Laurie Charles makes videos in which she invites her friends to play: there she mixes folklores, humanities and histories (and narratives of history); Also she writes and paints – fictions and on canvases – speculative narratives.
At 1646, she will be making science fiction by re-writing and re-enacting the history of certain communitarian experiences: North-American utopias, Deep Ecology, ecofeminism and the marginal worldwide movement. The narration will not be anthropocentric and will grant a leading role to bacteria and plants – which are great actors! It will think post-natural: commenting on and opposing to the dichotomy of the natural against the non-natural.
Image: Reading Retrospective at the X Bienal de Nicaragua, 2016
Alberto García del Castillo curates and writes on communities, feminism and queer. He also plays his and other people’s writings and works. And collaborates with others in multiple combinations.
Currently, Alberto is writing a fabulous travelogue of the voyage of merman and singer Steev Lemercier in the company of Chanel and Dolce, who are a cat and a dog, during the first months of their friendship, boating through Belgian inland waterways. Previously in 2016, Alberto composed and played the text and video program Camilo and Ocaña at Beursschouwburg theatre in Brussels, wrote “Oslo” with Lars Laumann for Girls Like Us magazine and co-curated the arts festival La Kermesse héroique with Louise Osieka. He is the co-curator of Buenos Tiempos, Int. with Marnie Slater.
During November 2016, Alberto will be in residency at 1646.
Pádraic E. Moore (b. 1982) is a writer, curator and art historian.
The various facets of Moore’s practice are shaped by the conviction that visual art facilitates modes of communication and experience that are vital in an increasingly virtualised, techno-rational world. Moore’s curatorial methodology is meticulous but subjective, and is informed not by abstract theoretical dispositions but by in-depth intuitive analysis of the artist’s individual positions.
Moore is particularly interested in researching the influence of esoteric philosophies upon the literary and visual arts. In recent decades, several scholars have explored how esoteric movements, such as The Theosophical Society, have offered a vital catalyst for change in late 19th and early 20th century art. However, insufficient consideration has been given to how contemporary cultural producers have embraced aesthetics and ideals informed by esoteric traditions. Moreover, art history and criticism have yet to develop a method for analysing the work of artists who refer to or follow in this tradition. One of Moore’s aims is to address this.
Moore is a past participant of Curatorlab, a curatorial research program at Konstfack Stockholm, and has just completed a year long residency at the Van Eyck Academy. He is currently developing PSI, a project that takes place at Fokidos Gallery, Athens in November 2015.
Recent projects include:
2015-March The Girl With The Sun In Her Head. Group Exhibition featuring Dario D’Aronco, Egemen Demirci, Niek Hendrix, Vanessa Hodgkinson, Joris Lindhout, Stéphanie Saadé, Susan MacWilliam. Van Eyck Academie, Maastricht Netherlands. (Curator)
2014-June A Modern Panarion. Group Exhibition featuring Dorje de Burgh, Derek Jarman, Gunilla Klingberg, Bea McMahon, Richard Proffitt, Garrett Phelan. Dublin City Gallery The Hugh Lane. Dublin, Ireland. (Curator)
Azahara Cerezo works on social changes, urban forms and physical and virtual public space by means of strategies based on re/writing and repetition.
Through access and usage of data in real time; processes close to appropriationism and exercises of displacement, she develops projects with different formal outcomes, such as ephemeral actions, experimental videos and installations.
More info on the artist’s work at the site: www.azaharacerezo.com
Cerezo’s residency at 1646 is produced in collaboration with Bòlit Contemporary Art Centre Girona, a municipal organization whose mission is to put together programmes to research, produce and exhibit contemporary art projects to promote collaboration and project exchange. Creative production at the centre is linked to other contexts and international research and creation spaces.
_“There is a saying that observation changes the observed reality. this also transforms the subject doing the observing.” _
This quote by philosopher and ethnologist Jean Pouillon regarding a work by Claude Levi-Strauss could be closely related to the artistic world of Raphaël Constant as well.
Raphaël Constant is moving his “nomadic studio” while traveling amazon, Cambodia, Ghana and Korea, etc. not any fixed workspace: experiments regarding locals, experiences, life styles, histories and cultures were combined to become Raphaël Constant’s work materials. His mediums of representation are diverse, including photography, print-making and sculpture, but his most recent works were created through video. through the medium of video, Raphaël Constant intended to emphasize and speak of geographically external experiences. This video work was created in completely different situations and sometimes projected cultural differences as well. It is also the result of an artist’s emotions regarding others and perception in the artist’s own original identity.
Including works in video, drawing, photography and sculpture, as well as actions and public interventions, the practice of Fermín Jiménez Landa has embraced Works as diverse as a research about the Greek folk music Rebetiko, the powering of a rotary kebab grill with energy from lemons, staging a snowball fight in mid summer and filling cracks in a pavement with whipped cream.
Operating like a wayward scientist and an exuberant storyteller, the artist invites us to see that the absurd and the profound, the tender and the iconoclastic are two sides of the same coin. He has often dealt with process of equivalence, reversal or exchange, such as a series of works in which the supposed weight of various historical figures and minor celebrities is converted into quotidian items which are grouped or stacked as if minimalist sculptures: Lenin in bottles of tropical juice, Brian de Palma in shampoo.
Breaking the Deadlock in Altitude (2009) was inspired by a 14th-Century tale from Tuscany in which a family planted trees on the the top of their tower to make it the tallest in the town. Jiménez Landa placed an artificial Christmas tree on the helicopter deck of the 154m high Torre Mapfre in Barcelona, temporarily making it 2 metres higher than its neighbouring twin, the Hotel Arts.
Find the artist’s site here
Typically, the work of art is present and visible, it is shown in an exhibition. Such is, after all, the idea behind the act of “exhibiting” (verb. to demonstrate, to put on display). Beginning and end dates define the duration and the gallery’s (often) white walls establish the site of the work’s presentation as part of an exhibition.
But what if the show opens and then closes and a participating artist’s contribution — listed somewhere so that there is seeming evidence of its existence — couldn’t be seen or otherwise aesthetically experienced?
What if it will only exist as such, which is to say, as an aesthetic object, at another time and in another place and yet its participation in the exhibition (and your participation as the visitor) is crucial to that existence?
Could one consider that it had been exhibited there and then, at that moment and in that space of the exhibition when you saw it on the work list?
These and other questions haunt the work of Croatian artist Tomo Savic-Gecan. Time and space (architecture is again and again probed in his questioning) as well as the object (the “work of art”) and the experience of it are often dislocated and disconnected in his various projects.
Visitors that entered an exhibition in Utrecht unknowingly set an escalator in a Zagreb shopping mall in motion (untitled, 2001). Each visitor in an art center in Amsterdam was asked to decide on the entry price for the visitor that would come in next (untitled, 2002). People who called a New York exhibition’s information number heard the curators’ interpretations of a work of art that had no material existence except insofar as the communication about the non-existent work, as one critic has pointed out, conjured its existence in print and through reference to it over time (untitled, 2004; some references ex nihilo endowed it with the title,Phone work).
For a recent solo show in Brussels, the front window of the artist-run space was removed and sent to a Slovenian factory where it was transformed into 150 banal-looking drinking glasses; these were then sent back to Brussels and used for drinking during the duration of the exhibition in which the windowless opening was the evidence of what had taken place before the show began in order to constitute the “work” when the exhibition finally opened (untitled, 2005).
In Venice for the current biennial, a line of text was placed on an exhibition space’s wall; it recounts that the number of visitors at that very moment entering an art center in Amsterdam impacts the temperature of a public pool in Tallinn (the pool having been programmed to receive the real time information and alter its temperature, ever so slowly and perhaps altogether imperceptibly, but nevertheless for real) (untitled, 2005). Between present and future, here and there, gallery space and shopping mall/telephone line/public pool/factory: distance dissolves and time stutters.
Text by Elena Filipovic
”There are Shitty Jobs Everywhere; That’s My Freedom” (Bob the Builder, founder of the collective Au Travail-At Work)
AU TRAVAIL / AT WORK is a project based on a call for collaboration which is open to all. This experimental project urges artists and workers to consider their workplace as a site of artistic residence. The space of reflection, production, or intervention becomes the space of the employer. The members of the collective appropriate the culture of work within their daily lives and, ultimately, they produce themselves by making use of the cultural and technological means that are available to them in the workplace.The workplace is considered as a field for experimentation and discovery wherein the conflictual relations arising between private Utopias, collective necessities, and economic realities are unfolded. The members of the collective capitalize on the individual worker’s right to manage his or her own free time, by means of the re-appropriation and self-valorisation of such time.
Au Travail-At Work has been invited by The Hague’s artist run center 1646 to actively operate in the city for a month and a half. On the 24th of october Au Travail-At Work will officially open its head quarters to the public, a temporary job center in the center of The Hague, together with the world-premier screening of a documentary about the collective’s history and its future developments towards autonomy. During its residency, Au Travail-At Work will organize several side activities as for example competence-sharing days, and it will end with a closure event on the 14th of november to show the results of the residency.
The opening of Au Travail-At Work head-quarter will take place on the 24th of october at 20:00 in Boekhorststraat 139. Arrive on time for the screening (20:00)
The job center will be open from the 27h of october till the 14th of november on Tuesday, Wednesday, Thursday , Friday and Saturday from 13:00h to 19:00h and Thursday from 13:00 to 21:00h
Apr - May 2017
Sep - Nov 2015
Pádraic E. Moore
Sep - Oct 2014
Mar - Apr 2014
Nov - Dec 2013
Fermin Jiménez Landa
May - Jun 2012
Mar - Apr 2011
Dec 2010 - Jan 2011
Magali Reus + Dan Walwin
Dec 2009 - Jan 2010
Oct - Nov 2009
Au Travail / At Work
Mar - Apr 2008
DGC ~ CGA
how to apply.
Please note that the application should be completed in English and consists of:
Submit your application via email to firstname.lastname@example.org including a scanned version of the application form. If possible, please submit the application as a multi-page PDF file.
Note that for proper reception of the application, download links of video material or larger files (transferred through services like Wetransfer) should be included in the PDF file instead of being sent as individual emails.
For information about how to obtain a download link of your transfer check this page .