[spectre] Call for Applications: Curating Noise, Saas-Fee Summer Institute of Art, Extended Application Date

Saas-Fee Summer Institute of Art info at saasfeesummerinstituteofart.com
Tue Aug 3 18:24:45 CEST 2021

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Call for Applications (
https://sfsia.art/2021-sonsbeek/2021-sonsbeek-application/ )
Extended Deadline August 10th, 2021
Saas-Fee Summer Instit

2021 | sonsbeek20→24 
online in collaboration 
with sonsbeek20→24conjunctions 
August 18 – 22, 2021 – 3-8:30pm CET 
Applications (
https://sfsia.art/2021-sonsbeek/2021-sonsbeek-application/ )
Curating Noise: Reverberations and the Polyvocal 
The special five-day Saas-Fee Summer Institute of
Art program, Curating Noise: Reverberations and the Polyvocal, will
take place online in conjunction with the 12th edition of the
quadrennial sonsbeek20→24, developed in close dialogue with its
curatorial team (including artistic director Bonaventure Soh Bejeng
Ndikung and co-curators Antonia Alampi, Amal Alhaag, Zippora Elders,
and Aude Mgba) and framework, Force Times Distance. On Labour and its
Sonic Ecologies, that invites and encourages different modes of
listening to make audible that which is already there, but remains
unseen and unheard. 
“No longer considered only a factor of disturbance, detrimental to
information like static noise in the channel of communication, the
evolving concept of noise also becomes constitutive of new forms of
knowledge and of new ways of understanding organization.” –
Cécile Malaspina, An Epistemology of Noise 
This special session of Saas-Fee Summer Institute of Art (SFSIA) will
focus on a contemporary conception of noise that builds from the idea
of listening as a participatory practice. Where in the past noise was
something to be controlled and suppressed, today noise and uncertainty
are entangled with one another as key concepts in the production of
contingency as a driving force of innovation, creativity and
resistance. As Reza Negarestani surmises in his essay, “Contingency
and Complicity,” the contingent artwork can become the basis for new
interactions and dynamic processes that drive the artist to novel
realizations and opens up the potential of the work not assumed at its
At the epicenter of sonsbeek20→24 is an investigation of global
power structures which, as a result of the drift towards digitality,
have taken on increasingly non-linear, unstable and topological
distributed space/time forms. In the process, new plateaus – shock
waves upon which extended and embodied stratifications exist as fields
of immanence – have emerged. “Curating Noise: Reverberations and
the Polyvocal,” uses the Third Havana Biennial 1989 as a model upon
which to build a self-reflexive problematic provoked by an
intellectual and discursive turn in the apparatus of biennial
production. “Curating Noise” engages the biennial apparatus in
relation to its colonial history, as well as its economic and
intellectual opportunity, through the epistemological problem of
noise. Many of the published books and past curatorial efforts on
noise (with a few exceptions such as Charlotte Mormon and Pauline
Oliveros) promote a linear narrative that centers European and
patriarchal perspectives. As such, most histories begin with Futurism
and pass through Fluxus on its way to new forms of punk and free jazz
such as in the works of Throbbing Gristle and the Boredoms. While
including these histories, “Curating Noise” aims to include more
geographically, culturally and otherwise diverse perspectives in order
to estrange and expand the histories of noise production and
understand it in radically new post-humanist ways. Considering Gilles
Deleuze and Felix Guattari’s definition of puissance in A
Thousand Plateaus as, “a capacity to multiply connections that may
be realized by a given ‘body’ to varying degrees in different
situations…thought of as a scale of intensity or fullness of
existence (or a degree on such a scale), analogous to the capacity of
a number to be raised to a higher ‘power,’” we are excited by
potential new forms of power, or puissance, that may be generated as
a result of these shared discussions.
Guest Speakers 
Amal Alhaag, Ina Blom, Mathieu Copeland, Christoph Cox, Sanne Krogh
Groth, Paz Guevara, Satch Hoyt, Cécile Malaspina, Paul D. Miller aka
DJ Spooky, Warren Neidich (founder/director), Pablo José Ramírez,
Holger Schulze, Greg Tate, Victoria Vesna, and Anuradha Vikram. 
Applications for Curating Noise are open to students, practitioners
and scholars from the fields of art (including sound, video,
photography, installation and multimedia), music, philosophy, design,
architecture, art criticism, science and technology studies, critical
theory, cultural studies, film and media studies, and beyond. Please
see our application (
https://sfsia.art/2021-sonsbeek/2021-sonsbeek-application/ ) for more
information. Please see our website ( https://sfsia.art ) or
contact info at sfsia.art for more information.

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