Performative conference

7 October 2017

Propositions #1: What We Mean

  • Luigi Coppola, Popolazione Evolutiva (Evolutionary Population), Castiglione d'Otranto, Italy, 2016. Photo: F. Quarta Colosso

  • Schiphol airport cleaners prepare their banners and placards during the cleaners’ strike January 2014. Photo: Matthijs de Bruijne

  • Photo: Tom Janssen

  • Wendelien van Oldenborgh, Cinema Olanda, 2017, production still, photo: Daria Scagliola

  • Otobong Nkanga, Preliminary Recipe for a Support System, digital drawing, collage and acrylic on paper, 2016–2017

  • Marinella Senatore, Protest Forms: Memory and Celebration (Accoustic Version), 2016–ongoing, performance during Propositions #1: What We Mean on 7 October 2017. Photo: Tom Janssen

  • Kader Attia, Reflecting Memory, 2016, single-channel HD digital video projection, colour, sound. Photo: Kader Attia, courtesy of the artist, Galleria Continua, Galerie Krinzinger, Lehmann Maupin, and Galerie Nagel Draxler.

  • Hiwa K, Pre-Image (Blind as the Mother Tongue), 2017, digital video, color, sound, courtesy the artist and KOW, Berlin

  • Amy Balkin, PUBLIC SMOG IS NO SUBSTITUTE FOR DIRECT ACTION, billboard, Bonamoussadi, Douala, Cameroon, 2009. (Photo: Benoît Mangin, courtesy of the artist)

  • Tania Bruguera. Awareness Ribbon for Immigrant Respect Campaign, 2011. Awareness campaign. Metal pin, photograph: Camilo Godoy. Courtesy of Immigrant Movement International

  • Yael Bartana, What If Women Ruled the World, 2016, neon, 150.7 x 58.8 cm, Courtesy Annet Gelink Gallery, Amsterdam

  • Angela Dimitrakaki and Antonia Majaca in collaboration with Sanja Iveković, Art Of The Possible: Towards An Antifascist Feminist Front, 2017. Photo: Tom Janssen

  • Ahmet Ogüt during Propositions #1: What We Mean on 7 October 2017, photo: Tom Janssen

  • Danilo Correale, Reverie: On the Liberation from Work, 2017, audio record, each side 21:20 min., installation view

  • Koki Tanaka, Provisional Studies: Workshop #7 How to live together, and sharing the unknown, 2017, action, workshop, and video documentation

  • View of tent settlement in Çınar camp, Diyarbakir, 2016, photo: Pelin Tan

  • Film Poster of Lizzie Borden's Born in Flames, 1983, reprinted in The Independent: Film and Video Monthly, November 1983

  • Ola Hassanain, Back and Forth: Gender Politics and Khartoum, Dialogue 1, 2016, video still. Courtesy the artist

  • Karrabing Film Collective, Night Time Go, 2017

  • Karrabing Film Collective, Wutharr: Saltwater Dreams, 2015, film still

  • Photo: Tom Janssen

  • Pedro Reyes, Manufacturing Mischiefs (Working Title), 2017. Photo: Tom Janssen

Propositions #1: What We Mean begins from an urgency for—and uncertainty about—what living in non-fascist ways could and does mean. The gathering takes place in a makeshift environment amid the renovation of BAK’s new venue. Through impromptu artworks, lectures, readings, discussions, screenings, performances, and explorations of the assembly—of being together—as an art form, Propositions #1: What We Mean practices art as thought and action intervening in the contemporary. Artistic interventions and the screening program remain on view Sunday 8 October 2017.

View the press release

Suggestions from the archive

Discursive

18 October 2018–24 January 2019

Propositions #7: Evidentiary Methods

Propositions #7: Evidentiary Methods—the public program in the context of the exhibition Forensic Justice and part of the BAK series Propositions for Non-Fascist Living (2017–2020)—expands upon the notion of forensic justice in a series of lectures, screenings, and workshops on methodologies for articulating claims within the multidimensional space of aesthetics, law, architecture, politics, and ecology.

Exhibition

18 October 2018–27 January 2019

Forensic Justice

Forensic Justice is an exhibition and a series of public programs with Forensic Architecture, a London-based independent and interdisciplinary research agency comprised of, among others, artists, scientists, lawyers, filmmakers, and architects.

Lecture

Lecture

Lecture

Lecture

Lecture

Exhibition

Lecture

Lecture Program

Discursive, Exhibition, Publication

11 January–01 March 2009

The Return of Religion and Other Myths

The Return of Religion and Other Myths is a large-scale multifaceted project, consisting of the exhibition The Art of Iconoclasm, a discourse program taking place in early 2009 titled On Post-Secularism, and the publication of a BAK Critical Reader on the subject in 2009. The project explores the popular assumption of the return of religion to the public sphere, contemporary politics, and the media in the West as a constitutive “myth.”

Lecture

Learning

10 February–31 March 2009

Curating (Beyond) Exhibitions: Critical Curatorial Practices and Contemporary Society

Master course organized by Utrecht University and BAK. The course, structured as a series of lectures and seminars, explores the dynamic field of curating vis-ŕ-vis the challenges that artistic and intellectual practices are presented with by contemporary society, and takes the year 1989—which marks the end of the Cold War—as a starting point from which to explore the practice of curating.