Royal Institute of Art, Stockholm, Sweden

E2-E4: Kim West “Pattern and Contradiction: Two Legacies of the Screen Exhibition”, Lars Bang Larsen “Social movement. Histories of the Screen Exhibition”

Christian Nyampeta, ”Alexis Kagame’s The Bantu-Rwandan Philosophy of Being and the Problem of Translatability”, Rutiga Golvet, 21 september 2017.

Programme for E2-E4 Sept 28 2017:

Kim West, “Pattern and Contradiction: Two Legacies of the Screen Exhibition” (Hålls på engelska)

This presentation will discuss two uses of the screen or panel exhibition format: as an appropriate spatial device for practicing a pedagogics of “pattern-seeing”, in the cybernetic culture of the postwar period (György Kepes, Richard Hamilton); and as an apparatus for displaying social contradictions, providing orientation for political contestation, among activist collectives and centers in the early 1970s (Bildaktivisterna, Filialen). Today, these two legacies intersect in various practices of “cognitive mapping”, with a term coined by Fredric Jameson.

Lars Bang Larsen“Social movement. Histories of the Screen Exhibition” (Hålls på engelska)

The screen or panel display system turned into an exhibition architecture for the creation of ‘dissenting spaces’ (Judith Barry) in the last half of the 20th century. However its genealogy as a tool for public instruction is diverse, including larger cartographic endeavours on the part of power such as biennials and colonial exhibitions. Considering it as an elementary exhibition architecture that shows movement and builds multitudes I will continue to speculate where it has gone today, in our logistical present.

There will be a discussion followed by bar and DJ The Decline of the West will play Göttsching Variations.

Welcome!

Var: KKH, Flaggmansvägen 1, Rutiga golvet.
När: 28 September 2017 at 17.00
The arrangement is free of charge.

 

E2 – E4 – a program series for theoretical reflection, speculation and experimentation.

The title refers to the most common opening move in chess, the one that sets the game in motion.

“Theory” is here conceived not as academic superstructure or epistemic authority, but as orientation, as that first grasp of our own situation, and of its location in a wider system, network, or totality, which may allow us to begin, to go from the disorientation of undefined possibility to the provisional determination of practice.

Theory, from theorein, that is, seeing: accordingly, E2–E4 will pursue a theoretical approach through an attention to the possibilities of visual display. The program will explore the use values of the exhibition as a critical information system, in the service of education, aesthetic experience, and public dissemination.