Histories of the Immediate Present
EVENT 1: Critical and Comprehensive Documentation of KMB16
We invite, artists, designers, writers, academics and all those who are interested in writing or creating a work with KMB16 as subject to send us your ideas in form of an abstract of 350 words (1 Page) to firstname.lastname@example.org .
As part of Unbound’s on-going documentary series Histories of the Immediate Present, we propose to produce discourse within the space and time of Kochi Muziris Biennale 2016 (KMB16) by critically engaging with it as an exhibition of artistic works and as an event that extends beyond display. We will publish these critical reflections contemporaneous to KMB16 in Unbound and subsequently, we have an ambition of producing a volume of selected works.
Events of creative practice are evanescent. Temporally and spatially bound, events remain as mnemonic traces because of their self-erasing nature. Nevertheless, as a collective and a collection curated in a place and for a specific duration, they generate rich engagements and experiences for the participants. Producing discourse then about an exhibition and displayed art works and artistic practice requires considerations that are beyond the purely aesthetic, since the thematic framework, configuration, physical location, organization, promotion, audience, disagreements and its relation to its own immediate historicity, as well as to the other events of a similar nature, have a bearing on the reception and popularity of exhibitions. Therefore, our goal to produce critical discourse that is dialogical and polyphonic collection of multiple voices of both human and non-human actors that coexist in the space of the Biennale for over 100 days.
Although we anticipate that the forms in which the documentation will unfold include text, visuals, video, audio, photomontage and others, they will focus on the themes and subjects identified for this purpose. They include:
- Showing: Arrangement of artistic works and their display. Looking at curation as intertextuality and as a dialogue with others that preceded it, and that which would follow.
- Looking: Exhibition as the space of contact between the works on display and the audience. All audience comes to look, but all looks are not the same. How do different ways of viewing art and different places from which art works are viewed contribute to a deeper understanding of the Biennale.
- Locating: The spatial distribution of art works in the location of the Biennale, both in the city and at Fort Kochi. The analysis of relationships between those that are contiguously located and those that are scattered.
- Promoting: Branding of the Biennale and positioning vis-a-vis artists, community and the public at large.
- Relating: Past as the shadow of the present. However, a-historical and unique each event may aspire to be, it is always implicated in history. How does this Biennale relate to those that preceded it and others from different locations?
- Surrounding: The impact of serendipitous happenings, unexpected occurrences, rejections, protest and other episodes that take place in the margins/peripheries of the main event.
We invite, artists, designers, writers, academics and all those who are interested in writing or creating a work with KMB16 as subject to send us your ideas in form of an abstract of 350 words (1 Page) to email@example.com . Alternatively, you could send us finished work (article, essay, review, reflections, photographs, films and others) during or immediately after the Biennale (Dec16-April17).
We expect authors whose abstracts have been accepted to send their contribution for publication between December 30, 2016 and April 30, 2017. We will be publishing them as and when they reach us.