AFFECT 2016 was conceived as a 6-month-long program consisting of six consecutive modules each led by an international artist, who invites participants to collectively explore a topic and develop a set of practices and research methodologies over the period of one month in the city of Berlin.
Resembling an immersive summer academy, AFFECT offered a diverse curriculum of six workshops growing out of the research and practice of the facilitating artists: Judith Lavagna (module #1), Diego Agulló (module #2), Lorenzo Sandoval (module #3), Thelma Bonavita (module #4), Sarah M. Lewis (module #5), Kinderhook & Caracas (module #6).
Participants had the opportunity to collectively delve into the proposed research question, bringing in their own sensibilities, practice and experience. Collective exercises, urban explorations and site visits, readings and discussions paved the way towards individual projects as well as a final event which will allow the group to share and exercise some of the module’s findings in a public format.
The program is initiated by Agora Collective and supported by Creative Europe Culture Sub Program through Agora’s involvement in CAPP (Collaborative Arts Partnership Program). AFFECT 2016 was curated by Caique Tizzi, and coordinated by Paz Ponce.
facilitated by Judith Lavagna
May 2 – 27.
WHILE WE WORK is a month-long workshop facilitated by independent curator Judith Lavagna who invites participants to explore the intertwining between art practice with curating in a given practical context: the making of an exhibition together with selected Berlin-based artists and the expansion of this project online.
WHILE WE WORK intends to explore which fundamental roles artists take on as cultural producers, the merging of artists as curators and the interweaving of those 'junction-makers' in search for performative expression: a hybrid role that gives rise to new means of considering a set of practices that becomes porous while rendering the divisions between art and curating almost indistinguishable.
The applicants will be chosen for their interest in reconsidering 'the exhibition' as a critical medium and a process that ontologically and/or radically has been rethought outside of the conventional forms of the exhibition as such.
As a 'temporary state of affairs' (Elena Filipovic) structured towards active frameworks, case studies and research methodology, the purpose of this workshop is to conceive an exhibition as a final event which will investigate the context of Agora's new space - a former factory area of 2200sq meters - favouring the production of site-specific works and reenactments of existing artworks. WHILE WE WORK further aims to investigate on artistic practices in the field of critical curating towards different territories and formats of inquiries.
Furthermore, Judith Lavagna will encourage the participants to develop a work-in-progress that will navigate in an online/offline configuration: the materials produced and collected during the workshop will be tracked online, taking the shape of a performative documentation and a survey witnessing the production's process itself - a sort of online safety where the exhibition could be activated and backed up at the same time.
The participants are expected to 'leak topologies' (Mark Leckey) and shake up spaces for cultural production that reflect on the potentiality of their work in correlation with each other, challenging themselves in a context that still remains to be activated: a post-industrial neighborhood in current transformation with the redevelopment of the Kindl brewery area, the creation of a Center for Contemporary Arts and Agora itself.
WHILE WE WORK will take on a creative context in mutation that witnesses different momentums of work and labor: a wilderness machine of forgotten memories which both conveys relic and artefact, backstage and arena, raw material and resilience, decline and renewal. A living archive and ongoing history that is still yet to be written, where WHILE WE WORK will be the first public exhibition unveiling this space, and affecting its surroundings.
Program facilitated by Judith Lavagna with Berlin-based artists:
About the facilitator
Judith Lavagna is a Berlin based independent curator.
Her work aims to create performative structures that investigate processual formats of exhibition-making towards collaborative forms of work. She curated several residency projects (AFFECT, 2014 ; Fugitif, 2011) and programs (Self-monitoring as a curatorial experiment, 2014 ; The performative curatorial studio, 2013), focusing on critical and creative contexts where the relationship artist / curator is challenged through active forms of inquiries.
Her exhibitions and workshops explore the collecting of resources and ever-changing formats in circulation, questioning the notions of multiple authorship and living archive (unbreaken, AFFECT, 2014 ; new atlantis, co-curated with Elisa R. Linn and Lennart Wolf, 2013; we outsourced everything and now we’re bored., with Clémence de La Tour du Pin and John Henry Newton, 2013).
Another area of her research within the field of performance art focuses on re-enactments of existing artworks and how to display time based performance in a durational context (Displaying the Instant, 2013 ; To perform an exhibition, 2012).
Judith Lavagna was co-curator and assistant director at L'Atelier-ksr, Berlin (2013), collaborator at the Month of Performance Art Berlin (2013-12) and co-director at Ars Longa's project space, Paris (2010-08). She holds a MA in Curating Contemporary Art (Paris-Sorbonne) and in Fine Arts (École Européenne Supérieure d’Art de Bretagne, Rennes), France.
An exhibition project opened on Friday 27th May from 18:00 to 00:00
Agora Rollberg, Am Sudhaus 2, 12053 Berlin
Featuring participating artists:
Conceived as a time-based structure for one night, WHILE WE WORK operated as a storyteller and as a score that oscillated between the liveness and the memory of our work in relation to the building - a space in constant mutation, where working phases and changes of plans are part of its daily construction, as well as the multiple information, stories and rumors that we have been encountering. A work within a work that witnesses different momentums of labor in a vast area in the state of transformation (the Kindl Brewery).
Curated and facilitated by Judith Lavagna, together with Berlin-based guest artists: Nicolas Puyjalon, Michelle Marie Letelier, Anne Fellner & Burkhard Beschow and Paul Barsch:
Photo credits by Joana Dias and Bea Rodrigues.
facilitated by Diego Agulló
June 1 - 29
This workshop attempts to analyse how professionalism in the arts functions and what are the ideologies and values systems embedded on it. We will enroll in an collective investigation on what is the role of art in the given economy, looking from the ethical perspective of which value systems guide the aspirations and motivations of artists to reach the standards of professional success. The artist mission could be understood as affecting professionalism from within and to create a space where belonging together is not based on individual achievements but rather on a collective playground for mutual affections and common commitments.
In the last decades we have gone through a process of hyper-professionalization in the arts. The consequences are several: competitiveness rules the social interaction, the artist becoming passive obedient agents submitting to the evaluation of professional control system and public critical approval and surrendering to the judgement of authority of the mediators. Hence, professionalism has become the ultimate criteria to validate/legitimize an artist, hi-jacking the public space into a space for publicity, individual achievement, career ladder, profit seeking...
Is “professional artist” an oxymoron? In that case, what is exactly the tension produced by artist entering professionalism? How can one benefit from the tension of this contradiction? Can this tension constitute a playground/battlefield for artists to operate and produce work? How can an artwork dismantle the positions of privilege installed and perpetuated by professionalism? How to reformulate the political body as the main tool for social transformation?
In this light, the workshop will provide the participants with a frame to problematize together the way they access the professional structure, addressed to anybody who would like to commit to work together in a mutual practice of self-examination on what is the purpose of making art, which value system operate behind their professional practices, and what are the tactics and strategies to infiltrate to and affect the professional structure from within.
The methodology is based on a set of exercises organized by a common practice of continuous reformulation of what we will have done on the previous day. The body will play an important role becoming a battlefield of our research. No physical background is required. The purpose is to understand the constitution of the political body as the fundamental matter of social transformation within the realm of our everyday life actions. At the end of the workshop we will host an event in order to open our practice to a public. The Waiting www.waitingroom.com
You can find in the following link some theoretical references and the documentation of the previous workshop from August 2015:
About the facilitator
Diego Agulló was born in Madrid in 1980 where he studied philosophy. In 2005 he moved to Berlin where he started working as a freelance video artist and performer. Two years later he had a fortuitous and inevitable encounter with choreography that lasts until today, having developed an interdisciplinary body of work that passes through different forms such as dance, performance art, participatory events, lectures, texts, films, photography, and workshops. Diego’s current research deals with the intersection between pedagogy and art, creating contexts for learning and practicing theory across art and philosophy. Diego is working on an essay on dilettantism called The Mischievous Mission, in order to problematize the notion of professionalism in arts. The first chapter of this text has been recently released as a limited edition hand book called: Dangerous Dances.
A participatory performance presented on June 25. 2016 from 14:00 to 19:00
Agora Rollberg, Am Sudhaus 2, 12053 Berlin
Choreographed and assembled by Diego Agulló with artists from “THE ARTISTIC MISSION”:
THE WAITING ROOM is the second public exhibition unveiling the new space of Agora Rollberg and affecting its surroundings, presented as part of 48 Stunden Neukölln (Das Kunstfestival). #48hnk
A waiting room, tables, chairs, reception. Forms, applications, questionnaires. You take a place, waiting for your turn. Your name is called and you are led to a different space. Behind the door is your interview partner. It may be an interviewer, your best friend, a trader, a dancer, an actor, maybe even yourself – you never know what to expect.
The Waiting Room opens space for encounters between strangers and it plays with the social rules of curiosity and interest, everyday behavior and communication. You always come back to where you started: the waiting room, which itself becomes the space for mixing up the impressions and suspending the patterns.
The Waiting Room was initiated by Diego Agulló, Dimitry Paranyushkin, Peter Stamer, Clement Layes.Visit the Project website: www.waitingwaiting.com/
*Photo credits by Joana Dias.
facilitated by Lorenzo Sandoval
July 4 - 31.
Reading Bodies by The Institute for Endotic Research is a month-long workshop facilitated by Lorenzo Sandoval who invites participants to work on ways to approach libraries, archives and its potential performativities.
The first contribution to the AFFECT´s last edition was focused specifically on ways to understand the endotic, a concept introduced by George Perec opposed to the exotic to found our own anthropology.
The Institute for Endotic Research (TIER) is an artistic project initiated by Sandoval assembled to work as a host that brings different disciplines together, namely architecture, art, writing and curation, acting as a platform of encounters through the production of a fictional institution with an operative program of collaborations with other agents, composed with the help of architectural devices.
In 2016, TIER continues with its work on exploring the everyday life and the immediate surroundings but focusing in the body. Reading Bodies refers to a double meaning. In one hand, it refers to bodies that read. In the other one, it talks about bodies that can be read, bodies as an archive. The very first access to immediate reality is always one’s body. Therefore, bodies themselves are mediums that work as a device and as a place of inscription. At the same time, they are mediators who have the ability of activating their political agency. Bodies are at once objects and subjects.
The act of reading is never a passive act. When one is reading, is unfolding all the cultural constraints, the previous gained references, and some times, the possibility of practicing the imagination and the critique. From that perspective, nevertheless, reading is a writing gesture.
In this first knot of relationships, the workshop would be articulated around a suggested bibliography (Perec, Preciado, de Certeau, Mignolo, Groys, Pastor Mellado, Benjamin, Federicci, Malabou, etc.) - expanded with the contributions of the participants- that would compose a series of collective readings, together with a program of visits to spaces and artists of Berlin.
As a result of this process the group develops a weekend-long programme at Agora´s new space as final output on the with the construction of a negotiated library made of inner “s(h)elves”: we will design a series of displays in between a library, an exhibition and a program of performance events.http://theinstituteforendoticresearch.org
About the facilitator
Lorenzo Sandoval(Madrid, 1980) Lives in Berlin. Sandoval works in the crossing points of artistic practice, curatorial processes and spatial design. He holds a B.F.A and a Masters in Photography, Art and Technology from the UPV, (Universitat Politécnica de Valéncia). Sandoval has attended international residencies in Berlin, (GlogauAIR), Portugal (Vila Nova) and in Nairobi, (Kuona Trust Studio). He was production manager of the EACC, (Espai d'Art Contemporani de Castelló) and is one of the founding members of the independent space Altes Finanzamt in Berlin, where he worked as head curator. Within the framework of the Transeuropa Festival Sandoval organized the project Visualizing Transnationalism together with curator Emanuele Guidi. Sandoval has won several curatorial prizes such as: Inéditos, with ´Around is impossible´, in La Casa Encendida (2011), The Can Felipa Curatorial price with ´(…) Science, Territory and Subjective Narratives´ and Curatorial open call 2012 with ´Case Report´ in Nogueras Blanchard. He has curated ´The Rescue of the Effects, Notes for a Theory of the Reader´ at General Public (2012); ´Field Studies´, Altes Finanzamt (2012), ´Osmosis´, together with Gabriela Acha, ClubTransmediale Vorspeil and ´Disruptive Patterns´ at Atles Finanzamt for Preis für Projekträume und -Initiativen (2013) . He has participated in groupshows such as ´´ at Instituto Cervantes (2012), ´Say it Loud. On words and Actions´ at District (2012) and Handlungsbereitschaft, together with Laura McLardy, Motorenhalle, Dresden, (2013). He presented the project Office Party at Rosa Santos Gallery (Valencia) and Kinderhook and Caracas (Berlin). Recently, together with Susanne Husse, he has developed the ongoing research platform ´dissident desire´ at District (Berlin) for which they have organized three different chapters in the shape of public presentations: ´Chapter 0. Daydreams of Precarious Bodies´, ´Chapter 1. Exercises of Critical Body Building´ and ´Chapter 2. Terrain of Threshold Voices´. His ongoing project ´Mutant Matters´, produced together with the architect collective S.T.I.F.F., was commissioned by Savvy Contemporary (Berlin) and also presented at Ar / Ge Kunst (Bolzano). Sandoval publishes with Broken Dimanche Press.
You can find in the following link some theoretical references and the documentation of the previous workshop from June 2015
Presented on Saturday 30 July 2016 from 18:00 to 22:00
Agora Rollberg, Am Sudhaus 2, 12053 Berlin
Assembled by Lorenzo Sandoval with participating artists from “THE INSTITUTE OF ENDOTIC RESEARCH: READING BODIES”, Module III of AFFECT 2016. Coordinated by Paz Ponce.
18:00 - 22:00 me,they, tu, nós (*Durational)
Participatory performance by Maíra Dietrich
18:00 E(u)phemeral map (*20 minutes)
Performance by Jana Pacheco
19:00 ____/----\___| ` `_))___L||+(|^_^|) (*30 minutes)
Sound piece by Anya Yermakova (score) & James (piano)
20:00 Body machine (*30 minutes)
Collective game inspired by Augusto Boal
21:00 Will you recognize me? (*25 minutes)
Performance by María Cerón & Jana Pacheco
“The act of reading is never a passive act. When one is reading, one unfolds all the cultural constraints, the previous gained references, and some times, the possibility of practicing one's own agency. From that perspective, nevertheless, reading becomes a writing gesture. And any writing gesture is also a spatial production.
Reading Bodies. A Gathering of Inner S(h)elves presents a two day-long exercise of narration composed of different voices, following on Aby Warburg’s articulation of the ‘law of the good neighbour’. Warburg’s proposal was a way to approach libraries in which the unknown book on the shelf, neighbour to that which was familiar, could indeed change the course of one’s research.
This proposition about libraries could be an operative translation to the understanding of the body as an archive. One that talks about history, present conditions and potential desire. A constantly transforming agent that communicates through storytelling, oral history, text, traditions, rituals but also fashion, gastronomy, choreography and the unknown.
‘A Gathering of Inner S(h)elves’ will present a composed space as a fleshy archive, which will develop through a program and series of artifacts. Agora Rollberg’s space will be edited between 18:00 to 22:00h on Saturday 30th of July.
Photo credits by Joana Dias and Femke Fredrix.
facilitated by Thelma Bonavita
August 1 – 27
COM(m)O(n) Club and Radio is a month-long workshop facilitated by the Brazilian performance artist Thelma Bonavita. For her module, Bonavita invites participants to enter into an experimental and inventive environment having as an outcome an intertwined radio station and exhibition.
The purpose is to experience time conceptions and its different manifestations in order to translate it into a performance system of “ideas in movement” - as if would be possible to materialize the act of thinking. The process will be tangled with a sound material production as a strategy of its documentation while doing.
The tools and methodologies of this workshop will be based on the work developed through Como Clube, an art platform initiated by Bonavita and that had its last presentation during the official program of 31ª São Paulo Biennial, 2014.
Como Club was a self-organised space, that created an atmosphere with its own modes in a playful experimentation manner, creating an environment mostly shaped by its participants.
COMO is a portuguese word that means both HOW and I EAT.
HOW = speculating modes of being, or making things .
I EAT = referring to a Brazilian cultural movement – Anthropophagy, “metabolizing“ the other or the strangeness – cannibalizing – which is very far from an appropriation mechanism.
Co(m)mo(n) Club and Radio collides performance practices, philosophy, science and eroticism theories to bootstrap the creative process. The proposition deals with an ecology of knowledges in order to speculate manifestations of time, time concepts, and time perceptions.The workshop sessions will combine theoretical time definitions with notions of fiction having as result scores and daily practices, for example, an artificial time travels exercises, augmented realities, expanded perception and so on.
Works of Karen Barad, Henri Bergson, Alva Nöe, Katrina Burch, Lygia Clark, among others are some of the case studies and ignitions by which the participants will be stimulated to navigate through the process.
COM(m)O(n) Club and Radio is designed for artists from different backgrounds interested in exploring the multiple body possibilities having it as a way to hack into any kind of medias. The radio station will be an invented common territory as well as the process capsule traces.The final event will displays all entanglements in the mode of a performative exhibition at Agora's new venue.
About the facilitator
Thelma Bonavita is an artist from São Paulo,Brazil currently based in Berlin, Germany whose work exists in the cross-sections of choreography, visual arts and fashion. Her mode of production has been guided by partnerships and collaborations expanded in time.
Bonavita's works deal with notions of fiction, entanglements and libido. The moving body in her work entangles and interacts with a body of light, sound and materials that constitute an environment of perception and sensation. Her productions often play with formats of presentation and range from traditional staged to installations, conceptual parties or rituals and editorials.
A sound journey through Agora Rollberg. Saturday 27th of August 2016
Agora Rollberg, Am Sudhaus 2, 12053 Berlin
Featuring participating artists of AFFECT MODULE IV: COM(m)O(n) Club Radio: Time Travel.
Facilitated by the Brazilian performance artist Thelma Bonavita.
COM(m)O(n) Club Radio: Time Travel is a month-long workshop facilitated by the Brazilian performance artist Thelma Bonavita. For her module, Bonavita invites participants to enter into an experimental and inventive environment having as an outcome an intertwined radio station and show.
Photo credits by AGORA .
facilitated by Sarah Margarita Lewis
September 1 – 30
If we think of scarcity as the driving force of an economic model then, given today’s incessant inundation of information, what is becoming increasingly scarce is the attention we are able to pay and command. The foundation of this economic model is contingent upon interpersonal relations.
How does the attention we transact affect our sense of worth? Can we engage each other and avoid the more incessant and individualistic tendencies of personality expression? How could the collective offer another possibility of accruing attention? How could we alternatively construct an ecology of attention? And how could this proposed ecology offer an emancipatory perspective on the way we think about the relationships we want to build with the things: be the gadgets, animals, plants and or people around us.
Throughout this month working with a group of diverse multi genre artists we will explore possibilities of artistic collaboration while dealing with the question of attention scarcity. Specifically how this scarcity affects, jeopardizes or enhances the experience of working as a collective. Utilizing a set methodology we will leverage imagination to more deeply engage with each other through an economy of attention. Where among other things we will switch roles, rotate authorship, view, observe, explore proposals put forth, and collectively edit and at the end present/perform our assembled findings.
Methodology Exploration: for a collaborative practice. We explore what it means to work together with a group of artists, from several different fields- in order to generate and curate content.
As a group of varying artistic genres there will be a process where we irreverently "steal" one another´s artistic identities. How will the work be impacted if we release ourselves from past notions of artistic identities?
While we will be primarily functioning as a collective, rotating directorship, will put executive power in the hands of one person for a specific period. The focus of the group will be on realizing the singular vision of the "director"; for that period of time.
Permissive exploration is a strategy for communicating in other ways besides discussion. We would improvise together to generate material. It is about playing and saying YES. It is not about editing, saying no, or casting judgment.
The Subject and the Scientist:
We would individually create mini-performances/presentations of materials. One person presents while the others observe and take note.
Editing studio is about creating a time and space to essentially curate our generated material. We would collect and assess documentation and critically discuss and make choices about what to further investigate.
About the facilitator
Sarah Margarita Lewis is a Dominican-American cultural producer and performing artist based in Berlin. She has created, curated and led a variety of different performing art projects in cities like Boston, Berlin, Chicago, NYC, Brussels, Santo Domingo, Paris, Riga, Basel and Sao Paulo working in an array of different cultural venues, from theaters to galleries, public spaces, schools and museums.
Combining her artistic practices Sarah has come to play the role of a host concentrating on knowledge dissemination through theatrical forms. Assembling materials and facilitating situations that provide a platform (or stage) that attempts to level out hierarchies of knowledge and focuses rather on knowledge interdependence– after all, we are all cultural producers. The structures she proposes provide room for reflection on the assumed roles people enact on a daily basis where the public is then invited to create their own collective script. Sarah has been working with Mobile Academy Berlin since 2013.
Presented on Friday 30 September 2016 from 19:55 to 23:55
Agora, Mittelweg 50, 12053 Berlin
Featuring participating artists of AFFECT Module V: An Ecology Of Attention
Facilitated by Sarah Margarita Lewis. Coordinated by Paz Ponce
It will have begun at dusk and they will have entered the space expecting some sort of tale or tales that hopefully will have touched them, made them more aware of something that maybe they had not entered the room thinking about or feeling. They will have entered, willingly or perhaps unwillingly into a scenario where their suspension of disbelief will have led them to enter someone else’s/something else’s…skin… briefly yet intimately through the doorway of a story with:
Francisco: naps, nets, knits, knocks, nuts
Yerin: born and raised on earth to exist momentarily, confused and conflicted by the distinctions between mind and physicality, secretly dreams of being a stand up comedian
Lim: blah, blahblah, sometimes doesn’t know what she is saying
Paz: Daughter of a spy and a legless sailor, from whom she inherited a white dromedary named Coco, dreams with water
Anastasiya: follows materials and people, wonders if we don’t confuse subject and definition too often, is trying to give to give up coffee
Carlos: Moving at a different tempo, is what some may considered late... but remember what Gandalf said
Deb: Voyeur, optimist with a penchant for dark matter
Alex: has considered becoming a fox, totally turned on by plants, knows better than to wish to have been born at any other time, but still kinda wishes had finished life pre-or, post-internet, fairly regularly
Sarah: workhorse, with an addiction to chocolate
Attention is the rarest and purest form of generosity- Simone Weil.
‘Can storytelling offer a portal to being more attentive and aware of our surroundings and fellow earthlings? The moral philosopher Martha Nussbaum argues, literature, is nourishing because it expands our empathy, developing our moral imagination. Empathy is something we practice, and literature can help us to flex this muscle. Throughout this module we explored how a collective could create an ecology of attention through examining, sharing and creating stories. We looked at how we could engage each other and how, through this proposed ecology, we could offer an emancipatory perspective on the way we think about the relationships we want to build with the things-be they gadgets, animals, plants and or people -around us’.
Photo credits by Joana Dias.
facilitated by Kinderhook&Caracas, directed by Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon
October 4 – 29
Kinderhook & Caracas is a Berlin-based project space run by Sol Calero and Christopher Kline founded in 2011. The initiative is named after their hometowns in Venezuela and New York. For 2016, it will forego its normal exhibition schedule to focus on a single year-long project entitled CONGLOMERATE.
CONGLOMERATE acts as a TV Network based at Kinderhook & Caracas, and is directed by artists Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon. The network will create a wide range of original content which is formulated into episodes.
For AFFECT´s October Module, CONGLOMERATE invites the participants to develop a short “TV Special” based on the theme of “Sacrifice”.
The connotations of “sacrifice” can range from the esoteric (human or animal sacrifice) to the everyday (the sacrifices made when collaborating). In broader terms, sacrifice applies to the human condition and what we are all willing to give up to form a better society, or more sustainable relationships.
The notion of sacrifice has become increasingly relevant in regards to the current refugee crisis (the west asking itself what it's willing to sacrifice, or refugees themselves being forced to sacrifice the lives they've built for safety or a better opportunity for their families).
Sacrifice can also be thought of as a privilege, as it presupposes that there is some excess to sacrifice, and it's always tied into an economy between dependent agents and their flux.
Through workshops, group presentations and discussion, CONGLOMERATE will work with participants to create a single, final, one-shot (non-stop) “TV Special” composed of various set elements, props, actors, miniatures, costumes, sounds, etc.
The end result will be the symbiotic flow from one segment to another manifested in a 3-5 minute clip. The project is formatted so that both individual and collective efforts are given equal space, yet rely upon each other to exist, and this tension/relationship creates a model to consider an “affectful” way of working. The constraints of collaboration, and using only one shot will be determining factors in the content and dialogue.
The frame of the final event on the 29th October 2016 is a Wrap Party at Agora´s new venue within the created sets which will feature a looping screening of the final one-shot scene.
About the facilitator
Kinderhook & Caracas is a Berlin-based project space founded in 2011 by Sol Calero and Christopher Kline. It is named after their hometowns of Caracas, Venezuela and Kinderhook, New York respectively. The program focuses on the presentation of solo exhibitions, collaborations, and co-curated projects with an emphasis on creating a cohesive, in-depth, new body of work without concern for its functionality in the commercial gallery landscape or within a traditional institutional framework. Also presented are research-based archival exhibitions and on-going media projects with a focus on new methods of knowledge production and preservation. All projects are presented alongside researched texts developed with the artists to offer tangental and alternate readings of the work.
A film premiered at Agora Rollberg. Saturday 29th of October 2016
Agora Rollberg, Am Sudhaus 2, 12053 Berlin
Produced by participating artists of AFFECT#6: CONGLOMERATE: :
AFFECT#6: CONGLOMERATE was facilitated by CONGLOMERATE.TV (Sol Calero, Dafna Maimon, Christopher Kline, Ethan Hayes-Chute and Derek Howard). CONGLOMERATE is a collaborative Gesamtkunstwerk presented in the form of a television network.
The project is realized by a core team of five artists and filmmakers:
Sol Calero, Ethan Hayes-Chute, Derek Howard, Christopher Kline and Dafna Maimon.
CONGLOMERATE acts as a producer of original programs, also inviting additional Berlin-based and international artists to realize their own segments, sets, commercials and specials for the network.
For the month of October 2016, CONGLOMERATE was invited to co-facilitate the #6 Module of AFFECT: Agora’s Program for Collaborative Artistic Practices in Berlin.
Through workshops, group presentations and discussion, CONGLOMERATE worked with AFFECT participants to create a single, final, one-shot (non-stop) “TV Special” composed of various set elements, props, actors, miniatures, costumes, sounds, etc.
The frame of the final event on the 29th October 2016 is a Wrap Party at Agora´s new venue within the created sets featured a looping screening of the final one-shot scene. :
Installation photo credits by Bea Rodrigues, exhibition credits by Bea Rodrigues and Kate Davis, Video stills by Ethan Hayes-Chute Et .