EINA University School de Disseny i Art de Barcelona. Attached to the UAB

Cabinets

Eina/Idea

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The curatorial imagination

Description:

How can we narrate the production of ideas, mental images, concepts, and dreams in the curatorial realm? What kind of production are we talking about when we speak about the Imagination in such a specific field as the sphere of exhibition making, where multiple forms of creativity overlap and where hospitality, negotiation, mediation, and budget are generally the defining factors? How can we imagine new collective gestures, ephemeral communities of things, and previously unseen uses of institutional spaces? How can feminist, post-colonial, and critical impulses reshape the way we produce mental matter? Several curators will respond to these questions, or variations thereof, and will speak about their practice in this program comprising public lectures and intensive workshops, organized in collaboration with La Virreina Centre de la Image, Barcelona.

Guest Participants:

Yasmil Raymond has been recently appointed Rector of the Städelschule and Director of Portikus, Frankfurt am Main. Born in Puerto Rico and trained at the School of the Art Institute, Chicago, and the Center for Curatorial Studies, Bard College, Raymond worked until 2019 as Associate Curator at MoMA, New York, where she organized major commissions with the artists Goshka Macuga, Yoko Ono, Philippe Parreno, and Haim Steinbach, among other key figures. She was previously Curator at Dia Art Foundation, New York, where she oversaw such major exhibitions and specific projects as Allora & Calzadilla: Puerto Rican Light (Cueva Vientos), Thomas Hirschhorn: Gramsci Monument, and Jean-Luc Moulène: Opus + One, among many others. Previously she worked as Associate Curator at the Walker Art Center, Minneapolis. Her academic trajectory includes extensive guest-lecturing and teaching at such prestigious schools as the Rhode Island School of Design, Providence, and De Appel, Amsterdam.

Aimé Iglesias Lukin is the Director and Chief Curator of Visual Arts at the Americas Society, New York. An art historian and curator, she was born and raised in Buenos Aires, and has been based in New York since 2011. Her forthcoming dissertation This Must Be the Place: Latin American Artists in New York 1965–1975 seeks to map the international networks through which migrant artists from across the hemisphere created communities in the metropolis, analyzing topics of travel, exile, and identity in these artists’ artworks. She completed her M.A. at The Institute of Fine Arts at New York University and her undergraduate studies in art history at the Universidad de Buenos Aires. Iglesias Lukin has received research grants from the Smithsonian American Art Museum, the Metropolitan Museum of Art, the Terra Foundation for American Art, and the Andrew W. Mellon Foundation, and in 2016, she won the ICAA Peter C. Marzio Award for Outstanding Research in Twentieth-Century Latin American and Latino Art from the Museum of Fine Arts, Houston. She previously worked in the Modern and Contemporary Art Department at the Metropolitan Museum of Art in New York, at the Institute for Studies on Latin American Art (ISLAA) in New York, and at Fundación Proa in Buenos Aires.

Valentín Roma is a writer, art historian, and curator, currently working as director of La Virreina, Centre de la Imatge in Barcelona. In his long trajectory he has curated exhibitions at institutions such as Museu Picasso, Fundació Antoni Tàpies, and CaixaForum. He has also served as Chief Curator and Head of Research at MACBA, Museu d’Art Contemporani de Barcelona. Previously, he was appointed curator for the Catalonia Pavillion at the 53rd Biennale d’Arte di Venezia and, recently, he has organized the exhibition Known masterpieces at Fundació Suñol. Amongst other literary works, he has published the novels El enfermero de Lenin (Periférica, 2017) and Retrato del futbolista adolescente (Periférica, 2019).

Contents and Structure:

Locations:

EINA / La Virreina Centre de l’Image, Barcelona

Dates:

To be announced

What participants get:

Singularities of this project:

Price for public lectures:

Free admission. Sign up for the event here

Price for each workshop:

Apply / Learn more / Register interest


Ian Wallace

Expanded masterclass

Description:

Expanded Masterclass redefines the spatial and conceptual scope of the traditional masterclass using an array of physical and scenographic components, protocols of use and transmission, in diverse locations around Barcelona and online. This cabinet at Eina/Idea invites, once a year, a world-class senior practitioner to share core ideas of her work, as well as objects and archival material on display before, during, and after the workshop sessions. In summer 2020, Expanded Masterclass is organized in collaboration with MACBA Archive.

Guest artist spring 2020: Ian Wallace

For the first iteration of this cabinet, artist and art historian Ian Wallace. Born in Shoreham, England, in 1943, and based in Vancouver since his childhood, Wallace is a major reference in conceptual painting, as well as a founding figure of the Vancouver School alongside such renowned artists as Rodney Graham, Jeff Wall, Ken Lum, Stan Douglas, and others, who were all former students of Wallace at the University of British Columbia and Emily Carr University. His internationally acclaimed, conceptual practice of photography and painting has been the subject of multiple solo presentations since the late 1960s, including two retrospectives at the Vancouver Art Gallery (in 1987 and 2012) and a touring show co-organized in 2008 by Witte de With, Rotterdam, Kunsthalle Zurich, and Kunstverein für die Rheinlande und Westfalen, Düsseldorf, alongside dozens of solo exhibitions in European and American galleries. Wallace is also a recognized figure in the art academia, and has received honorary titles such as Doctor of Letters, Honoris Causa, University of British Columbia, and Chevalier de L’ordre des Arts et des Lettres from the French Ministry of Culture.

Contents and Structure:

What participants get:

Singularities of this project:

Locations:

EINA / Barra de Ferro / MACBA Documentation Center

Dates:

To be rescheduled

Price for lecture:

Free admission, register here

Price for workshops:

Apply / Learn more / Register interest


Metamaterial self-assembly

Description:

This multi-session, multi-invitation, open-ended cabinet addresses the current moment of global interest toward the programmability of matter and materials, processes of what is generally known as self-assembly. Concepts of unassisted local interaction for non-living entities, and/or parts of them, and/or articulated sets of them, understood as an expansion of the logic of an “Internet of Things”, have recently produced a wealth of narratives regarding the behavior and potential autonomy of materials to serve predefined, remote-controlled, connected interests. This cabinet is, in its development, an ironic attempt to counter dominant technocratic discourses on speculative research, insofar as they end up pervading material processes in art, design, and culture at large. As a state of general acceptance of biopolitical instrumentalization is promoted and aestheticized by technicians of hypothetical auto-assemblage, the social meaning of self-assembly, self-organization, and autonomy, blurs. By elaborating on assembly-oriented, politically aware practices at large, as they originate in a multiplicity of fields and can provide exportable models—literal and allegorical—across the board, we intend to reset our critical understanding of essential design concepts such as fabrication, articulation, process, form-production, and assemblage. The symbolic spaces and historical disciplines of sculputre, architecture, graphic design and poetry will provide, in the first round of encounters and lectures, a stage for debates in which “self-assembly” will be understood not only as a material and mechanical process. Rather, the social and political notion of assembly will be read into material dynamics, organic and inorganic, examining the importance of auto-organization and emancipation within and beyond the human realm.

Guest collaborators, events and project stages:


Prem Krishnamurthy

Metamaterial Self-Assembly I: Prem Krishnamurthy
Workshop at EINA, P!DF, Fundació Mies van der Rohe
Dates to be announced

Prem Krishnamurthy is a curator, designer, writer, and teacher based in Berlin and New York. He is a partner of the design practice Wkshps and Co-Artistic Director of FRONT International 2021, the Cleveland triennial of contemporary art. He has directed strategic design projects with institutions such as the Berkeley Art Museum, BOZAR, Carnegie Museum of Art, Dhaka Art Summit, Guggenheim Museum Bilbao, L’internationale, MoMA, SALT, and Yale University Art Gallery. As an independent curator, Krishnamurthy has organized exhibitions internationally including the inaugural Fikra Graphic Design Biennial, Ministry of Graphic Design in Sharjah, UAE; the 13th A.I.R. Biennial, let’s try listening again; DIS-PLAY / RE-PLAY at Austrian Cultural Forum New York; and Creative Operational Solutions at Para Site in Hong Kong. Previously, he was founder and director of P!, the experimental “Mom-and-Pop-Kunsthalle” located in New York’s Chinatown, as well as co-founder of the design studio Project Projects. He has won the Cooper Hewitt Museum’s National Design Award for Communication Design and is the recipient of grants from the Fulbright Foundation, Graham Foundation, and KW Institute for Contemporary Art.


Mónica de la Torre

Metamaterial Self-Assembly II: Mónica de la Torre
Workshop and poems lecture at EINA
Dates to be announced

Poet, translator, and scholar Mónica de la Torre was born and raised in Mexico City. She earned a BA from the Instituto Tecnológico Autónomo de México and, with the support of a Fulbright scholarship, relocated to New York in 1993 to pursue an MFA and a PhD in Spanish literature at Columbia University. Her full-length poetry collections include The Happy End/All Welcome, a riff on Martin Kippenberger’s The Happy End of Franz Kafka's America, itself a riff on Kafka’s unfinished Amerika; as well as Public Domain (Roof Books, 2008) and Talk Shows (Switchback Books, 2007). She has also published the chapbooks Four (Switchback, 2012) and The Happy End (Song Cave, 2017). De la Torre frequently collaborates with artists and writers, as with Collective Task. With artist Terence Gower, she co-authored the art book Appendices, Illustrations and Notes (Smart Art Press, 1999) and together with Michael Wiegers coedited the bilingual anthology Reversible Monuments: Contemporary Mexican Poetry (Copper Canion Press, 2002). She also contributed to Predictions (ChainLinks, 2009), a study of indeterminacy, and to the conceptual critical work Laureana Toledo: The Limit (Turner/A&R Press, 2008). Her translations from Spanish include Lila Zemborain’s Mauve Sea-Orchids (Belladonna Books, 2007, co-translated with Rosa Alcalá) and Poems by Gerardo Deniz (Lost Roads Publishers, 2000), which she also edited.


Asier Mendizabal

Metamaterial Self-Assembly III: Asier Mendizabal
Workshop and exhibition at EINA Barra de Ferro
Dates to be announced

Trained at the Faculty of Fine Arts from the University of the Basque Country, as well as Arteleku and Byam Shaw School of Art in London, Asier Mendizabal has developed for more than two decades an art practice that reconsiders sculpture and the gestures, rites, and codes with which it is traditionally associated. Mendizabal’s work has been exhibited individually at Raven Row, London; Museo Reina Sofía, Madrid; Culturgest, Lisbon, and at MACBA in Barcelona, as well as the Museo de Arte Precolombino Casa del Alabado in Quito and, most recently, at Fundación Museo Jorge Oteiza in Alzuza, Navarra. He has also been featured in collective exhibitions such as the 31st São Paulo Biennial; A Singular Form, Secession, Viena; Art and Space, Guggenheim Bilbao Museoa; Tension and Liberty, Fundaçao Calouste Gulbenkian, Lisboa; IllumiNATIONS, 54th Venice Biennale; and In the First Circle, Fundació Tàpies, Barcelona, among many others. He was co-founder and faculty member of Kalostra art school in San Sebastián, and is currently professor of sculpture at KKH Royal Institute of Art in Stockholm.

Contents and Structure:

What participants get:

Singularities of this project:

Free admission to all public lectures and events, no registration required

Prices for workshops:

Apply / Learn more / Register interest


The seventh direction: radical speculation / scenography of thought

Description:

Thinking produces gestures, as Auguste Rodin knew all too well; gestures that crystallize into forms. The connection between radical thinking and radical form seems to be, in fact, a consolidated notion in our culture. If there is a theatricality—assumed or residual —of thought, as soon as the latter translates back into collective dialogue it produces a scenography. All thinking is collective, a situation. For the first project within this cabinet, we engage in conversation and production with Mériam Korichi, philosopher, writer, and stage director. Participants in this project will be asked to discuss, organize, and perform in a hybrid context of philosophical debate and experimental staging of Albert Camus’s play The Just Assassins.

Mériam Korichi is a philosopher and a theatre stage director. She studied philosophy at the Sorbonne, at the Ecole Normale Supérieure in Paris, and at Harvard as a Visiting Fellow. She has several books published by Gallimard including Letters on Evil. A Correspondence between Spinoza and Blyenberg (2006); Notions of Aesthetics (2007), Notions of Ethics (2009); a biography of Andy Warhol (2009), translated in Brazilian Portuguese and in Chinese; and A Treatise of Good Sentiments (Albin Michel, 2016). Among her opera and theatre productions, she has worked as a dramaturge and stage director, collaborator on the staging of Les Précieuses ridicules by Molière, La Grande Magia by Eduardo de Filippo, The Tragedy of Hamlet at the Comédie-Française. In 2011 and 2013, she translated into French and adapted for the stage The Comedy of Errors and The King Richard III by William Shakespeare for the theatre Bouffes du Nord in Paris. In 2018 and 2019, she translated Macbeth and A Midsummer Night’s Dream for the stage. Intending to challenge the frontiers of philosophy, theatre and contemporary art, she created the concept and format of all-night philosophy events and has staged it since in several cities around the world, including the Headquarters of UNESCO in Paris.

Contents and Structure:

What participants get:

Locations:

EINA / Campus Universitat Autònoma de Barcelona

Dates:

To be announced

Price of workshop:

Apply / Learn more / Register interest


Anthropologies of the black box

Anthropologies of the black box

Description:

The starting point of this project is the consideration of the black box as a manifold, and fundamentally philosophical, object. The black box as a metaphor of encrypted memory; as a projection site, and therefore one for the epiphany of images; the black box as a resource and remainder after the catastrophe. As a cabinet of Eina/Idea, Anthropologies of the Black Box is conceived in collaboration with scholar and writer Sara Nadal-Melsiò and it shall take place in multiple and evolutionary stages. The first of them will be a two-day workshop including a philosophical prologue and/as the conceptual preparation of a symposium and performance event to be developed in a theatrical context during the fall 2020-spring 2021 in Barcelona.

Sara Nadal-Melsió is a New York-based scholar and writer. She holds a Masters degree from Columbia University and a PhD from NYU, both in Comparative Literature and Literary Theory. She has taught at the University of Pennsylvania, Princeton University, New York University, and SOMA in Mexico City. Her essays have appeared in Diacritics, RHM, JSCS, and Avenç; as well as in various edited volumes and museum catalogues. She is the co-author of Alrededor de/Around (Gustavo Gili, 2003), a book on the photography and architecture of the last fin-de-siècle, and the editor of two special issues on cinema, The Invisible Tradition: Avant-Garde Catalan Cinema under Late Francoism (University of Pennsylvania Press, 2010), and Anachronism and The Militant Image: Temporal Disturbances of the Political Imagination (Abingdon Routledge, Taylor et Francis, 2017). She also co-curated a survey exhibition of artists Allora & Calzadilla at the Fundació Antoni Tàpies in Barcelona (2018), which was accompanied by a two-volume critical work on the current Puerto Rican debt crisis. She is currently working a manuscript, entitled Europe and the Wolf, on the transmission of dissent in Europe’s musical legacy through a reading of contemporary art and experimental cinema.

Contents and Structure:

What participants get:

Locations:

EINA / Campus Universitat Autònoma de Barcelona

Dates:

To be announced

Price for workshop:

Apply / Learn more / Register interest

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