Monthly Archives: August 2016

Experimental Education Protocol

This piece appeared on artforum.com:

Participants in the Experimental Education Protocol. (Except where noted, all photos: Agnieszka Gratza)

CAN EDUCATION BE SEXY? I didn’t used to think so. Twelve days in the company of twelve near-strangers on the volcanic Dodecanese island of Nisyros made me reconsider.

What brought us there—from Athens, Stockholm, Berlin, Brussels, Kassel, Hamburg, and Vancouver—was the Experimental Education Protocol, admittedly not the sexiest of banners. Drafted by artist Angelo Plessas, EEP or #exedupro—in its snappier, Instagrammable version—proposes “an alternative educational model” based on “experiential and communal learning.” For Plessas, whose Eternal Internet Brotherhood has been meeting every year since 2012 in far-flung places around the world, you stand a better chance to learn something from people you’ve not met before, particularly if you’re gathering in “extreme places.”

Sepake Angiama led the way with her flag project. “Desire lines” or “desire paths,” we learned, are shortcuts made in defiance of urban planning. “One person may forge it but others follow it,” Angiama told me as we pored over the “lines of desire” others had drawn onto a piece of cloth for her to embroider with threads of their choosing. Each came with a story, told and retold. (In time, the sewing became a collective endeavor as Angiama struggled to keep up with our storytelling.) Nisyros-devotee Greg Haji Joannides, who has been coming to the island since he was a child and was our point of contact with the islanders, related how he first paddled there with his father from the nearby island of Kos after the engine of their boat went off.

Left: Artists Garrett Nelson and Oliver Laric. Right: Artists Andreas Angelidakis, Sepake Angiama, and Arvo Leo.

For the third summer running, Joannides’s Sterna Art Project set up camp in an old-fashioned spa hotel located next to the crumbling Baths of Mandraki in Loutra, which were to house the exhibition at the outcome of our residency. These twin buildings, facing a small fishing harbor and backing onto a whitewashed former desalination factory, became the center of our activities.

Poet Quinn Latimer used the thermal baths, fueled by hot springs, for daily, twenty-minute one-on-one reading sessions staged in adjoining cubicles. That way the reading partners could (just about) hear without seeing one another “taking the waters” in their respective bathtubs. The acoustic or acousmatic potential of the baths was not lost on her partner, sound artist Paolo Thorsen-Nagel. “It’s like the Pythagorean veil,” he noted, alluding to pupils of Pythagoras who absorbed the philosopher’s teachings in silence from behind a veil-like partition.

By day three we had settled into something of a routine, if not exactly a schedule. Before the daily 11 AM meetings, everyone occupied themselves as they pleased. Angiama was busy embroidering the flag at the crack of dawn. Led by Andreas Angelidakis, toenail-painting “workshops” were on offer. The Greek island seemed to bring out the athletes in us. There were those who ran or swam a mile first thing. Watching topless artists Oliver Laric and Garrett Nelson doing their pushups in the baking sun one morning, Angiama sighed: “I’m just so glad I wasn’t born a boy.”

Left: Urbanist Mia Lundstrom and writer Quinn Latimer. Right: Artist Paolo Thorsen-Nagel.

More structured learning activities, such as Plessas’s own talisman-making workshop or Angelidakis’s anger-release exercises drawing on educational toy volcano molds, took place in a common room overlooking the Kos caldera with the volcanic islet of Strongili—the Round One—in its midst. This was as close to a classroom as it came.

On Bastille Day, the room was transformed as if by magic into a banqueting hall in one of the more spontaneous and enjoyable events the first week held in store for us. Orchestrated by Nelson, the evening began with cocktails and dakos (the Greek take on bruschetta) inspired by Pierre Balmain’s Vent Vert salad from Alice B. Toklas’s Cook Book. Following Nelson’s readings of Mary Oliver’s poems as well as one of his own, we feasted on Oliver’s July 14 salad, stuffed cucumbers, Greek eggplant gazpacho, and fried fish that Nelson had spent much of the day preparing with the artist Dora Economou.

Then came the party inside the ruined Baths lit up at night with sepia-colored street light, which melded beautifully with the designer gold suits Nelson (and some of us) sported for the catwalk for which we had been collectively recruited. And the group night skinny dip under the stars, once we were exhausted from dancing and Laric’s DJing.

Much of the learning from one another happened at the beach. Although opinions were divided as to which is the best on the island, Pachia Ammos, a nude beach with a fine stretch of dark brown volcanic sand—too hot to walk on barefoot—was the default option for afternoon outings. It was there that Thorsen-Nagel got us to listen to the sea with a hydrophone by sticking two microphones into the wet sand.

The beach is also where we were all, one by one, initiated into the art of Brazilian jiu-jitsu by Laric, who sees its mechanics as the perfect antidote to the “ambivalence” (or did he mean ambiguity?) of his life as an artist. “I’ve seen him do it so many times I don’t even find it erotic any more,” Latimer pronounced as we saw from a little distance Laric teaching moves that could easily be mistaken for sex positions to Swedish urbanist Mia Lundstrom.

Left: Writer Tess Edmonson and artist Angelo Plessas. Right: Garrett Nelson, Sepake Angiama, and Oliver Laric.

At the Bastille Day–themed dinner, Plessas reminisced about how he and Angelidakis—aka Pale Blue—met online and then, that very same day, IRL. This was on July 17, almost exactly seventeen years ago. A numerology workshop seemed in order. Instead, we marked the anniversary date with uncoordinated yet strangely consonant efforts, from flower garlands and bracelets to custom-made T-shirts and ice cream flavors named after Angelo (watermelon) and Andreas (Reese’s Peanut Butter Cups) at our favorite ice cream place—an inspired idea by Arvo Leo, who was full of them.

The Experimental Educational Protocol evinced “the desire for broader regional feedback” from local residents and tourists alike. In some ways we got more than we’d bargained for. Just as we were getting ready for the opening at the Baths of Mandraki—bringing together material and immaterial traces of our activities—a spoof poster came to our attention. Modeled on the Sterna Art Project 2016 announcement posted around the island, the mock “Manifest of Abstract Engagement” listed Martin Kippenberger, Cheese Burger, and Anish Kapoor among the participants.

That taught us.

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Double Take: Izolyatsia and Pinchuk Art Centre

This feature on the Pinchuk Art Centre and Izolyatsia, two Kyiv-based non-profits, appeared in The Calvert Journal:

  • Izolyatsia 2

    Izolyatsia in its new Kiev Shipyards site. Image: Dima Sergeev

No one has done more in recent years to put Ukrainian contemporary art on the map than the PinchukArtCentre and IZOLYATSIA. On the face of it, these two private institutions established by well-connected and generally well-liked industrialists – Victor Pinchuk and Luba Michailova – have a lot in common. Built around their founders’ personal collections, each in its own way nurtures the local art scene and attempts to build an audience for contemporary art at home, while giving Ukrainian artists greater international visibility and creating opportunities to show their work abroad.

This was not always the case – at least not as far as local artists are concerned. “The PinchukArtCentre has started to change its position but before it was not interested at all in the Ukrainian art scene. It was this huge institution built by a rich guy to show only stars from the West,” says Crimean-born artist and activist Mariia Kulykivska, who has worked with both institutions and is in a good position to compare them. To her mind, “IZOLYATSIA is a less established and glamorous place, closer to the real people”. Although IZOLYATSIA is not immune to the allure of superstars either, in Kulykivska’s opinion, “it started showing Ukrainian artists sooner”.

As well as teaching at the PinchukArtCentre, in 2013 Kulykivska was nominated for the sought-after Pinchuk Art Prize. Alternating with the more prestigious international Future Generation Prize (and a fraction of its monetary value), the bi-yearly national prize was set up in 2009 as part of a “changing strategy” designed to offer “consistent support for developing an art scene”, in the words of the PinchukArtCentre’s deputy artistic director Björn Geldhof. In addition to covering the production costs for new work, the prize gives the twenty nominees exposure and curatorial support in the context of the Pinchuk Art Prize show. The winner is also automatically short-listed for the Future Generation Prize the following year.

Celebrating its tenth anniversary this year, the PinchukArtCentre blazed a trail. The museum owes some of its iconic status to the fact that it was the only space dedicated to contemporary art in the whole of Ukraine, before IZOLYATSIA opened its doors to the public in 2010 – not in Kyiv but in Donetsk in the Donbass region of eastern Ukraine – and long before the Euromaidan protests of 2013, which stimulated the growth of self-sustained organizations and grass-root initiatives that offered an alternative to both these platforms for aspiring Ukrainian artists.

“It was the PinchukArtCenter who started this project; people know Ukraine in contemporary art through the Pinchuk,” Michailova concedes in a Skype interview. “At a certain point it became clear that he took a capitalist approach of capitalizing your private love for art, which is fine. Every country has to have ten more Pinchuks. We tried to build a different platform.”

The difference between these two rival institutions is partly one of style. If both non-profits are open to visitors free of charge, the PinchukArtCentre’s well-attended openings are by invitation only and have an aura of VIP exclusivity about them. Spread over six floors with an elegant café at the top, boasting stunning views of the city, the Philippe Chiambaretta-redesigned complex in the central Besarabka area of Kyiv looks and feels like a white cube. Given that many of the artists who form the basis of the oligarch’s collection – from Damian Hirst and Jeff Koons to Takashi Murakami and Anthony Gormley – are represented by Larry Gagosian and Jay Joplin’s White Cube gallery, this seems fitting.

IZOYLYATSIA has none of the “luxury-style exhibitions, [nor] the pretension” of its counterpart, as Kulykivska puts it. The rented four-storey building situated on the premises of a working shipyard next to the river, in the increasingly trendy but still somewhat peripheral Podol neighbourhood, retains something of the gritty feel and working class aesthetic of IZOLYATSIA’s original, sprawling factory home in the industrial city of Donetsk, where Michailova hails from.

Set up in a disused insulation materials plant that her father Ivan Michailov directed, IZOLYATSIA was inspired by Zollverein in Essen, a repurposed Bauhaus-style coal mine in the Ruhr area that Michailova visited in 2010, the year when Essen was the cultural capital of Europe. “I saw what my Donetsk could be in twenty years, when people breathe new life into industrial heritage,” says Michailova. She considers the preservation of the country’s Soviet-era heritage an integral part of IZOLYATSIA’s mission, together with creating an infrastructure for art making and educating the public about twentieth and twenty-first-century art, which are not taught at school.

Michailova, who developed her taste for contemporary art while visiting museums around the world on business trips, started collecting social realist art in the 1990s in an attempt to preserve it after the fall of communism. This became the core of IZOLYATSIA’s collection, which grew organically to include works made by international and Ukrainian artists in the context of residencies and for specific exhibitions staged at IZOLYATSIA, such as the 2012 show “Gender” for which Kulykivska fashioned twenty life-sized plaster clones of her body; three additional soap-based casts made at a later date were left to slowly dissolve in IZOLYATSIA’s garden.

When IZOLYATSIA’s premises were seized by armed pro-Russian separatists in June 2014, these were used as shooting targets by the militiamen, who destroyed many of the artworks that they considered to be “degenerate”. “I’m still not over the shock of losing most of my collection,” confides Michailova, who estimates the loss at about two-thirds. What could be salvaged was moved to Kyiv along with the staff, ushering in a new period of “IZOLYATSIA in exile”. As Geldhof points out, “The tragedy of losing a space is also in a way a tragedy of losing identity. Especially as it’s not just a venue that they lost; they lost their origin, the place where they came from.”

Understandably, IZOLYATSIA has been outspoken in its indictment of Russia’s annexation of Crimea and its backing of the self-declared “People’s Republic of Donetsk”, which relegated the institution to the status of “cultural refugees” in their own country. Recent exhibitions such as “Reconstruction of Memory” (February-March 2016) tackled these sensitive issues head on, whereas the guerrilla occupation of the Russian pavilion by IZOLYATSIA members and associated artists (Kulykivska among them) sporting military fatigues bearing the logo “#onvacation” at the Venice Biennale in 2015 stole the show from the PinchukArtCentre’s own project for the Ukrainian national pavilion, addressing the question of “transparency” in a group show emphatically titled “Hope!” curated by Geldhof.

The fact that the founder of the PinchukArtCentre derives much of his business profit from trade with Russia invites a more cautious approach. “We’ve never shied away from the political,” Geldhof assures me in an exchange over Skype. The R.E.P. (revolutionary experimental space) group – whose individual members like Zhanna Kadyrova, Nikita Kadan and Lada Nakonechnaya the PinchukArtCentre has worked with and supported over the years – stood out for him precisely because it “wasn’t afraid to touch upon sensitive political themes in a rather direct way”. Be that as it may, exhibitions such as “Fear and Hope” in 2014 – made soon after 100 hundred people were shot in the streets of Kyiv – have the merit of addressing a potentially incendiary situation “in a non-partisan way”. In Geldhof’s eyes, “by doing that you create the possibility for a conversation.”