Slide 1 - Negotiating Equity

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					    Negotiating Equity
DAI curriculum 2010-2011
‘Negotiating Equity’ : Art after Space

Keys words: lexicon, virtual borders, mapping immateriality, temporalities

Negotiating Equity at the Dutch Art Institute (DAI) aims to offer a participatory
platform to address the ethics and practice of curatorship as a mode of art
production, asserting that these terms of engagement imply rethinking the
economic and social conditions of art.

Negotiating Equity will draw upon theories of fairness in questioning divergent
value systems and testing artistic models amongst students, curators, artists, art
critics and writers from around the world.

Negotiating Equity addresses collaborative curation and the position of the artist
as curator- investigating experimental and conceptual art practices under physical
as well as virtual conditions. The nature and format of this project favours
cooperative endeavour, while considering the implications of self-curation.

Negotiating Equity investigates curation as artistic practice.
This year Negotiating Equity will focus on ‘Art After Space’ in order to answer some key
questions regarding art in the 21st century that keep resurfacing: how is the interface between
a global online platform and the local, where is the public sphere and who patrols it, what are
the modes of production of art and curatorial activities and which terminology can we either
appropriate, imbricate or invent to further the discussion? To put it differently, the research
also needed to consider curatorially speaking ‘art after space’, bearing in mind the
performative paradox of that formula: art wants space; yet art’s condition today is post-spatial.

We will be examining the space for artistic production, but also its potential as a
transformational context for dialogue, exchange, critique, happenings, performance. We
intend to explore ‘space’ as an open-ended term, ranging from personal space of one’s self
and domestic, intimate surroundings, the Internet, TV broadcasting, the streets, web-based
online curating, abandoned buildings and even art venues, including the imaginary space of
reflection preceding these presentations.

In our quest we need to engage with other temporalities, modes of working that would be
collaborative, offering an international exchange of ideas as well as attempting to search for
ways to find other, possibly unseen existent practices, to produce something together and
share this knowledge production. We are seeking exchange partners.

This will take place at DAI in Arnhem or in Amsterdam with powerpoint presentations, etc.
work in progress will be discussed and shown during these visits.


1. Negotiating Equity site
keep documentation and a blog of work on the site. Presentation medium is open but expected to follow research
from the beginning to the end of the academic year.
2. participants are encouraged to follow and read n.e.w.s. along with frequent visits by her contributors
3. Texts assigned by invited guests


Space the Final Frontier: Bangalore: collaboration with Srishti/CEMA

Negotiating Equity site
November 2010

Nancy Adajania & Ranjit Hoskote
November 2010
                                 At stake is what imagination
                                 of the future and past is proposed:
Vectors of the Possible          how a work of art produces other
                                 imaginaries of the world and its
                                 institutions, rather than merely reiterating
@BAK in Utrecht                  already existing ones, even in so-called
Curated by Simon Sheikh          critical terms (i.e. alternative critique)
Matthew Buckingham               It is a question of horizon.
chto delat/What is to be done?
Sharon Hayes
Runo Lagomarsino & Johan Tirén
Elska Rosenfield
Hito Steyerl
Space of Plausible Artworlds

Plausible Artworlds is a project to collect and share knowledge about alternative models of
creative practice. From alternative economies and open source culture to secessions and
other social experiments, Plausible Artworlds is a platform for research and participation with
artworlds that present a distinct alternative to mainstream culture. The aim of the project is to
bring awareness to the potential of these artworlds as viable “cultural ecosystems” that
provide both pedagogical and practical solutions to a range of emergent socio-cultural
challenges. We view Plausible Artworlds as an opportunity to discuss the interdisciplinary
role of artist as creative problem solver and the expanding notion of what an artworld looks
and feels like.The project currently offers a weekly public potluck hosted at Basekamp in
Philadelphia, during which open informal discussions are held with invited artists, writers,
curators and anyone interested, via Skype. The project is also compiling a collaborative
publication from research, conversations and projects connecting with the Plausible
Artworlds initiative.
Basekamp & Stephen Wright
Space of Curating Immateriality
Radical change in art production has occurred through cybernetics: Software can be
perceived as relating to ideas whereas hardware to the machines or mechanism and
forms. Alternatively perhaps for Jack Burnham, software is a metaphor for ideas,
processes and systems while hardware can be seen as traditional object-based
practices. The shift occurs with the mechanical reproduction within art, the shift from the
camera of the past to that of cybernetics (computers).

The importance of computers has lead to communication technologies that allow for the
quicker exchange and distribution of the means of production. Dematerialisation of the
artwork has lead to immateriality, where it is no longer the object but the social relations
that are measured. It's not the work, but the network. Reification, along with this the site
of the production of value has changed as well as the form. But the e-labour is no longer
confined to the factories, even Andy's Factory, rather it is a grand social factory, or series
of factories.

Positive developments reside in collaborative authorship of FLOSS, media activism,
sharing of knowledge in universities, creative commons and participative urban planning
as well as other forms of collectivities that are developing at rampant speed. The
Verdinglungen (reification) of these social relations has resulted in new types of art
objects (activities) that appear as yet to be considered immaterial, and in which the value
of artistic endeavour is displaced from object to process and the analysis.
Geoff Cox & Joasia Krysa
Spaces of Aesthetic Journalism
Aesthetics: 'a process in which we open our sensibility to the diversity of the form of nature (and
man-made) environment and convert them to tangible experience.’ So in other words, most
anything that is produced nowadays as a subjective experience would be considered aesthetics.
What is of most interest though is how aesthetics is taken up in journalism, in other words what
Cramerotti entitles aesthetic journalism, with his eponymous book. He states that this concept
makes possible contributing to knowledge building with a new aesthetic regime, which, in turn,
questions the truth-value of a traditional regime. More importantly, it denounces that the system
of representation is the same as what it represents as journalism is thought of trying to do, being
the same as the facts represented.

According to him it involves those artistic activities in the form of investigating social, cultural and
political circumstances that take shape in the art context, rather than media. The artist uses tools
of investigative journalism to adopt techniques like archive and field research, interviewing,
surveys, documentation style, graphic visualisation, text-based and photo reportage, emphasing
in the words of Rancière more the 'effect produced' than 'facts to be understood'. To summarize,
aesthetic journalism does not distance itself much from the notion of investigative journalism-
given that objectivity is not a measurable feature. Though can be considered to employ fiction as
a subversive but meaningful and effective agent of reality. And the task of the artist is not to
answer, but rather provoke questions.
Alfredo Cramerotti (CPS)
Prayas Abhinav
Working Concept: 'Space the Final Frontier?’
In collaboration with Srishti School of Art and Design, CEMA, local and international guests

The focus of this year's trip developed out of research I have been conducting the past year. It
can be seen as an extension of N.E.'s past years activities and looking into what the future holds
for not only space, but the technological advancements and their usage in our society. Although
the name 'Space the Final Frontier?' can look at space from different perspectives- philosophy,
city, cosmos, and popular science we will use as a starting point the terminology 'cognitive
Cognitive mapping, concept mapping, mental mapping, ….
Cognitive maps, mental maps, mind maps, cognitive models, or mental models are a type of
mental processing composed of a series of psychological transformations by which an
individual can acquire, code, store, recall, and decode information about the relative
locations and attributes of phenomena in their everyday or metaphorical spatial

Fredric Jameson defines cognitive mapping as a process by which the individual subject
situates himself within a vaster, unrepresentable totality, a process that corresponds to the
workings of ideology. Jameson begins by comparing this ideological process of cognitive
mapping to a physical process of locating oneself geographically:

A concept map is a diagram showing the relationships among concepts. They are
graphical tools for organizing and representing knowledge. Concepts, usually represented
as boxes or circles, are connected with labeled arrows in a downward-branching
hierarchical structure. The relationship between concepts can be articulated in linking
phrases such as "gives rise to", "results in", "is required by," or "contributes to".[1]The
technique for visualizing these relationships among different concepts is called "Concept


Raqs Media Collective
First week: at Srishti/CEMA with a 5 day working environment with invited guests and lecturers.

The list so far includes prominent Srishti faculty such as Rustam Vania and Deepak Srinivasan
(Maraa) and their public interventions in and around Bangalore ('Negotiating Routes’) or 'The maps
that children made' that he exhibited at 1 Shanti Road. Prayas would introduce new software that
enables the organisation of vocabularies and visualises these structures. He will also show his work as
an 'urban geographer' with past projects. CIS (Centre for Internet and Society) n.e.w.s. contributor
Nishant Shah will discuss CIS activities as well as his own research. ('Mapping for Change’) inspired
many. Rounding out the seminar would be technical explanation by Prayas on Arduino boards, GPS
technology, etc. for those who need it. Urban screens could also be considered if we can use the front
facade of Jaaga for example. Not just technology, participants can also draw, paint, whatever or make
video mappings for example.

Included in these first 2 days would be presentations by the students as Pecha Kucha powerpoints of
6:20 minutes so that everyone gets to know each other. We are hoping for collaboration, as some
people are more technically advanced than others, and we could eventually have groups or teams
working on various projects instead of having individually authored works. It would be good for all
parties to mix it up in some way.

Second week: around the city and presentation at Jaaga

Participants will run around Bangalore in groups or teams and work on the projects for a final public
presentation at Jaaga the last two days. Jaaga, based in Bangalore, India, seeks to nurture innovative
endeavors by providing space, core infrastructure, and a diverse social environment by exploring new
ways to create a social gathering place.

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