20180719

Booked a trail riding session for next Tuesday 1pm!

Making art with plants, is abstract art – It requires an understanding of concepts and approaches derived from cell biology and theories concerning the climate (that there is oxygen etc.). People cannot build relationships to plants because our interdependency is an abstraction. You can respect a plant but the plant will never respect you – Which means that there is no mutual respect in the relationship.

Respect is a relationship, in which the well being of separate entities is rooted on a shared awareness of specific problems and skills an other entity has (face-to-horse-face). This supports the well-being of both entities: A horse needs human guidance for navigating contemporary landscapes (maps, social networks), a human needs the horses skills in moving in complicated terrain (four hooves, sensory awareness).

In this relationship both entities constantly contest each others limits, to set parameters for the collaboration. When entities work together, the work is a social process (the outcome is the surplus of a successful relationship). One entity cannot surrender decision making to the other, both must engage at all times (relaxation is an important form of engagement). This is what Arja Sulin is saying when she shouts: “Absolute focus!!!” to kids learning to ride. Following this logic it seems that people don’t necessary build relationships to each other either: Words develop institutions which make-us-make-sense of each other according to a predefined logic. This would mean that the only respectful relationships we can form are to animals with whom we cannot negotiate with using words. Weird… Lovecraftian?

Post-Capitalist Ecologies: Energy, ‘Value’ and Fetishism in the Anthropocene (2016) Alf Hornborg. The article has a chapter called “The Money Artifact as the Root of All Evil”, how cool is that? He’s citing Andreas Malm (who coined the term Capitalocene).

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Bought a tickets to Sonic Arts Union: David Behrman, Alvin Lucier, Gordon Mumma, Robert Ashley (in memoriam) gig on Friday. I have no idea what the gig is going to be like but the texts are convincing.

Messaged Agnes Denes and requested an interview (Got a reply and send her a list of questions to consider).

Participated in a talk by Imara Limon’s on New Narratives at the Amsterdam Museum at the Independent Curators International spaces in Manhattan. The New Narratives program is an ongoing series of events, exhibitions and pedagogical programs which seek to develop critical approaches to the Amsterdam museums existing  practices and permanent collection. Visitors of the museum have been offered “colonial nostalgia” trough exhibitions which focus on the “Golden Age of the City”. For example Dutch 17th century group portraits and the display of luxurious objects disguise the violence of colonial practise, trough which wealth was accumulated the families displayed in the paintings.

Limon explained that the past isn’t painful, what’s painful is that contemporary institutions have not changed and diversified their practices. Diversity and inclusion are frequently discussed (superficiality trough banderols on museum walls) but the discussions seldom have an impact on how the museums actually work. To change the narrative she had organised museum tours which were guided by a diverse range of guides, who made sense the collection from their perspectives. They were also working to add new subtext to items in the collection. “It’s not about output – It’s about the input” she explained.

I’m not sure but I thought that this meant that they are trying to change how the museum make sense of the world (I tried to ask more about this but I couldn’t frame my question properly). When asked if there are taboos that she was advised not to address (trough her curatorial work) Limone answered that “You can say anything but who is listening”. A taboo she addresses was that there is not enough diversity in museum staff, which underlines the impact colonial history has on present day.

I’m in serious trouble in navigating these discussions. I can seem to find proper terms to initiate discussions. I fear that museums cannot change: They reproduce the past indefinitely.

When the Harlem Renaissance Went to Communist Moscow (2017) Jennifer Wilson.

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The West (2018) ContraPoints. She’s referencing Kwame Anthony Appiah (notes from earlier). An entertaining video highlighting contradictions that make up the definition of “the west”.

A young kid in the Sternberg Park children playground had a snake with her. She wore it around her shoulders and waist while walking around a water fountain. Kids swarmed around her but they soon got bored and continued with their games.

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Learned about Shaun Leonardo’s I Can’t Breathe workshops (a 2017 article on Hyperallergic by Seph Rodney). Leonardo’s workshops are in stark contrast to the Police Horse Care & Control workshops we organised with Pietari. Leonardo is teaching people how to survive chokeholds – We are teaching audiences what it feels like to support the weight of a police officer with your body and to have your body supported by theirs in exchange.

Finnish Cultural Institute in New York published my artist profile on their website.