correct him : It’s a beautiful life” – Shahabaz Aman on Football madness in Malappuram, Kerala
Football – A beautiful life curated by Jan Tilman Schwab is 6–day football film programme to celebrate football, the beautiful game. The film package will be a mix of features and documentaries from around the world, followed by a post screening discussion.
As Panjim celebrates 175 years, programming screenings around football is of great relevance. The programme celebratory of Football, a game imbedded in the history and culture of Goa. There is nothing that resonates more with Goans better than Football. The people of Goa are good at playing, understanding and enjoying the game. The films demonstrate the unifying power of football that brings individuals together and creates a sense of community. The screenings cherish the beautiful game and enhance the love for this beautiful life.
Images courtesy Douglas Gracias
SCREENING & DISCUSSION
Libre Indirecto (Indirect Free-Kick)
Director : Juanjo Gimenez
Language : Spanish
Duration : 10 min
Maxima Pena (Maximum Penalty)
Director : Juanjo Gimenez
Language : Spanish
Duration : 11 min
Sudani From Nigeria
Director : Zakariya Edayur
Language : Malayalam
Duration : 120min
Post screening discussion with Jan Tilman Schwab & Zakariya Edayur
Director : Juanjo Gimenez
Language : Spanish
Duration : 18min
Lebanon Wins The World Cup
Director : Tony Elkhoury, Anthony Lappe
Language : Arabic
Duration : 23min
Post screening discussion with Jan Tilman Schwab & Allen Seif
Der Ganz Grobe Traum (Lesson of a Dream)
Director : Sebastian Grobler
Language : German | English
Duration : 113min
Boca de Fogo (Fire Mouth)
Director : Luciano Perez Fernandez
Language : Portuguese
Duration : 9min
Das Wunder von Bern (The Miracle of Bern)
Director : Sonke Wortmann
Language : German
Duration : 117min
L’ultim Partit (The Last Match)
Director : Jordi Marcos
Language : Spanish | Catalan | Flemish
Duration : 70min
Director : Juan Rodriguez-Briso
Language : English
Duration : 69min
Inside a Volcano The Rise of Icelandic Football
Director : Saevar Gudmundsson
Language : English | Icelandic
Duration : 86min
IL Mundial Dimenticato (Lost World Cup)
Director : Filippo Macello & Lorenzo Garzella
Language : Italian | German | Spanish
Duration : 85min
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