Tuesday, 25 August 2009

Common Space: Gallery

Welcome to Common Space. 
 

 You were already here. 



Common Space: Gallery called into being new venues for contemporary art in Prague.
Although Prague is well served by small and medium sized exhibition spaces, the Common Space Gallery played a different and complementary, although critical, role to the existing spaces.


Common Space: Gallery engaged people who were not involved in the contemporary art scene, while maintaining a standard and focus that appealed to ‘insiders’. We aimed to allow ‘insiders’ and ‘outsiders’ to interact, blurring the boundaries that separated these groups. As well as promoting access to contemporary art in unintimidating settings, we sought to call into being new critical publics for the Prague art scene, prompting new critical reflections and helping to make more fertile ground for new ideas.


This implicit interrogation of the current arrangements and relations of art production and experience, formed part of a wider project of critical engagement with theworld more generally in collaboration with Everything is Political: Prague Political Discussion Space & The Prague Philosophy Club.

Three major exhibitions where constituted within the Common Space: Gallery, which led to us being featured in Flash Art Magazine and being highlighted amongst Provokator Magazines STDS (Stuff that doesn't suck).

Ex1 - Double Game Squared
Ex2 - I would be happier if I let everything be true at once
Ex3 - What I never had is being torn from me. What I did not live, I will miss forever.

Explore these spaces using the guides contained in the relevant postings. Ex3 Postings remain a work in progress, as does 'Common People'.















Participate.    Engage.   Transgress.

Invite yourself into Common Space.

CS:G Catablog Content


A.COMMON SPACES & COMMON SPACE: GALLERY (CS:G)


A-01. Common Space: Gallery


A-02. CS:G Catablog Content


A-03. CS:G Catablog Introduction

A-04. Common Spaces

A-05. Common Space in Time: The Presence of Absence



B. PROVOKING CONSTELLATIONS OF COMMON SPACE (EXHIBITIONS)

B-01. DoubleGameSquared/ DG2 (Ex1)

B-01.1 Ex1 Traces: Stories and Objects
B-01.2 Ex1 Curatorial Text

B-02. I would be happier if I let everything be true at once (Ex2)

B-02.1 Ex2 Traces: Pictures, Prose & Poetry
B-02.2 Ex2 Curatorial Text

B-03. What I never had is being torn from me. What I did not live, I will miss forever (Ex3)
B-03.1 Ex3 An Invitation. A Challenge
B-03.2 Ex3 A Joint Adventure. Participation Framework & Resources
B-03.3 Ex3 Traces: Visions (Still, for now) [Forthcoming]
B-03.4 Ex3 Traces: Sounds, Poets// Poems [Forthcoming]
B-03.5 Ex 3 Traces: Discussion Space [Forthcoming]

C. COMMON PEOPLE





D. CS:G IN FLASH ART MAGAZINE

A-02. CS:G Catablog Content
 



Monday, 24 August 2009

CS:G Catablog Introduction



Common Space: Gallery provided a platform for development of Common Spaces between and within ‘artists’ and ‘civilians’, founded on ideas of engagement, mutual reflection, disagreement and transgression which, although shot through with uncertainty, have a climate of a-fear.

These common spaces reject atomization and categorization in society, giving us new opportunities to approach each other, comfortable in our identities but allowing us to transcend these through genuine interaction with others. 




There are no pre-determined outcomes in Common Spaces, rather they are spaces of possibility where the unusual interactions that take place and the debased settings they take place in are platforms for new creativity through solidarity and mutuality.

Common Space: Gallery operated in a parasitic-domestic mode, temporarily colonizing ‘catalyzing spaces’ in bedrooms, hallways, kitchens and calling into question their assumed and assigned psycho-geography. This facilitated a changed topography of understanding and perception which initiated a different and altogether less defined experience than in a formal gallery setting. The inbuilt prejudice of the viewer – creation relationship is reduced. 





Equally, the domestic settings emphasized our solidarity with contemporary artists around the world, particularly in the post-socialist world, who have seen their access to gallery spaces reduced as the art scene has become increasingly marketised and “art” has come to mean - and be popularly understood as - producing decoration for the houses, cathedrals and lives of the rich and (in)famous.

This catablog is an archeology of common traces. 
Please look at the post 'Common Spaces in Time' to read more about our hinterland and join us as we go forth and strike new ground.  



Sunday, 23 August 2009

Common Space in Time: The Presence of Absence


"When we remember, we are thinking of something that is not here..."
Sigmund Freud

It was approximately one year ago, in the summer of 2008, that the first action to be constituted under the name Common Space took place. In short (dis)order this flowed naturally into the events that took place under the auspice of Common Space: Gallery and Fakulta Solisarnosc.

CS:G curled three times around different houses and fell asleep. It has lain, dormant if not entirely at ease, since the last Prague event in the last days of last November.

Now, with various configurations of dust swept, settled, scattered or scorned, it seems appropriate to enact a rite of mourning for what was and to issue a call to arms for what can be. The social voodoo that has permeated this project means that it seems entirely possible, if not required, to both kill off the dead and summon new life with this one act.



And so I address you; to provoke new constellations in Common Spaces.

Saturday, 22 August 2009

Common Spaces

spaces of


being, not having



identity, not category



interaction, not interface



uncertainty, not risk



solidarity, not atomisation



challenge, not contentment



transgression, not control



a-fear, not security

Friday, 21 August 2009

Ex1 Traces: Objects & Stories


One: The Tie
The contemporary art show was like an oasis in the barren desert of MTV monoculture in Odessa. Faced with the rare possibility of meeting interesting people, I was determined to make a good impression. I wore a beige jacket, a white shirt and a thin blue tie. The excitement of the exhibition only increased when I met the German curator - she was gorgeous, fascinating, one of the most attractive people I had ever met. The artist from Kiev complimented me, noting that I had ‘that sixties look’. The German curator asked how I usually greeted missionaries to this outpost and asked if I also had an explorer’s helmet. Our relationship followed much the same path during its brief yet exhilarating existence.



Two: The Painting
Harry painted for fun, although, if he was to be honest with himself, he would concede that he considered himself to be something of a talent. He used his paintings as props in his pursuit of women in various countries. 59 years old with a bushy mustache, a mouth like a graveyard and a loud, friendly and somewhat ostentatious manner, he was very proud to give me this painting. Due to an unfortunate set of circumstances it remains un-hung.



Three: The Wedding Dress
Following a whirlwind romance spanning little time but spanning space between Middle Europe and the Balkans, I was engaged to be married. While much thought was put into the details of the wedding, no dress was purchased, no church or hall was booked and no speeches were given.


Four: The Black Shoes
What is he capable of? I was first struck by this thought upon encountering his footwear; these seem like the shoes of a man who could enter in the dead of night with a steady and unrelenting gait, unconcerned about the noise he is making.



Five: The Red Shoe
While summering in Barcelona I fell in love with a girl who ran with a different crowd. In a desperate attempt to catch up, I wasted an entire afternoon scouring the shops for ‘entry ticket’ clothing. Upon arriving at a party that evening I realized that I had made a mistake – my normally impeccable taste had misfired, presumably as a result of the temporary digestive disorder caused by her. Each red shoe only drew attention to my status as an outsider. When asked, I confessed that I bought them to fit in and thankfully Sadie took pity on me, finding this to be a sweet gesture, if somewhat misguided. We were inseparable for the next week.
.


Six: The Coffee Cup
Although the ambassador’s receptions were noted in society for their host’s exquisite taste, this evening – to celebrate the start of the British EU Presidency - had been organized by his wife. While the Macedonian Anthem, a rousing number, was well-received by the assembled dignitaries, the rendition of God Save The Queen by a well-meaning, though humorless, young diplomat met with considerably less success. Hope, excitement followed by confusion and boredom. The Presidency was much the same. I look on this coffee cup as a souvenir of an amusing evening.


Seven: The Plate
To celebrate our graduation from high school and as a last collective act before dispersing to various universities 18 of my closest friends and I took a holiday in Greece. Sand, sun, sea and sex. All that had been promised came to us in those two glorious weeks of freedom. However, the highlight of our fortnight in the sun was the evening of ‘local culture’. Traditional music and food was followed by the obligitory plate smashing. Presiding over this kitsch fest, ‘Les Animateurs’ encouraged us to smash plates on each other as well as on the floor. In a somewhat inebriated state I failed to spot the difference between the smashable plates and the dinner plates nearly rendering unconscious a young girl I rather fancied. Although rarely mentioned in the advice columns of magazines, this method of seduction proved highly successful.




Eight: The Bathrobe
In something of a fug from the previous evening, I finally managed to summon the energy to take a shower. I dragged myself away from the cricket on television, collected the towel and trudged up the stairs. There was a roar from the crowd – a wicket? I surprised myself by dashing back down, abandoning the towel on the way. By coincidence, my housemate was just returning home. I heard the key turn in the lock and convinced that any relationship conducted in close proximity is based on the retention of something of a private sphere and the maintenance of certain secrets, I raced through the kitchen and up the stairs. As I scampered away, I protested my innocence, affirming that I definitely hadn’t been doing that. In future, a bathrobe such as this one may prove useful.


Nine to Thirteen: The Letters
We found letters 1-3 when we moved into the apartment. Who was he, this guy who had left open cans of goulash around the place and who was content for socks to compete for space with his porn collection? He had left in a hurry, leaving behind a slew of items ranging from the worthless to the valuable. Between the terrible art and the artistic pretensions of ‘Blonde Babes’ nestled some more surprising finds: Bank statements, certificates and love letters. Who is P? Who is the girl in the picture? Why did he leave?

Letters 4 and 5 are more self explanatory




Fourteen: The Bucket
Proudly wearing new white shoes that I had purchased for the summer season, I turned too fast spilling the better part of a large glass of Red wine on them. Despite assurances that this added character to them, I was not convinced that it improved the look. The next day, disregarding the advice of a friend, I soaked the shoes in soapy water in this bucket. The bucket remained on the terrace for 3 weeks.



Fifteen: The Bed
This bed is a dying bed, not a deathbed. After tonight it will be discarded for a newer, bigger model.

Sixteen: The Sheet
Lie down and pull the sheet up and over and think fondly. I have often done so in this bed.



Seventeen: The Black Phone:
This phone did not work for 12 days. During this time I was forced to communicate face-to-face and I became a better neighbour. Although glad to fix the problem, I regrets that it is now working.


Eighteen: The TV Guide
We don’t like to watch tv but we like to watch the tv tower.



Nineteen: The Razor
I was trying to do my bit for the environment by no longer using disposable or replaceable razors. I purchased this cutthroat from a brick-a-brack*. As he made the sale, the owner of the store appeared remarkably unconcerned about the fate of his daughter who had been hospitalized that day. The razor has never been sharp enough to shave with..


Twenty: The Polaroid:
It sounded too good to be true. My friend assured me that it was possible to go over the falls in a barrel, although she warned that such pleasure would not come cheap and did involve a considerable element of danger. Having run with the bulls in Pamplona and not usually being one to shirk a challenge, I resolved to do it. When we arrived in Niagara, I was surprised that it was less natural beauty and more Bad Vegas, replete with casinos, freak shows, houses of horror, fudge factories. This only reinforced my impression that it would be possible to ride the falls in a barrel. When I inquired of Irina exactly how much it cost, she and David began laughing. I realized that I had been tricked. We ate at Denny’s.

Twenty One: The Blonde Wig
I have only worn a blond wig once. I started the evening in high spirits, boosted by the thrill of cross-dressing and thinking that, actually, I looked pretty good. In the end I simply looked like a roughed-up hooker.


Thursday, 20 August 2009

Ex1 Curatorial Text


“Her work was too nutty for that, too idiosyncratic, too personal to be thought of as belonging to any medium or discipline.”

In his novel Leviathan, Paul Auster introduces a character called Maria, based on the French artist Sophie Calle. However, in describing Maria’s rituals, projects and events that happen to her, Auster ‘mingles fact with fiction’. Included in the fundament of Maria’s character are two pieces (Wardrobe/ The Tie and Striptease/ The Blonde Wig) taken from one of Calle’s earlier projects – Autobiographical Stories.

The text from ‘Autobiographical Stories’, read by the artist, can be heard in the background. Each story explains the significance of a particular object in Calle’s life.

Objects similar to these are displayed here and are accompanied not only by Calle’s stories in audio format, but also by the stories on pages 2 and 3 (see post- Ex1 Traces: Stories & Objects) detailing an aspect of our relation to the actual objects on display. The varied nature of these stories which are often seemingly banal, but are also both true and personal, is juxtaposed with the highly amusing and occasionally outlandish nature of the stories told by Calle.

Are Calle’s stories truly autobiographical or are they actually an accentuated, exaggerated version of reality? A reality filtered through the lens of the highly stylized rules and rituals that characterize Calle’s work, in order to create an imaginary and perfected autobiography.

As Calle herself notes, the stories, along with other works in her oeuvre blur the boundaries between reality and imagination. Calle ends up believing the love letter that she receives from the writer she paid to write it, much as she is very much enamoured by the consistent attention paid to her by the private detective she hired to follow her around Paris in an earlier work.

These works highlight a commonplace [neurotic] response to the unsicherheit (unsafety & insecurity) of contemporary life: creating false rules, false securities and invented realities as coping mechanisms. Responding to a sense of disorientation and isolation, Calle’s works call into question the boundaries between public and private and examine issues of identity and intimacy.

The relation between the private, the public and the common, as well as the relevance of conventions and norms in the atomized world are highlighted. The stories presented in this exhibition add to this mix the element of willful transgression. They present varying degrees of personal information, without falling into mawkish confessional. They are small histories that combine to make a living archeology. They are answers that provoke questions.

This opening up creates vulnerability, which in contemporary societies is often a precursor for exploitation. However in the climate of unfear that pervades the truly common space, this vulnerability is transformed into a virtue. In the common space, voyeurism and invasion are inverted: they become an invitation, a platform for mutuality and engagement. Engage in recovering your identity from the unmediated arbitrariness that our own conceit and world making can leave us at the mercy of.

Invite yourself into the common space

Tuesday, 18 August 2009

Ex2 Traces: Pictures, Prose & Poetry

New works by New Orleans artist and poet Elizabeth Gross examine our interactions, laying bare the contradictions in our perception and understanding of ourselves and others, while holding out the possibility of welcoming this uncertain mode of being.

The works circle the tension between the liberating and confining aspects of allowing multiple, sometimes contradictory truths to be held together in the same thought.






“It is necessary not to be ‘myself,’ still less to be ‘ourselves.’”
Simone Weil, Gravity and Grace




The part of me that lives in my body does not know the meaning of the word forget.
The part of me that does not live in my body does not want to.
There is no part of me that does not live in my body. 
Elizabeth Gross, Room for Questions





Furthermore, transposition is a criterion of truth. A truth which cannot be transposed isn’t a truth; in the same way that what doesn’t change in appearance according to the point of view isn’t a real object, but a deceptive representation of such. In the mind, too, there is three-dimensional space. Simone Weil




















The city gives one the feeling of being at home.
We must take the feeling of being at home into exile.
We must be rooted in the absence of a place.
Simone Weil, Gravity and Grace






The art of transposing truths is one of the most essential and the least known. What makes it difficult is that, in order to practice it, one has to have placed oneself at the center of a truth and possessed it in all its nakedness, behind the particular form in which it happens to have found expression.
Simone Weil, The Need for Roots