Temporary Gallery – centre for contemporary art | Kris Dittel: “ON KINSHIP”

Temporary Gallery – centre for contemporary art | Kris Dittel: “ON KINSHIP”

FELLOW: Kris Dittel

Media Art FellowsResearch

Duration: march until dezember 2022

Kris Dittel is a current Medienkunstfellow NRW at the Temporary Gallery – centre for contemporary art in Cologne. During her fellowship she is involved in a research trajectory “On Kinship” speculating about utopian forms of kinship beyond property relations and the social reproduction of norms. It is about the critique of the nuclear family with an aim to expand the questioning spirit into practices of collective learning, sharing and contemplating other ways of organising life and social reproduction. Topics of interest include family abolitionism, queer kinship, reproductive justice, the role of technology in forming relations, as well as a reflection on raising children. The project aims to collectively contemplate the question of how to build communities that expand beyond the normative family unit, in a world that is set up to regulate social relations via the private socio-economic organisation of the nuclear family. Instead of presenting ‘new models’ or universalist ‘ideals’, the project aims to diverge from the idea of blueprints and hopes to collectively contemplate the question of how to build communities that expand beyond the normative family unit, in a world that is set up to regulate social relations via the private socio-economic organisation of the nuclear family.

The project involves a collaborative research between the fellow, Kris Dittel and the director of the CCA Temporary Gallery, Aneta Rostkowska. Additionally, a study group “Forms of Kinship” takes place. This series of gatherings aims to think collectively about the way we form relations in and with the world, outside of the nuclear family structure. The meetings take place monthly, online. Each session is led by an invited guest, including artists, thinkers, poets, activists and others.

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Kris Dittel is a Rotterdam-based curator, editor and occasional writer. Informed by her background in economics and social sciences, her curatorial practice pays attention to the social, political and economic context of her work. Her long-term research projects materialise in a multitude of ways, as exhibitions, performances, publications, talks, public events, and other. Most recent research interests include On Kinship (Temporary Gallery, Cologne 2022); The Voice as Material (Post-Opera at TENT, V2_, Operadagen Rotterdam, 2019); and The Question of Value (The Trouble with Value at Bunkier Sztuki, Krakow and Onomatopee, Eindhoven, 2016–19). With Eloise Sweetman Kris co-hosts I Hope This Message Finds You Well, a podcast about curating.

Her latest publication, co-edited with Clementine Edwards, The Material Kinship Reader considers material beyond extraction and kinship beyond the nuclear family (Onomatopee, 2022). Previous edited volumes include The Trouble with Value: Art and Its Modes of Valuation (Onomatopee, 2020), Marjolijn Dijkman: Radiant Matter (Onomatopee, 2018), The Economy is Spinning (Onomatopee, 2017), and Antonis Pittas: Road to Victory (co-edited with Clare Butcher, Mousse Publishing and Hordaland Kunstsenter, 2017).

More information about Kris Dittel

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EVENTS FOR THE PROJECT FORMS ON KINSHIP

FORMS OF KINSHIP – LIQUID DEPENDENCIES
19 February 2022, 6 p.m.

Organized by documenta Institut in collaboration with Temporary Gallery. Centre for Contemporary Art.
With Aneta Rostkowska (CCA Temporary Gallery, Cologne), Kris Dittel (independent curator), Aiwen Yin (ReUnion Network / Liquid Dependencies)

More information about FORMS OF KINSHIP – LIQUID DEPENDENCIE

FORMS OF KINSHIP – ON FAMILY ABOLITION
A talk by Sophie Lewis
Wed 16 March 2022, 7 p.m.

Family abolition is a charged phrase which often prompts the impulsive answer “But I love my Family!” With Sophie Lewis we will discuss what is meant by family abolitionism, what it has to do with love and collective care, why we should abolish the family, and its utopian vision. Sophie Lewis will also reflect on what does family abolition mean in political contexts where the Indigenous, minoritarian and racialised family is always already pre-abolished.

Documentation FORMS OF KINSHIP – ON FAMILY ABOLITION

FORMS OF KINSHIP – THE MATERIAL KINSHIP READER
Conversation with Kris Dittel, Clementine Edwards and a talk by Joannie Baumgärtner
Fr 29 April 2022, 7 p.m.

The Material Kinship Reader proposes to think kin beyond bloodlines and material beyond extraction. The event will include an introduction by the editors, Kris Dittel and Clementine Edwards, followed by a talk by Joannie Baumgärtner. The talk, based on their text ‘Family Value: Towards a Kinship Beyond the Forms of Capital’ will outline some ideas on the way the nuclear family structure produces kinship through the capital form.

About The Material Kinship Reader
What does it mean to acknowledge one’s closeness to, enmeshment in or even kinship with the material world? And what does it mean to question family structures – the way they organise, coerce and make deviant certain lifeforms – and dwell in other possibilities of kin-making? Not just a jolly rethinking of objects or a polyamorous romp through relationships, The Material Kinship Reader reckons with the extractivist histories of materials and the social relations that frame much of contemporary life.

Spanning fiction and theory, the collection of texts expand the idea of an artist’s book by bringing words into conversation with an aesthetic proposition. Clementine Edwards’ artwork is the visual weft to the book’s written net. From colonial conquest to climate collapse, The Material Kinship Reader tells toxic and tender stories of interdependence among all things sentient and insentient.

More information about FORMS OF KINSHIP – THE MATERIAL KINSHIP READER

FORMS OF KINSHIP — RADICAL DREAMING
Workshop with Georgy Mamedov
So 15 May 2022, 14—19 p.m.


For many people sleep is an escape strategy in stressful situations. We want to fall asleep in the hope that after awakening the stressful condition is gone. Sleeping is a transitory state, a refuge from the pressing and devastating reality. In dreams complex, otherwise unexperienced worlds and feelings never experienced before appear. Dreams have a power to frighten and distress but also to heal and liberate. Dreaming is an utterly personal, even intimate experience, very often too embarrassing to share with others.

Yet, this is what I want to do – to invite friends and strangers into my dream; to let everyone explore and settle in the dreamworld I’ve once visited myself. It is a world in which people have a chance to live eternally, but if and when they decide to die, they turn into human-made objects. What object would you want to become after death? What does death mean anyway? What happens to kinship, love and belonging in a world where the ontological difference between the human and non-human becomes arbitrary? We will collectively dive into these questions and try to come up with some answers, which potentially bring some light and hope to our present gloomy and scary world.

More information about FORMS OF KINSHIP – RADICAL DREAMING

FORMS OF KINSHIP — THE POWER OF DREAMS
A reading and conversation with Georgy Mamedov
Mon 16 May 2022, 5—7 p.m.


In dreams mundanity, fantasy, individual fears and collective desires are often tied up in the strangest ways. Can we potentially use the power of these odd juxtapositions for radical (re)imagination of the world we live in? Audre Lorde starts her “Notes from a Trip to Russia” (1976) with a recollection of an erotic dream during her visit to Moscow. Georgy Mamedov will read this short fragment as an invitation to a conversation about the power of dreams as vehicles of radical imagination. Let’s share dreams and see where it gets us!

More information about FORMS OF KINSHIP – THE POWER OF DREAMS

The Temporary Gallery – centre for contemporary art is a non-profit institution for contemporary art in Cologne. Founded in 2009 as an art association, it was directed by art historian and curator Regina Barunke from 2012-2018. In January 2019, Aneta Rostkowska took over as director of the gallery. In solo and group exhibitions, the Temporary Gallery presents young or rediscovered, often international positions. Since 2014, the Temporary Gallery has been institutionally supported by the City of Cologne as a centre for contemporary art.

More information about Temporary Gallery – centre for contemporary

Images: @ Konrad Klapheck. The Superman (Der Supermann), 1962. Ludwig Museum I © Christopher Leaman. Sophie Lewis, 2019 I © Pan Yannan

Fringe ensemble | Fehime Seven: “SHARING SPACE”

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Fringe ensemble | Fehime Seven: “SHARING SPACE”

FELLOW: Fehime Seven

Media Art FellowsPerformance

Duration: ongoing

(Extract from Project description)
How can we expand the space of a theatre performance? Which techniques expand the theatre space and which elements help to consolidate the live experience and the theatrical space despite the expansion? What possibilities of interaction do digital solutions offer us?

We want to rethink the framework of a performance, expand it and combine it with original formats. We want to create a situation in which a hybrid audience experiences itself as a community. We want to explore how the new understanding of encounter and proximity affects the theatre space.

Our research will follow on from the collaboration between Fehime Seven and the fringe ensemble in the Map to Utopia project. The project, a German-Turkish collaboration, developed an interactive performance design from 2019 to 2020, which Corona conditionally developed first as a hybrid then as a purely digital format. The situation of working towards a production gave us the chance to experience the framework conditions and content-related technical possibilities in detail and to collect feedback from the audience.

The fellowship allows us on the one hand to step back and review our experiences, to open our eyes for new formats and on the other hand to continue a successful collaboration.

The fringe ensemble in Bonn was founded by Frank Heuel in 1999. Under his direction, over 80 productions, projects and project series have been created to date. The fringe ensemble works with a free and open ensemble of freelance, professional actors and actresses – supplemented by musicians, video artists and authors selected depending on the production.

Image.: © fringe ensemble |  © Fehime Seven | © Tanja Evers

Stiftung Zollverein | Julia Kaganskiy & Juliette Bibasse: “A Model World”

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Bildschirmfoto 2021-05-05 um 14.16.40

Stiftung Zollverein | Julia Kaganskiy & Juliette Bibasse: “A Model World”

FELLOWS: Julia Kaganskiy & Juliette Bibasse

Media Art FellowsResearch

Duration: Spring 2021 and ongoing

A Model World is a research project investigating emerging techniques for climate modification, commonly known as geoengineering, explored through the lens of visual culture. It was initiated by curators Julia Kaganskiy and Juliette Bibasse in the Spring of 2021 and is currently ongoing. 

Project description excerpt:

As art historian T.J. Demos points out, the notion that we are living in the age of the Anthropocene “appears to imply the necessity of geoengineering.” It is therefore worth considering how this came to be, and how specific forms of representation, knowledge production, power, and desire have made the concept of engineering climate not only thinkable, but something that seems within reach (for a privileged few). 

Some would say that humans have been modifying the climate unintentionally all along, so we may as well take control of the wheel. Those who subscribe to this position tend to regard the Earth’s climate systems as somehow easier to regulate than the human activities that disrupted them. Yet many scientists warn that we simply don’t understand environmental systems well enough to confidently introduce techno-fixes, noting that the potential risks may be too great to responsibly attempt something like geoengineering. Others worry that geoengineering poses a “moral hazard” by reducing the political and social imperative to curb fossil fuel emissions today. Despite these concerns, the UN’s Intergovernmental Panel on Climate Change (IPCC) has been factoring climate interventions like large-scale Carbon Dioxide Removal into its modeling projections since 2018, noting that keeping planetary warming below 1.5°C can no longer be achieved by lowering emissions alone. Even Solar Geoengineering, the more radical and risky approach, is being touted by some as “inevitable.” 

Our research interest in the topic was inspired, in part, by several recent popular science books like Holly Jean Buck’s After Geoengineering, Oliver Morton’s The Planet Remade, and Elizabeth Kolbert’s Under a White Sky, as well as the observation that artists are slowly beginning to venture into this space, exploring the history of human-designed climate interventions, problematizing techno-solutionist approaches to environmental management, investigating the implied material reconstitution of the atmosphere, and raising ethical questions about who these interventions ultimately benefit. 

Thanks to our research fellowship from medienwerk.nrw, we embarked on a month-long residency at Zeche Zollverein in Essen, hosted as part of the NEW NOW festival’s inaugural artist residency program. North-Rhine Westphalia, both because of its mining past and its focus on industrial innovation, seemed like rich terrain in which to situate this research into present-day technological solutions to climate change. The fellowship and residency period gave us an opportunity to delve deeper into the science of geoengineering and the critical discourses surrounding it, as well as to conduct interviews with scientists, researchers, artists, and curators whose work intersects with this subject area. 

Today, geoengineering is still mostly hypothetical, but as environmental sociologist Holly Jean Buck notes, “it’s a topic that’s unlikely to disappear until either mitigation is pursued in earnest or the concept of geoengineering is replaced by something better; as long as climate change worsens, the specter is always there.”


The outcomes of our residency and our research to date can be found on the project website: www.a-model-world.net/

Zollverein Foundation
The non-profit Zollverein Foundation was established in 1998 by the City of Essen and the State of North Rhine-Westphalia, with the Rhineland Regional Association as a co-founder. In addition to promoting culture and the preservation of historical monuments, the foundation’s main task is to preserve and safeguard the existing buildings and facilities of the UNESCO World Heritage Site of the Zollverein Coal Mine and Coking Plant and to develop them for future use. Find more information at www.zollverein.de

More information about the project A Model World?
Listen to Olga Felker’s conversation with Julia
Kaganskiy and Juliette Bibasse in the podcast
behind the scenes – behind the screnes.








Burg Hülshoff – Center for Literature | Andreas Bülhoff: “TAB TALKS”

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Burg Hülshoff – Center for Literature | Andreas Bülhoff: “TAB TALKS”

FELLOW: Andreas Bülhoff

Media Art FellowsResearch, Workshop

Duration: December 2021 until June 2022
From December 2021 to June 2022, Andreas Bülhoff, author, scholar and media artist from Berlin, will work as a media art fellow at Burg Hülshoff – Center for Literature (CfL). Bülhoff’s academic and artistic research focuses on the influence of digitalisation on practices of text production and reception such as writing, publishing and reading. During the fellowship, Andreas Bülhoff will develop Tab Talk, a digital event format between studio visit and workshop talk. Working hypothesis: Today, literary work essentially takes place on the computer. The Tab Talk makes the invisible visible via the “share screen” function and grants unique access to the digital writing environments of authors: Never before has it been possible to see processes of creative work so closely and immersively on one’s own screen and to talk about them with the respective invited authors. The Tab Talks series will start in May 2022.


Tab Talk with Mara Genschel
14.06.   19:30-20:30 h
In the Tab Talks series, authors guide us through their digital writing environments in a mixture of studio visit and workshop discussion. For the second Tab Talk, author and performer Mara Genschel shares her screen. She is known for her permanent subversion of literary conventions and her site-specific text realisations. But even the most unconventional poetry has to go through the text editor at some point. What this means for her production of her “applied conceptualisms” she reveals in conversation with Andreas Bülhoff.

Collaborative Writing Workflows on the Computer #1
10.04.   16:00-19:00 h
How do writerly work processes take place on the computer and what influence do computer programmes have on the writing process? In a workshop by author and programmer Allison Parrish, we will write and program the possibilities of collective text production with and despite computer programs. The results can be presented in a zine

Spoken Language: German/English

Collaborative Writing Workflows on the Computer #2
26.04.   16:00-19:00 h
How do working processes of authors work on the computer and what influence do computer programmes have on the writing process? In a workshop by the programmer and media artist Brendan Howell, we discipline our text production. We log into his typewriter The Maggot. We follow the writing tasks and times that the machine gives us and from which it independently edits a collectively written text. The results can be published in a zine.

Spoken Language: German/English

Since 2018, the Center for Literature has been developing projects between event, exhibition and dialogue as a place of artistic-practical research. The CfL transfers aesthetics and production methods of other arts (such as film or performing arts) to the field of text creation and mediation.

Images.: Leon Kirchlechner

IMAI Foundation | Wouter de Romph: “The Cassette Underground – Archiving Cultures of Alternative Distribution in North Rhine-Westphalia”

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Bildschirmfoto 2021-05-05 um 14.16.40

IMAI Foundation | Wouter de Romph: “The Cassette Underground – Archiving Cultures of Alternative Distribution in North Rhine-Westphalia”

FELLOW: Wouter de Romph

Media Art FellowsResearch

Duration: 15.12.2021 – 30.06.2022

From the 1970s to the 1990s, the music cassette made a significant contribution to the lasting democratization of the music industry and the proliferation of marginal genres and styles on informal markets. “The Cassette Underground” approaches the cassette cultures of North Rhine-Westphalia through archival practices: the punk, new wave, and industrial cassettes of the distributor 235 at the Düsseldorf IMAI, the cassette collections of Turkish guest workers at DOMiD in Cologne, the zines, flyers, and stickers at Afas in Duisburg, and the critical tape-digging program of the Interkultur Ruhr initiative in Essen. With their different collection strategies, indexing methods, and research interests, these institutions do not only facilitate research into the mechanisms of production and distribution, but also allow for a reflection on archiving and presentation strategies for marginal and fragile audiovisual media.

The Inter Media Art Institute is dedicated to exhibiting, archiving, and distributing time-based media art: stiftung-imai.de

Image.: Detail from 235 catalogue, 1983, Archive Stiftung IMAI – Inter Media Art Institute,
© Ulrich Leistner, Axel Wirths, 2022