The European Conference of Institutional Ideators (ECII) will take place at Grölle pass:projects in the German city of Wuppertal over the weekend of October 26th and 27th, 2019. ECII is being convened by The Office for Joint Administrative Intelligence (OJAI). The principal inquiry of the conference is INSTITUTIONAL APPROPRIATION AS ARTISTIC STRATEGY. OJAI has invited a carefully selected line up of artistic practices that appropriate institutional identities and nomenclatures as a working methodology.  The program happens over two days of lectures, performances, screenings, concerts and field trips culminating in a plenary session – a critical round table discussion moderated by Joseph Noonan Ganley. The goal of ECII is to foster interaction and knowledge sharing between the participant practices and to establish provenance and lexicon for the phenomenon of institutional appropriation. The conference will be accompanied by a self-institutionalisation handbook, a collaboration with Zero-Desk featuring an essay by Pádraic E. Moore.

Die European Conference for Institutional Ideators (ECII) findet am 26. und 27.Oktober 2019 in der Galerie Grölle in Wuppertal statt. Die ECII wird veranstaltet vom Office for Joint Administrative Intelligence (OJAI). Das Thema der Konferenz ist Selbstinstitutionalisierung als künstlerische Strategie. Das OJAI hat dazu eine sorgfältige Auswahl an künstlerischen Vorgehensweisen getroffen, wobei eine Institution jeweils entweder konstruiert, vorgetäuscht, gekapert oder unterwandert wird. Es werden verschiedenste Wege vorgestellt, wie auf diese Weise ein Rahmen oder Konzept für künstlerische Arbeit generiert wird. Das Wochenende wird gefüllt sein mit Vorträgen, Performances, Videovorführungen, einem Konzert und einer Exkursion sowie einem abschließenden Runden Tisch, an dem unter der Leitung von Joseph Noonan Ganley das Konzept der Selbst-Institutionalisierung kritisch beleuchtet werden wird. Die Konferenz dient dazu, Interaktion zu fördern und Wissen auszutauschen zwischen Teilnehmern aus verschiedenen europäischen Nachbarländern. Die Idee der Institution als künstlerische Idee soll so der Öffentlichkeit nahegebracht werden.

The European Conference of Institutional Ideators (ECII) will take place at Grölle pass:projects in the German city of Wuppertal over the weekend of October 26th and 27th, 2019. ECII is being convened by The Office for Joint Administrative Intelligence (OJAI). The principal inquiry of the conference is INSTITUTIONAL APPROPRIATION AS ARTISTIC STRATEGY. OJAI has invited a carefully selected line up of artistic practices that appropriate institutional identities and nomenclatures as a working methodology.  The program happens over two days of lectures, performances, screenings, concerts and field trips culminating in a plenary session – a critical round table discussion moderated by Joseph Noonan Ganley. The goal of ECII is to foster interaction and knowledge sharing between the participant practices and to establish provenance and lexicon for the phenomenon of institutional appropriation. The conference will be accompanied by a self-institutionalisation handbook, a collaboration with Zero-Desk featuring an essay by Pádraic E. Moore.

Department of Ultimology

The first Department of Ultimology was established by Fiona Hallinan and Kate Strain in January 2016, at Trinity College Dublin. A nascent discipline, Ultimology is the study of that which is dead or dying in a series or process. When applied across academic areas of study, it becomes the study of extinct or endangered subjects, theories, and tools of learning. Ultimology responds to a contemporary environment of anxiety around endings; a time of apocalyptic climate events and turbulent political change, threats of resurgent populism, depleted resources, rapid obsolescence and technological changes that are shifting society. The Department of Ultimology is part of the Orthogonal Methods Group (OMG), a research group based at CONNECT, the Science Foundation Ireland Research Centre for Future Networks and Communications. OMG is a research platform within CONNECT that works in critical and creative relation/tension with technology.  Working through artistic methodologies, they utilise Ultimology as a tool for critical reflection by engineers working in cutting edge technology, and as a means for those outside that sphere to gain insight into complex subjects.

Fiona Hallinan is artist and researcher for the Department of Ultimology. Based in Brussels, she conducts interviews, organises events and commissions, researches and writes. She is interested in thresholds, the moment of entering a different state, or ‘inducing the uncanny’ (Jalal Toufic). She enacts this theme through gestures of hospitality, instigating new encounters between individuals and things. Her work has been shown at Kerlin Gallery, IMMA, Mother’s Tankstation and Brown University. She is currently a member of the Science Gallery Dublin Leonardo Group and is developing projects for Fingal Arts and Grazer Kunstverein. She is a graduate of History of Art and Architecture, at Trinity College Dublin and a member of the Orthogonal Methods Group (OMG), a research group based at CONNECT, the Science Foundation Ireland Research Centre.

Kate Strain is a curator researching performativity in contemporary visual arts practice. She is artistic director of Grazer Kunstverein, Austria and co-founder of the Department of Ultimology. She was acting curator at Project Arts Centre, Dublin 2014-15; Curator in Residence at Cow House StudiosWexford 2016; and Curator in Residence at CONNECT Centre for Future Networks and Communications, Trinity College Dublin 2017. Ongoing curatorial projects include online research and commissioning body The Centre For Dying On Stage and the paired curatorial practice with Rachael Gilbourne RGKSKSRG. She is a graduate of History of Art and Architecture, at Trinity College Dublin and a member of the Orthogonal Methods Group (OMG), a research group based at CONNECT, the Science Foundation Ireland Research Centre.

Gesellschaft zur Emanzipation des Samples G.E.S.

Gesellschaft zur Emanzipation des Samples G.E.S. (Society for the Emancipation of the Sample) is not an official entity, but rather an association without membership or manifestation committed to one primary and pragmatic notion: financial backing and legal support in case of active breaches of copyright – the process of sampling.

Jan Jelinek is a musician, producer and remixer since 1998. His work deals with the transformation of sounds, translating source materials from popular music into abstract, reduced textures. Bypassing traditional musical instruments, he constructs collages using tiny sound fragments from a wide variety of recording devices: tape recorders, digital samplers, media players and the like. The recordings are processed into repetitive loops that boil the original down to its essentials, the source material becoming indecipherable in most cases. In his current live performances, Jelinek weaves diverse sound materials into intense drone collages and soundscapes.

Minister of Cosmic People for the countries of Ex-Yugoslavia, Portugal and former Portuguese colonies

Since 2010 Vanja Smiljanic has been working about and with Cosmic People, an internet based New Religious Movement originating in the Czech Republic. The focus of her interest lays in their online archive called “Library of Light”, an immense online database, made up of a broad spectrum of appropriated documents. Since 2013 Smiljanic has been translating text-based documents from the English section of the archive into Portuguese and Serbian, her two mother tongues. This contract led her to self-proclaim herself as a Minister of Cosmic People for the countries of Ex-Yugoslavia, Portugal and former Portuguese colonies. She has also created role of and fulfils the function of Senior Architect of the archive. Throughout the process of translation she also started slightly transforming the documents. Therefore through time she stopped seeing herself only as lubricator of their ideological apparatus but – by reshaping the documents of the archive – she started creating new extensions of their religious body.

Vanja Smiljanić (Belgrade, RS 1986) is a visual and performance artist living and working in Cologne. Smiljanić’s focus is in interdisciplinary projects and her research lies in cross methods within the fields of visual arts, video and performance. In her practice, she often utilizes the model of performance-lecture as a way to bridge fictitious and experiential universes, comprising technical apparatus, diagrams and sci-fi povera sculptures. Connecting otherwise unparalleled reality systems, Vanja’s work attests the foundation of ideologies as alienated regimes, recurring to her own body as a vessel for narration, often shifting between the position of oracle and storyteller.

Office for Joint Administrative Intelligence (OJAI)

The Office for Joint Administrative Intelligence (OJAI) was founded in 2015 by Chris Dreier and Gary Farrelly and is headquartered in Berlin and Brussels. OJAI research and production is focused on power structures embedded in the built environment and the agency of the self in history’s bigger narrative. Other recurring areas of exploration by the practice include conspiracy theory, disasters, economics and pornography. The project has its origins in written correspondence between Dreier and Farrelly and mail remains central to the practice. OJAI production manifests as performances, installations, field trips, publications, videos and a radio show. OJAI exhibitions are temporary office spaces that function as sites of display, collaboration and work. The Office for Joint Administrative Intelligence has presented work at Marres – Center for Contemporary Culture (Maastricht), ISELP- Institut Superieur pour l’Étude du Langage Plastique (Brussels), Damien & The Love Guru (Brussels), AIR Antwerpen (Antwerp), Gold + Beton (Cologne), Groelle Pass projects (Wuppertal) and Laura Mars Gallery (Berlin).

Chris Dreier (1961), Director for Finance and Systemic Risk, OJAI NORD  comes from Wuppertal and is based in Berlin. Dreier studied Visual Communications at Berlin’s University of Art (UDK). In the nineteen eighties she was a member of experimental music group Die Tödliche Doris. She continues to pursue sonic research with band projects Burqamachines with Ursula Döbereiner and MK/CT with Tim Loehde. In 2017 she took part in an artist exchange program between Berlin and the Ukrainian city of Lviv by the Horizon Foundation. Her visual artwork has been exhibited at The Museum of Contemporary Art (Wroclaw, Poland), New Mexico History Museum (Santa Fe), Center for Contemporary Art (Brest, France), 500X Gallery (Dallas) and the National Media Museum (Bradford). She has instructed workshops based on her practice at Goethe Institut fürKunstpädagogik, University of Frankfurt/Main.

Gary Farrelly (1983), Director for Heritage and Self-Inventory and Sub-Officer for Political Ideation OJAI SUD is an Irish artist based in Brussels. His work encompasses installation, video, performance and postal correspondence. Farrelly received his BA from the National College of Art and Design in Dublin (2006) and his MFA from LUCA School of the Arts in Belgium (2017) Much of Farrelly’s practice happens under the banner of Office for Joint Administrative Intelligence (OJAI) which he cofounded with Chris Dreier. Between 2013 and 2017 he collaborated with Oisin Byrne to create a feature film called Glue which is currently on an institutional screening tour of Europe. He has participated in residency programmes at AIR Antwerpen, Gropiusstadt Pilotprojekt, TAMAT and Central Trak University of Texas artist residency. His works have been screened and exhibited in a number of institutional contexts including Salzburger Kunstverein, Goldsmiths Center for Contemporary Art (London) and The Museum of Contemporary Art (MSURS) in Banja Luka (Bosnia and Herzegovina).

T.A.L.O.S

T.A.L.O.S. is an agency based in Brussels and created in 2017 by Pierre-Philippe Duchâtelet, Deborah Levy, Lionel Maes, and Antoine Wang. Its main objective is to investigate the world of anti-terrorist security with the aim of rendering some specific situations tangible. In order to do so, the agency gathers documents produced by different actors involved in those situations and subjects them to transformations, in the sense of modifying their form. From a certain point up to another, those transformations produce a new kind of attention on the documents, thus enabling a renewed capture. The gradual accumulation of the transformed documents produced during the course of the research constitute the current archives of the agency. T.A.L.O.S. is supported by Art/Recherche (A/R) and Ecole de Recherche Graphique (ERG). T.A.L.O.S will be represented at ECII2019 by Deborah Levy

Pierre-Philippe Duchâtelet is a designer and researcher. He co-founded the graphic design studio La Villa Hermosa. He teaches at Ecole de Recherche Graphique in Brussels, where he coordinates the master called “Design et politique du multiple”

Deborah Levy is an architect and researcher. She co-founded orthodoxe and Le Laboratoire. She teaches architecture in the Faculty of Architecture La Cambre Horta of the Free University of Brussels (ULB)

Lionel Maes is an artist, graphic designer and programmer. He co-founded the graphic design studio La Villa Hermosa. He teaches “pratiques numériques” at Ecole de Recherche Graphique in Brussels

Antoine Wang is an architect and researcher. He co-founded orthodoxe and Le Laboratoire. He teaches architecture in the Faculty of Architecture of the University of Liège

That Might Be Right

That Might Be Right is an artistic and socially engaged organisation based in Brussels dedicated to (re)searching, developing and supporting alternatives to the present. Through a practice of assembly we attempt to bring cultural practitioners together. Indeed that something might be right already implies that there are multiple ways to see the things around us and give significance to them. Actively investigating and discussing these alternative views and ways of doing will already change both ourselves and our surroundings. By loosely weaving together a plurality of views and voices we hope to bring about a community of cultural practitioners that takes the means of mediation in their own hands and therefore is more autonomous from State, institutions, market, and the 1%. As such the goal of our actions is to provide a supportive framework to the process of sharing, experiencing, and discussing works. In short, That Might Be Right attempts to reconfigure the politics of making art and alternative forms of production and presentation. TMBR will be represented at ECII2019 by Paoletta Holst and Rob Ritzen.

Paoletta Holst works as an artist, architectural researcher and writer. Her practice operates at the intersection of different disciplines to investigate the spatial and political dimension of art, architecture and the urban environment. She is interested in the influence of formal spatial/political power structures on our living environment, and in the informal counter strategies people create to deal with them. In 2016/2017 she worked as a Jan van Eyck participant on Grand Tour Europa, an artistic research project regarding the spatial understanding of tourism and migration in the context of the politics of cultural identity in the European Union. Currently she is working on Colonial Traces, a project around Dutch colonial architecture in Indonesia. She also teaches history and theory of architecture at the Academy of Architecture in the Netherlands and works as an editor for Archined. Together with Rob Ritzen she initiated That Might Be Right.

Rob Ritzen works as a curator with a background in philosophy, museum studies, art and architectural history. His curatorial practice is focused on self-organised and co-operative formats in close association with cultural practitioners — consciously positioned on the margin of established institutions and outside of market oriented spaces, but in the middle of communities of cultural practitioners. He is the artistic coordinator of City3 and an associate researcher at A.PASS institute for artistic research. Together with Paoletta Holst he initiated That Might Be Right.

Zero-Desk

OJAI has commissioned Zero-Desk to design and produce the official publication that will accompany the ECII conference. Zero-Desk  is a small, independent design studio focusing on printed matter and site-specific installations. Working collaboratively with commissions from patrons in the fields of academie, art, architecture, film, furniture and publishing. The studio’s working method is based on collaboration and research of how to activate situations in order to create a platform for various kinds of communicative experiences. This enables the work to set up conditions where a process of working allows for continuous reconfigurations of places, histories and publics. Zero-Desk has recently started a platform for publishing within art, design and theory. Zero-Desk Editions projects are primarly with artists, designers and theorist who are examining social and political issues, histories, to change/reflect on perspectives or give directions to our view on the structures that surround us.

Carl Haase (b. 1977) is a research-based designer, writer and publisher producing work that bridges historical, social and at times political issues initialising archival, documentarian and participatory approaches. His work incorporates a collaborative practice in order to create a broad perspective. Within this collaborative approach he has worked with historians, photographers, designers and academics to create work that reevaluates the perceived history. This practice has been adapted into the publishing platform of Zero-Desk in 2014. He is currently a PhD candidate with ARIA Antwerpen, earned an MA from Sint-Lucas in Art Design and Research Antwerpen 2017 and from KASK Conservatorium in Graphic Design 2016 Gent, a former researcher at the Jan van Eyck Academie 2013–2015 focusing on our shared designed surroundings and the impact they have on our daily lives and a BFA from the Maine College of Art 2001.

Joseph Noonan-Ganley

OJAI is delighted to announce that Joseph Noonan Ganley will be the official moderator of ECII2019.  He will superintend the plenary roundtable section of the program.

Joseph NoonanGanley b.1987 is an Irish artist based in London, UK. NoonanGanley’s exhibitions, performances and publications address themes of sexuality, appropriation and authorship through extensive manipulation of the material remnants of artists, designers, sports people, dressmakers and writers. His exhibitions take the form of episodic installations that regularly interweave HD video, spoken word audio, writing, sculpture and textiles.He is part of the ongoing exhibition series Something To Be Scared Of with Linda Stupart and Sam Keogh.  Recent performances were included in Stories From the Sculpture City, 2017, Henry Moore Foundation, Leeds and Moving Performances, 2016, Faculty of Music, University of Oxford. His book The Cesspool of Rapture will be published by Ma Bibliothèque in 2019. NoonanGanley is an Early Career Academic Fellow in Fine Art at Newcastle University, a Senior Lecturer on the Studio for Immediate Spaces MA at the Sandberg Instituut, Amsterdam and Associate Lecturer in Fine Art at Bath Spa University.

Julia Zinnbauer

OJAI has commissioned Julia Zinnbauer to research and deliver a lecture that compliments the theme of self-institutionalisation from an architectural perspective focusing on the theme of Headquarters. Having studied in the sculpture class at the Kunstakademie Düsseldorf, Julia Zinnbauer regards buildings as three-dimensional pieces of art. Her ceaseless quest for exceptional architecture and direct on-site research constitutes makes up her practice. Publishing reports and photos on her own blog (www.scissorella.de) she has been documenting this quest for over a decade. This increasing collection of buildings, facts and anecdotes constitutes the basis for her short films and performances and also creates a connection to other fields like e.g. fashion and critical theory. 

Julia Zinnbauer, born in 1977, graduated in the subjects of art, English and education at the Kunstakademie Düsseldorf and the Heinrich-Heine-Universität-Düsseldorf. In 2009 she took part in an exchange programme called “Feldstärke International” between PACT Zollverein (the Choreographical Center of Northrhine Westphalia, located in Essen) and the CalArts Institute of Los Angeles. In this way she had the opportunity to investigate the post-war modernist architecture of California. In 2013 she received a fellowship of the onomato Künstlerverein Düsseldorf, an artists society for video and sound art. Julia Zinnbauer’s work was shown at GRÖLLE pass:projects gallery (Wuppertal); at galerie weisser elefant (Berlin) and at the 60. International Short Film Festival of Oberhausen (inter alia). She lives and works in Düsseldorf, Germany.

Pádraic E. Moore

In response to the thematics of this conference Pádraic E. Moore has curated a screening programme which addresses the idea of self-institutionalisation as artistic strategy both directly and tangentially. This exciting programme is comprised of diverse moving-image works from an inter-generational selection of artists. In the context of the conference the screening programme underscores the extent to which self-institutionalisation and the related tendencies towards administrative and bureaucratic tactics have become widespread in the field of cultural production over the past half century.

Pádraic E. Moore is a writer, curator and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007) and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore is a former participant of the Jan van Eyck Academy, Maastricht (2014-15). Moore’s practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by techno­logical rationality.

GRÖLLE pass:projects
143 Friedrich-Ebert-Straße
42117 Wuppertal
Germany

Schwebebahn: Pestalozzistraße