VANSA on residency at Ithuba, 100 Juta Street for May, June and July
VANSA and Ithuba will share three months together from May 2015 until July 2015. The collaboration/residency/experiment is an exercise in understanding the potential for shared resources for arts organisations and arts actors that are resource rich but cash strapped.
The three month process will see VANSA occupy Ithuba, along with a number of organisations and individuals at various levels of independence, development and experience, and will include a series of discussions that explore ideas of resource sharing, of co-dependence and of alternative models of organising.
Based on on-going difficulties for organisations and organisers to find space and keep space, and to manage the ups and downs of income flows, the discussion seeks to start a conversation on alternative solutions. While recognising that many of us share knowledge and equipment anyway, these conversations intend to consider the significance of this sharing and consider the possibilities of formalising or at least concretising what sharing indicates and offers.
The three month experimentation forms part of the Arts Collaboratory Territories Working Group which consists of VANSA (South Africa), Art Group 705 (Kyrgyzstan), Cooperativa Cráter Invertido (Mexico), Centre Soleil (Mali), Mas Arte Mas Accion (Colombia), Doual’art (Cameroon).
You can reach VANSA via email for the period.
Please note that programming for the months of May, June and July will happen in various different locations.
11/06/2015 UPDATE of what is happening in the shared space:
Independent curators Mika Conradie and Amy Watson are currently on residency at Ithuba Gallery developing a collaborative research project to be realised in several exhibitionary and discursive iterations. They have framed their residency as a time of embodied research into institutional rhythms: the pitch, tempo, and metronomic phenomena that typify actions of instituting, and that regulate and organise how art institutions are built, sustained, killed, resurrected, floated, inflated and deflated, how institutions flee, and how they are made to stay.
Rhythm is a force that compounds the spatial and temporal, and that flows through different modes of living, being, seeing and thinking; moving across divergent systems of knowledge. Thinking through daily rhythms provides an opportunity to test how art institutions sit in the world, how perceptive they are to occurrences and events in their locales, and within global networks, and to think through the question of how to institute in the now? Conradie and Watson are less interested in providing solutions, and more concerned with unfolding the institution as a rhythmic organising form; propositioning it with contrasting cycles, clocks, pulsations, utterances, mobilities and readings. (Lefebvre, H. Rhythmanalysis: Space, Time and Everyday Life. London and New York: Continuum, 2004.)