Arzt & Linares/ Juan Linares

What are the implications of conceiving authorship as the initiation of a given process or the drive behind an initiative rather than the signature of a given outcome?

How can issues of empowerment and collaboration between the individual, the public, professionals and the institution be articulated?

How can one develop a project formally when the project is developed through shared authorship or is open to influence?

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Erect Architecture/ Susanne Tusch

Using the existing – how can the social potential of built space be enhanced?

Can ‘community’ arts projects/ events serve as catalyst for regeneration from within?

What mechanisms and methods are required for the catalyst to lead on?

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Jonathan Mosley, Sophie Warren & Robin Wilson

What do we have ‘in-common’?

‘Contemporary Architecture is operating in a theoretical vacuum’ (Reinier de Graaf, Office for Metropolitan Architecture, 2006). How can the imaginary and experimental infiltrate the institutions that build our cities?

Initiative and Institution: How is it possible to remember and forget from where we originate?

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Polimorph/ Petra Marguc

Where is the expertise for the production of space located?

What gives it legitimacy and value?

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Public Works/ Kathrin Böhm

How to deliver meaningful projects with a long term prospect in the context of disfunctional regeneration schemes?

Do we need the help of green little dragons to fight the monster?

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Supertanker/ Jens Brandt

How do we create a porous architecture that both have the aspects of initiative (dialogue and open ended process) and institution (being concrete and physical) and as such being more inclusive and having the potential of becoming “the most binding part of the communal rhythm”.

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Townley & Bradby

How do institutions represent failed initiatives?

Galleries, universities and museums rely on some notion of success to secure funding; displays of failed initiatives that they have sponsored or commissioned aren’t going to help.

How do artists acknowledge and represent failed initiatives?

An artist’s project hosted by a museum or gallery will succeed and fail in different ways, but there will always be pressure to present it as entirely successful.

Does that mean we can touch the work?

Does the staging of relational artworks within established galleries shift our relationship with all the other work on show? If not, then it creates a new set of conventions for relational artwork, which will run in parallel to the existing conventions for other artwork. The risk is that one’s experience in a gallery is further prescribed, by needing to categorise what you’re looking at before you know how you should interact with it.

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Transparadiso/ Barbara Holub, Paul Rajakovics & Bernd Vlay

How to contribute to urban processes with new tools and methodologies which are not “accepted” (institutionalized) within the professional field yet, but accepted in the sense of needed. Therefore they are often wanted, but since they are grounded in an inbetween space, nobody feels responsible to pay for them. how to deal with this dilemma?

How can a practice between art, urbanism and architecture achieve acknowledgement in its own right, as a new force, which can counteract/ confront the pragmatism of solely profit orientated decisionmakers, developers and PPP, and enable new qualities beyond the recently prevalent instrumentalization of artists serving regeneration processes?

During the last years – parallely to the restrictions of life being orientated predominantly after pragmatic economic parameters – there has been a growing longing for utopias. This longing seems to be rather retrogarde and lacks visions. The question is, how we can pursue visions inspite of todays pragmatism?

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Yoke & Zoom

How can the actions of artist-initiated projects effectively educate institutions?

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Jeremy Till

What do architects bring to the table that others cannot or do not?

How does one deploy knowledge positively without imposing power negatively?

Does an architecture that challenges procedural norms (an architecture of initiative/participation) have to have its own aesthetic? Does an architecture of provisionality have to look provisional? Or, to be blunt, how do we avoid red shed syndrome? (Red shed syndrome came to me after a two day symposium of international alternative practice, in which a common feature of the presentations was a shed, often red, the best ones on wheels).

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Sam Curtis

How much can be gained from subversive initiatives that attempt to remain hidden from the encompassing institution as opposed to initiatives that actively and visibly engage with the institution in a critical and constructive dialogue?

Participation as a form of engagement. Myth? Or potential tool for affecting social change?

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Cornford & Cross/ Matthew Cornford 

Is it possible to work within an institution, without becoming institutionalised?

Could institutional buildings and systems of management be designed to disrupt institutional thinking?

Can large institutions be encouraged to deconstruct themselves?

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