Launch of THIS BOOK IS A CLASSROOM / Wednesday 10 July 2013, 7pm
Wednesday 10 July 2013, 7pm
Launch of THIS BOOK IS A CLASSROOM
a publication about art education, self-organised institutions, and circular communication;
edited and devised by Lucie Kolb & Romy Rüegger, Passenger books and HIT
with contributions by Ellen Blumenstein, bolwerK, Vincent Bonin, Eva Egermann & Elke Krasny, Dani Gal & Achim Lengerer, Maaike Gouwenberg, Max Jorge, Hinderer & Irina Dumitrescu, Egija Inzule & Maja Wismer, Karl Larsson, Falke Pisano, Simone Schardt, Robin Simpson, Andrea Thal, Danna Vajda, Jacob Wren.
10th July 2013, 7pm
book launch with a live contribution by Annie Davey
X Marks the Bökship 210 / Unit 3 Cambridge Heath Road, London E2 9NQ
12th July 2013, 10am
informal discussion & free brunch at Rosalie Schweiker’s studio
20 Parade Mews, SE27 9AX London supported by a Space Station Sixty-Five studio bursary
THIS BOOK IS A CLASSROOM is part of the lecture & seminar series WITHWITH and was kindly supported by the Institute for Critical Theory and the Master of Fine Arts programme at Zurich University of the Arts.
“The story so far:
One point of departure was a three-part series of lectures, i.e. lecture performances, initiated by Lucie Kolb and Romy Rüegger. The series funded by the Zurich University of the Arts, the Corner College, the shedhalle and the Schweizerische Gesellschaft für Kulturwissenschaft with artists and theorists was held in Zurich in the respective spaces of the Master of Fine Arts, Les Complices*, the Corner College, the Shedhalle and Folk Museum with a variety of settings. The lectures i.e. lecture-performances shaped the structure and the concept of the series as it progressed. The series focused upon the following key points: ranging from the analysis of essaysistic practices in the field of art that “do not cohere to form a single narrative approach, but instead introduce the precondition for a specific reality only to suspend it straight away” (Hito Steyerl), via methodologies involving historical material that question or undermine current discourse and the narrative model on (art) history upon which this activity is predicated, all the way to the focus upon the lecture as a “vocal setting” understood as a work which is simultaneously not deployed as a way to disseminate knowledge, but also as the self-situating of the speaker and as an instrument of critique.”