Performative

7 October 2017, 12.00-12.30

Manufacturing Mischiefs (working title), 2017

Script reading with actors, masks

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

Manufacturing Mischiefs is a script reading from a series of puppet sketches by artist Pedro Reyes. Reyes believes “jokes are a sort of airbag that cushions the collision of reality with your expectation of reality, laughter explodes simultaneously with the collision of ideology and realpolitik.”

Featuring Noam Chomsky, Karl Marx, Ayn Rand, Donald Trump, and Elon Musk, this episode comments on the connections between techno-optimism and right-wing ideologies, pervasive in the United States and a primary source of Trumpism. This ideological screwball comedy interweaves issues of the destruction of labor by automation, artificial “intelligence,” and the menace of nuclear apocalypse.

Part of Propositions #1: What We Mean.

Suggestions from the archive

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.

Lecture