BODIES AT WORK

 

Maja Bekan

 

Angela Serino

 

 

What is the future of the cultural worker? 

 

Is Art work or not? Do we work too much because life itself has become ‘occupied’ by constant activity, making obsolete the division between free time and work? Are we able to listen to the demands of our finite body in front of the infinite demands placed upon it? Do you also dream to retire in order to fully enjoy your life? 

 

Cognitive capitalism, immaterial labour and creative production are some of the recurrent terms used to describe today’s typology of work. What those words depict is the model of a worker who is available 24-7, is radically flexible, able to work under pressure, is multi-skilled and a multi-tasker, even though they are not paid for all the work they do and has no guarantee of any permanent position. This ideal worker is employed not only for their education and working experience but also for their personality and passions, for their private tastes and aspirations, and for their networks of personal relationships. In short, for their (total) identity. For modern businesses, it is the personal capacities of the worker that are increasingly considered essential to the production of economic value and to measure professional performance.

 

In this quest for the ideal worker, the artist, perceived as a creative capital, as a person who is capable of continuous reinvention, self-education and self-initiation, seems to have offered the best model of reference to corporate business for such new immaterial economy. But is the artist really the ‘champion’ of such an economic model? And what does it imply for every worker to be creative? 

 

Starting from these questions, artist Maja Bekan and curator Angela Serino will examine and voice what kind(s) of “work” it is that art and cultural workers do. What is their relationship to time and space, how and for whom they work, how they balance their private, social and professional life, and what are the advantages and pitfalls of such circumstances. The intention to activate such a process is to explore possible future scenarios for these professions, while at the same time questioning the language and the rhetoric used to describe the value of cultural work.  

 

Over several months, BODIES AT WORK took the shape of an office space for people in need of a work place ("The ultimate flexible work station") and of a series of semi-public conversations, based on selected texts and artists’ contributions (videos, films) hosted together with local participants.

 

2013年的项目

2013 Projects

.Wanderer/Collector

 

.Bodies at work

 

.Sayizheng II: Rundeli Market

 

 

 

WANDERER/COLLECTOR

 

François Dey

 

 

For the past six months, François has been collecting minutes of Chinese modern history in and around Beijing. Strange lifestyle resorts and decrepit museums have become pearls on a string of curious sites archeologically excavated and examined. Through the accretion of marginal and discarded objects, traces of human activity are remodulated into an array of materiality. The artefacts, hinged together here in the IFP studio in a choreography of substances, will become instigators of new parallel meanings. 

 

Similarly, the smallest named creatures inhabiting the courtyard in which the IFP studio lies have become the main characters of a fetishist myth. Against a velvet background, these rugged animals are portrayed as individualized subjects, ostensibly responding to a empathetic viewer's gaze. Regardless of their status as pets or night crawlers, these creatures look back at us with an undeniable presence. 

 

In a conclusive film we follow the artist and his compatriot on a bizarre walk through Chinese suburbia and informal settlements.The film culminates with a panoramic view of the quarries which provide Beijing with concrete, the raw material needed to construct physically imposing fragments of the Chinese Dream. 

 

This shifting of scale from sublime constructed landscapes to portraits of hutong cats opens up a new realm of meaning in place in desperate need of it. In his role as wanderer/collector, François Dey provides an alternative retelling of a region fast-forwarding from precariousness to prosperity.

 

Opening: June 28th 2013 at 6pm

 

http://francoisdey.com/

 

 

在过去的六个月里,François Dey在北京及周边收集着中国近代历史的碎片。怪异的度假村和破损的博物馆这些奇特遗址被穿成一串珍珠,以考古的方式发掘并进行检验。随着废弃物品的增长,人类活动的踪迹被重新调制成一批物质的陈列。经过编排,聚集在IFP工作室的文物将成为创造新含义的煽动点。

同样,生活在这个大杂院里最小的生物成为这部恋物神话中的主角。衬着天鹅绒背景,这些崎岖的动物被塑造成个人化的主体,貌似在响应一位观看者移情的凝视。无论它们的身份是宠物或只在深夜出没,这些小家伙以不可忽视的气度回望着我们。

 

一部影片收尾,我们将跟随艺术家和他的同伙去漫游,穿行中国郊区以及非正规的定居点。影片由供应北京混凝土的采石场全景进入高潮,记录了这用来建构中国梦所需的原材料。

 

周五6月28日晚6点开幕,晚8点影片首映式

IFP工作室 黑芝麻胡同13号

 

http://francoisdey.com/

 

 

 

SAYIZHENG II: Rundeli Market

 

 

Sayizheng II: a dream, a seizure, a hot storming day in a market. An exhibition.

 

What: Sayizheng II


When: 2013.8.11 9:00-21:00 Where: Rundeli Market

 

Who:
Han Wuzhou
Wang Yifan
Alessandro Rolandi
Tianji Zhao
Chen Shuyu
Maja Bekan/Angela Serino/Fenni Shi Jing
Gao Ling
He Jian
Cai Dongdong
Paper Tiger Studio
Max Gerthel
Pilar Escuder
Ma Yongfeng
Feng Hao
Gua Zi

 

 

What happens when artworks fall from pedestals into a living space? What happens when artists step out of the art market and into a food market?
A one-day group exhibition took place in the biggest open market within Beijing’s second ring on one of the hottest days of the year. Tucked away inside the hutongs, 16 works appeared, disappeared, and reappeared throughout the day in different corners of the bustling complex. Under the watchful eyes “from above” as well as from the people below, visitors were asked to come disguised as a buyer and do their Sunday shopping.

Apples, bitter melon, chicken feet...very fresh, very cheap! 

 

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Institute for Provocation

4/F, Suit B7-3A, 706 North 1rd St.,

2 Jiuxianqiao Rd (798 art zone),

Chaoyang District,

Beijing,

CHINA

 

激发研究所

北京市朝阳区酒仙桥路2号(798艺术区)706北一街B7-3A,4楼。

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