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Tuesday November 10 - 7pm

Statements by Marion von Osten, Anne-Julie Raccoursier and Grant Watson
With comments by Yann Chateign
HEAD, Boulevard Helvtique 9, 1205 Geneva, seminar room CCC, salle 27, 2nd floor

Geneva, October 2015. Image: Eric Philippoz.

When is it necessary to differentiate between the position of an artist in relation to a curator, an exhibition
maker, a theorist, an activist, an academic or an educator? For whom. And for what? What if all those positions
entangle in those research-based practices that insist in trans-disciplinary conditions to activate situated
knowledge, to propose learning processes across geo-spatial settings, to re-think the forms of subjectivation
and to question normative categories in contemporary art? After all, how does this discussion relate to
educational economies in an art academy that is conditioned by institutional imperatives? The presentations will
discuss these questions through statements by Marion von Osten, Anne-Julie Raccoursier and Grant Watson
and commented by Yann Chateign.
Marion von Osten will frame her statement Disobedience in the division of Art Labor from the perspective of
an exhibition-maker as formerly an artist who tried to brake with normative roles in the cultural field in order
to create disturbance in the asymmetries of institutionalized labor divisions in our extended Contemporary Art
fields. Through the format of project exhibitions, she approaches the exhibition as a critical medium in its own
right in order to intervene into hegemonic discourses on economy, gender and the governing of mobility [] as
a transitory zone [] as an amplifier for anticipatory politics that turns on the creation of new thought in material
form with unpredictable outcomes and becoming by using social and technological means to initiate alternate
discursive and social realms that go beyond the modernist legacy of (artists/theorists) subjectivity.
Anne-Julie Raccoursier will reflect on the means that she needs as an artist for her analytical observations

of social behaviour under faculties of power. Her statement departs from her research-based video-works,
installations and montage-projects that address the permanent struggle in becoming a subject who needs to learn,
to understand, to adopt, to inhabit, to differentiate, to enact and to refuse in the everyday the visual imperatives when
he or she wants to be part of a community, a group or of a citizenship. Her statement will bring into discussion the
responsibility and the means of the artist in society in relation to the ongoing necessity for an encoding/decoding
model (Stuart Hall). Grant Watson will discuss his ongoing interview project How We Behave, which explores
subjectivity in relation to contemporary politics. Interviewees (artists, curators, theorists, activists and others) are
invited through professional and friendship networks in Amsterdam, London, Sao Paulo, Los Angeles, San Francisco
and New York (201214) and Athens, Delhi and Mumbai (2016). The focus is on individuals who have experimental
life patterns, are interested in generating new social structures, investing in self-education, developing political
consciousness, or different ways of thinking about gender and sexuality. Developed out of the curatorial research,
How We Behave is positioned as a curatorial proposition, which approaches artists not as people who make works,
but as subjects to work with.
The statements will be commented for discussion by Yann Chateign.
Marion von Osten is an artist, researcher and exhibition maker. She is a founding member of the Center for Post-colonial Knowledge and Culture
(CPKC) and kleines postfordistisches Drama (kpD) in Berlin as well as of the media collective Labor k3000 Zrich. Since 2012, she is Visiting
Professor at CCC Master, HEAD Geneva and the Master for Arts in Public Spheres (MAPS), HSLU Lucerne. She is currently doing a PhD in Fine
Arts candidate at Malm Art Academy, Lund University. Anne-Julie Raccoursier is an artist whose projects involve conceptual and discursive
interventions using installations and videos. Her academic inquiry particularly in alternative pedagogy, feminist studies, media and youth culture
informs her ongoing artistic explorations. She was awarded a MA degree in critical studies from the California Institute of the Arts in Los Angeles
(CalArts) and a diploma (in curatorial and gender studies) from Ecole suprieure des beaux-arts Geneva. Since 2011, Associate Professor at
CCC Master, HEAD Geneva. Grant Watson is a curator and researcher based in London, he is Tutor in Curatorial Theory on the MA Curating
Contemporary Art at the Royal College of Art. Further recent projects include Practice International (Iaspis Sweden, Casco Utrecht, Raw Material
Dakar), Social Fabric (Iniva London, Lunds Konsthal and Bhau Daji Lad Museum Mumbai) and Keywords: Art Culture and Society in 1980s Britain
(Tate Liverpool). He is a PhD candidate in Visual Cultures, Goldsmiths College, London. Yann Chateign Tytelman studied literature, history of art,
archaeology, has been mentored by a famous museum director, learned by collaborating with artists, collectively curated in Barcelona, Eindhoven
and London, solitarily wrote for local and international publications, obliquely lectured in Brussels, Vilnjus, Zrich, researched psychedelia, the
occult, technologies, taught curating, history, cultural theory, lead a museum program in Bordeaux, founded a publishing house in Paris and serves
as Dean of Visual Arts Department at HEAD Genve.
The evening is the public part of the one-year colloquium Thinking under Turbulence that frames the curriculum during the transition of the CCC
Master Programme in 2015/16 at Haute cole dart et de design in Genve. Contributors to the Colloquium are invited guests in conversation
with CCC-students and faculty members. The one-year Colloquium takes place at a transitional moment of CCC, the research-based programme
on curatorial concerns in globalizing times and in techno-politics under new direction of Doreen Mende. It will offer time to think how such
a programme can process itself further and against itself in times of accelerationist imperatives brought by financial global capitalism. The
Colloquium departs from literally a speaking together: from com- together + -loquium speaking. A speaking together outside/inside the
academy. Therefore, the concept of the Colloquium does not propose thinking to be a philosophical method to study a subject matter but departs
from a moment under conditions of turbulence when knowledge is in crisis that makes it necessary for us to think, to think differently.