Counter-Infrastructures: Art & Activism asks how artistic strategies can help us to develop and support social formations that are durable beyond the timescales of the immediate moment, project timeline or crisis, towards “counter-infrastructures” that underpin new ways of living and being together within and against the dominance of extractive and destructive capitalist intersectionally discriminatory systems. Following a Counter-Infrastructures Symposium organized with the National College of Art and Design (NCAD) in Dublin, Ireland December 4-5, a series of reports will be published online in the new year.
From Multidirectional Memory to Multidirectional Moments (MDM) explores the “promises” of noncompetitive and transversally connected “multidirectional memory” in memorial practices. Following the MDM Symposium held November 16-18 in Vienna, online presentations include contributions from Lia Carreira and Bernhard Garnicnig, and more to be announced.
Hande Sever delves into the history of Sanasaryan Han, an edifice found nestled within Istanbul’s tourist-laden neighborhood of Sirkeci, to create a dialogue among memories which have not previously been connected.
We are pleased to announce our participation in Counter-Infrastructures: Art & Activism, a two day symposium December 4-5 organized with the National College of Art and Design (NCAD) in Dublin, Ireland.
Continuing our Conversations on Sound and Power, Sonic Insurgency Research Group interviews Joe Rainey about his recent album Niineta which brings together dynamic powwow performances and experimental distortion.
Lia Carreira and Bernhard Garnicnig present the Palácio das Belas Artes Lisboa in Portugal as a memorial to the promises and potential pitfalls of the concept of multidirectional memory.
We are pleased to announce the From Multidirectional Memory to Multidirectional Moments (MDM) artistic researchers and forthcoming online publishing and symposium events in Vienna November 16 – 18.
In this sixth conversion, Binna Choi, co-artistic director of Singapore Biennale 2022 and co-curator of the Hawaiʻi Triennial 2025, speaks with Drew Kahuʻāina Broderick, a participating artist in the Singapore Biennale 2022 and co-curator of Hawaiʻi Triennial 2022.
In this fifth conversation, Folakunle Oshun, founding Artistic Director of the Lagos Biennial in Nigeria, speaks with Sammy Baloji, co-founder of the Lubumbashi Biennale in the Democratic Republic of the Congo.
In this fourth conversation, Prem Krishnamurthy, Artistic Director for FRONT International 2022, speaks with Zippora Elders, Co-Curator of sonsbeek20→24, about the pros and cons of curating large-scale cyclical exhibitions.
In this third Triennials Out of Time conversation, Tereza Stejskalová (Matter of Art) speaks with curators Nikolett Eross, Hajnalka Somogyi, and Eszter Szakács of OFF-Biennale Budapest about the different meanings of the word “biennial” in the Central and Eastern European context.
In this second Triennials Out of Time conversation, 22nd Biennial Sesc_Videobrasil guest curators Raphael Fonseca and Renée Akitelek Mboya speak with Solange Farkas, Artistic Director of the festival and biennial Sesc_Videobrasil since its first edition in 1983.
In this first Triennials Out of Time conversation, Counterpublic 2023 Artistic and Executive Director James McAnally speaks with farid rakun of ruangrupa, Artistic Directors of documenta fifteen.
Do you remember when we said we were going to s l o w d o w n ? When we imagined that we would take this opportunity to |stop| ? To reimagine the art world, and our role in it? Did you? Did we?
We are pleased to announce a call for proposals for From Multidirectional Memory to Multidirectional Moments (MDM), a new long-term inquiry exploring the “promises” of noncompetitive and transversally connected “multidirectional memory” in memorial practices.
To attend to transversal change is to attend to transformational methods – to ways of relating that are not accounted for by the current order.
Etherpad, a free and open-source collaborative live text editor, combines the minimal comfort of plain-text writing with the collective experience of writing with others.
Claire Louise Staunton reflects on her involvement with Giant Step, a multi-year program organized by Vessel from 2011 to 2012 that aimed to develop the concept of an “ideal” institution.
Constant’s recent worksession, Techno-Cul-de-Sac, proposed a collective encounter with Brussels via an investigation of zoning, infrastructure, and technology, bringing together artists, architects, and urban researchers.
Within the context of Vessel’s Radio Materiality project, iTuneZ was imagined as a direct gesture to point out an extra-legal space to listen to what migrants play for comfort.
Tirdad Zolghadr reflects on his experience attending Vessel’s 2015 International Curatorial Workshop (ICW) in Bari, Italy.