lines on cards on a table
kortfilm/video gemaakt tijdens de residentie van Nicolas Galeazzi in ZSenne art lab / vidéo fait pendant la résidence de Nicolas Galeazzi à ZSenne art lab : vidéo
Nicolas Galeazzi talks about his project CO (in French)
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This is -py; -mpany; -notation-nstruction; -poration; -operation;-laboration; -production; -lection; -ffee
Nicolas praat over zijn project CO (in het Frans): CO
SLOW ART Dine&Read : 05.07 - 20.00 / PERFORMANCE : 06.07 - 18.00
Nicolas Y Galeazzi is opgeleid als theaterdirecteur en werkte in het verleden als acteur, scenograaf en muzikant voor verschillende Zwitserse en Duitse gezelschappen en ensembles. Zijn eigen werk ontwikkelde zich echter steeds meer als een onderzoek naar de processen van samenwerking tussen kunstenaars. Hij diepte de mogelijkheden van deze artistieke samenwerkingen verder uit om tot een nieuwe, gezamenlijke artistieke “kennis” te komen. In zijn huidig artistiek onderzoek focust hij zich op modellen van samenwerkingen tussen kunstenaars en op nieuwe manieren van verspreiding van kunst. Hij stelt het (geldende) sociale, politieke en artistieke discours ter discussie door het creëren van een eigen performatieve taal en een onderzoeksomgeving waar kunstenaars en publiek kunnen experimenteren met politieke en sociale voorwaarden. Hijzelf noemt zijn onderzoek een “Mise-en-Discourse”. Het vertaalt zich in concepten, installaties, performances en gedrukte kunst.*Tijdens zijn vorige verblijf in ZSenne ontleedde hij een kopieermachine. Galeazzi: “Papier maakt een samenwerking tastbaar. Reflecties over de manieren van samenwerken verschijnen op papier. De kopieermachine is een instrument waarmee ik in het verleden al werkte. Via de kopieermachine wordt het geheel van wat er op papier verschijnt gereproduceerd. Ik wilde weten hoe deze machine werkt en wat (re)productie betekent.”Hij nodigde artiesten uit, oa Heike Langsdorf, Lilia Mestre en Christoph Ragg, om samen na te denken over samenwerking, verbondenheid en (re)productie van artistiek werk en om aan de hand van de onderdelen van de kopieermachine hun ervaringen te vertalen.Hun interpretaties resulteerden tijdens een residentie in het Frans Masereelcentrum te Kasterlee, in een serigrafie van 8 pagina’s, die het midden houdt tussen een tijdschrift en een werkmap. Nicolas Galeazzi speelt met de voorwaarden van een conventioneel tijdschrift, door van het maken van het tijdschrift een sociaal en publiek gebeuren te maken. De productie van kennis wordt een sociaal proces dat verder kan worden onderzocht. Door het verspreiden van het tijdschrift werd ook een nieuw “artistiek weten” verspreid.De kopieermachine werd herleid tot het woord co-(machine), dat een sociale en een individuele dimensie in zich draagt en een spanning tussen individueel of gezamenlijke creëren.
SLOW ART Dine and read: Nicolas Galeazzi nodigt iedereen die meegeschreven heeft aan het manifest SLOW ART en alle andere geïnteresseerden uit voor een diner en om verder na te denken over het manifest. Het te herlezen en te herschrijven. Het manifest werd voorgesteld tijdens OPEN HOUSE, een evenement tijdens het Kunstenfestivaldesarts in mei. Vrije bijdrage, breng eigen drank mee. Inschrijven via info@zsenne.be of ngaleazzi@gmx.ch
Nicolas Y Galeazzi a été formé en tant que directeur de théâtre et il a travaillé comme acteur, scénographe et musicien pour plusieurs compagnies suisses et allemandes.Son propre travail a été de plus en plus développé comme une étude des processus de collaboration entre artistes. L’exploration approfondie de la collaboration artistique avec une responsabilité partagée, pour arriver à des connaissances artistiques nouvelles.*Dans sa recherche artistique, il se concentre sur le développement de nouveaux modèles de collaboration et de modes de diffusion de l'art.Il questionne le discours social actuel, le discours politique et artistique en créant son propre langage performatif et un environnement de recherche où les artistes et le public peuvent expérimenter avec des conditions politiques et sociales. Il appelle lui-même sa recherche artistique "Mise-en-Discourse". Elle est traduite dans des concepts, des installations, des performances et de l'art imprimé.*Lors de son séjour précédent dans ZSenne il dissèque un photocopieur. Galleazzi : «Le papier rend la collaboration visible. Les réflexions sur les manières de collaborer apparaissent sur le papier. La machine à copier est un instrument que j’ai utilisé dans le passé. Grâce à la photocopieuse, l'ensemble de ce qui apparaît sur le papier est reproduit. Je voulais savoir comment cette machine fonctionne et ce que signifie la (re)production. »Il y a invité des artistes, e. a. Heike Langsdorf, Lilia Mestre et Christoph Ragg, pour réfléchir ensemble sur la coopération, la connectivité et les reproductions. Et puis pour transcrire ces expériences à partir des parties composantes de la copieuse.Leurs interprétations ont résulté pendant une résidence au Frans Masereelcentrum à Kasterlee en une sérigraphie de 8 pages, qui tient le milieu entre une revue et une farde de travail.Nicolas Galeazzi joue avec les conditions d’une revue conventionnelle en faisant de la publication un événement artistique, social et public. La production de connaissance devient un processus social qu’on peut continuer à examiner. Par la diffusion de cette revue une nouvelle connaissance artistique et répandue. La copieuse est réduite au mot co-(machine), qui porte en soi une dimension sociale et individuelle, et une tension entre la création individuelle et partagée.
SLOW ART Diner & Lecture : Nicolas Galeazzi invite les gens qui ont participé à l’écriture du manifeste SLOW ART et toute personne intéressée à un dîner avec une relecture attentive, une réflexion plus approfondie et une session de réécriture du manifeste. Le manifeste a été présenté au mois de mai pendant l’événement OPEN HOUSE associé au dernier Kunstenfestivaldesarts.Contribution libre, emportez vos boissons.réservations : info@zsenne.be ou ngaleazzi@gmx.chPERFORMANCE vendredi 06/07 18.00h
Volgende residenties:
Nicolas Galeazzi (CH) in samenwerking met het Fans Masereelcentrum COPY CLUB research 11/6/2012 > 8/7/2012
Nerone Prandi (BR) maakt in situ homo-erotische tekeningen. 8/7/2012 > 29/7/2012
Résidences prochaines:
Nicolas Galeazzi (CH) en collaboration avec le Fans Masereelcentrum COPY CLUB research 11/6/2012 > 8/7/2012
Nerone Prandi (BR) fera des dessins homo-érotiques sur place. 8/7/2012 > 29/7/2012
Dear Friends,
Several attempts to reassemble the CO-machine failed until now - it produced instead some nice paper jam.
Dolores Hulan works on her project REDEFINE till Sunday 11/3. News about a presentation to folow. See here for more info
A collaboration with Workspace Brussels.
From 12/3 till Nicolas Galeazzi works with Robin Vanbesien and others in the COPY CLUB.
Copy Club at ZSENNE
A project by Nicolas Galeazzi in connection with a residency at the Franz Masereel Centrum and i-propeller.com
Generally
There are many stages for performance. A simple sheet of paper is one of them. This 'canvas' is not only a carrier of ink and signs, having a dance with the reader - paper is a playground for acting with thoughts, for performing with facts and for playing with emotions. An empty page is a free space which provokes procedures of negotiations for its potential content, and its space of dissemination, wherein the paper is its own prop, is a ground for performance between various actors. In collaboration with Joël Verwimp, Nicolas Galeazzi has been working with these different functionalities of paper for several years under the name of VerlegtVerlag.
This 'displace-publishing' - as this german homologism could be translated - is using the performative materiality of paper to research and experiment with structures of artistic collaboration, searching for new forms of sharing and generating knowledge.
Politically
Facing the neoliberal educational policies and the debates on intellectual propriety, it is becoming increasingly difficult to maintain that knowledge and the practices of exchanging is common property. Attempts to democratize the access of knowledge, like for example the worker's club movement at the beginning of the last century, appear to have become historical exceptions in times when knowledge is being economised and patented, where education is being privatized and copying is made a crime.
The collaboration of Verwimp and Galeazzi generated a variety of different work procedures for radical democratic exchange of knowledge which takes the individual approach as much in account as the fact the knowledge only makes sense as a shared and common good.
Conceptually
In this situation Galeazzi aims to launch something like a copy shop: a Copy Club as a centre for the exchange and transfer of knowledge. The interlinked residences at the Frank Masareel Centre in Kasterlee and the ZSenne Gallery in Brussels shall be used as a test ground for a real- but artistically set up- copy shop. For this test the space is used to rethinking the structure of the worker's club designed by Rodchenko for the Design Fair in Paris 1925. This is not only a copy of Rodchenko but also a self-copy of what Galeazzi's project at Nadine in Brussels 3 years ago. Copy shops and call centers are, unlike museums, archives or academies, popular hubs for the practical transfer of mundane knowledge with free access. They act as an analogue 'server' for spreading, transferring reproducing, collaging, over-laying or censoring information.
This models shall be used to create a hybrid space in ZSenne, which provides a place for performance, discussion, instant archiving, print practices and copying of various medias into other forms.
Galeazzi's Copy Club should provide discussions about different types of cop(y)ing mechanisms, which are questioning the common within the singular and the individual within the social. In this sense, this project not only draws a line back into the last century through Rodchenko, but also seeks to relate Walter Benjamin's thoughts of Art in the Age of Mechanical Reproduction to the contemporary situation and the artistic practices around this project.
Practically
Around the practice of a copy machine many other analogue practices of knowledge production can be situated. A copy center can function as an interface between an archive and a conference, between a bookstore and a scriptorium, between a theoretician and a graphic designer, between an artist and a public space. A Copy Club can be a place which provides a transfer between the generating of discourses and their translation into haptic temporary products.
In collaboration with his audience, Galeazzi is going to the core of what a printing performance might be. He anatomizes a copy machine and analyses the functionality of each part in order to translate them into an artistic and collaborative practice. This should lead to different spheres, offering different working procedures, discuss or think procedures for the public. The mechanic analogy shall provide a systemic view on the intuitive and unconscious needs in any collaboration and develop the human/machine discussion towards the human incapacity to deal with the idea of a non-authorship.
Nicolas Galeazzi
Nicolas Galeazzi uses performance as an act of research. His work focuses on developing social discourses through artistic research projects and is articulated in concepts, installations, performances and printed matter.
Originally trained as a theatre director in Zurich (ZHdK), he worked as actor, director, set designer, and musician in theatre context. This experience provoked the need to search for a redistribution of the responsibilities for the 'artwork' and to develop new models for collaboration and dissemination of art.
Galeazzi sets up performative research frameworks where audience can experiment with political and social conditions. Galeazzi calls such events Mise-en-Discourse.
In collaboration with several artist collectives, such as GASTSTUBE°performance or the Berlin n@work EMANUELLE, he devised several long term performance projects in international contexts.
After ten years of practical engagement in art, he investigated the theoretical side of his practice in the MA Contemporary Art Practices and Dissemination (MACAPD) at Dartington College of Arts (UK).
Together with Joël Verwimp, Galeazzi develops the COYOTL Yournal published by Verlegt Verlag - a dispersed journal in a non-negotiated space for printed performance.
Galeazzi is dedicated mentor and member of the artistic board at the artistic research environment [a.pass] Advanced Performance Training in Antwerp as well as artistic mentor at the MA SODA in Berlin. He also works as a tutor at Flutgraben Workspace in Berlin.
Lately he organised 'Don't Know! An Artistic Conference on Knowledge Production' in Brussels in collaboration with a.pass.
. (copy club, company, commission, co-authorship, comments, collective, congestion, ...)
A project by Nicolas Galeazzi in the frame of a residency at the Franz Masereel Centrum and i-propeller.com
Generally
There are many stages for performance. A simple sheet of paper is one of them. This 'canvas' is not only a carrier of ink and signs, having a dance with the reader - paper is a playground for acting with thoughts, for performing with facts and for playing with emotions. An empty page is a free space which provokes procedures of negotiations for its potential content, and its space of dissemination, wherein the paper is its own prop, is a ground for performance between various actors. In collaboration with Joël Verwimp, Nicolas Galeazzi has been working with these different functionalities of paper for several years under the name of VerlegtVerlag.
This 'displace-publishing' - as this german homologism could be translated - is using the performative materiality of paper to research and experiment with structures of artistic collaboration, searching for new forms of sharing and generating knowledge.
Politically
Facing the neoliberal educational policies and the debates on intellectual propriety, it is becoming increasingly difficult to maintain that knowledge and the practices of exchanging is common property. Attempts to democratize the access of knowledge, like for example the worker's club movement at the beginning of the last century, appear to have become historical exceptions in times when knowledge is being economised and patented, where education is being privatized and copying is made a crime.
The collaboration of Verwimp and Galeazzi generated a variety of different work procedures for radical democratic exchange of knowledge which takes the individual approach as much in account as the fact the knowledge only makes sense as a shared and common good.
Conceptually
In this situation Galeazzi aims to launch something like a copy shop: a Copy Club as a centre for the exchange and transfer of knowledge. The interlinked residences at the Frank Masareel Centre in Kasterlee and the ZSenne Gallery in Brussels shall be used as a test ground for a real- but artistically set up- copy shop. For this test the space is used to rethinking the structure of the worker's club designed by Rodchenko for the Design Fair in Paris 1925. This is not only a copy of Rodchenko but also a self-copy of what Galeazzi's project at Nadine in Brussels 3 years ago. Copy shops and call centers are, unlike museums, archives or academies, popular hubs for the practical transfer of mundane knowledge with free access. They act as an analogue 'server' for spreading, transferring reproducing, collaging, over-laying or censoring information.
This models shall be used to create a hybrid space in ZSenne, which provides a place for performance, discussion, instant archiving, print practices and copying of various medias into other forms.
Galeazzi's Copy Club should provide discussions about different types of cop(y)ing mechanisms, which are questioning the common within the singular and the individual within the social. In this sense, this project not only draws a line back into the last century through Rodchenko, but also seeks to relate Walter Benjamin's thoughts of Art in the Age of Mechanical Reproduction to the contemporary situation and the artistic practices around this project.
Practically
Around the practice of a copy machine many other analogue practices of knowledge production can be situated. A copy center can function as an interface between an archive and a conference, between a bookstore and a scriptorium, between a theoretician and a graphic designer, between an artist and a public space. A Copy Club can be a place which provides a transfer between the generating of discourses and their translation into haptic temporary products.
In collaboration with his audience, Galeazzi is going to the core of what a printing performance might be. He anatomizes a copy machine and analyses the functionality of each part in order to translate them into an artistic and collaborative practice. This should lead to different spheres, offering different working procedures, discuss or think procedures for the public. The mechanic analogy shall provide a systemic view on the intuitive and unconscious needs in any collaboration and develop the human/machine discussion towards the human incapacity to deal with the idea of a non-authorship.
Nicolas Galeazzi
Nicolas Galeazzi uses performance as an act of research. His work focuses on developing social discourses through artistic research projects and is articulated in concepts, installations, performances and printed matter.
Originally trained as a theatre director in Zurich (ZHdK), he worked as actor, director, set designer, and musician in theatre context. This experience provoked the need to search for a redistribution of the responsibilities for the 'artwork' and to develop new models for collaboration and dissemination of art.
Galeazzi sets up performative research frameworks where audience can experiment with political and social conditions. Galeazzi calls such events Mise-en-Discourse.
In collaboration with several artist collectives, such as GASTSTUBE°performance or the Berlin n@work EMANUELLE, he devised several long term performance projects in international contexts.
After ten years of practical engagement in art, he investigated the theoretical side of his practice in the MA Contemporary Art Practices and Dissemination (MACAPD) at Dartington College of Arts (UK).
Together with Joël Verwimp, Galeazzi develops the COYOTL Yournal published by Verlegt Verlag - a dispersed journal in a non-negotiated space for printed performance.
Galeazzi is dedicated mentor and member of the artistic board at the artistic research environment [a.pass] Advanced Performance Training in Antwerp as well as artistic mentor at the MA SODA in Berlin. He also works as a tutor at Flutgraben Workspace in Berlin.
Lately he organised 'Don't Know! An Artistic Conference on Knowledge Production' in Brussels in collaboration with a.pass.
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