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Etienne Bernard. Might the passage from fetishized archive to totemized fieldwork lead to a break with the taboo of ethics? Consider this scenario, an art critic's late 20th century caricature of the artist-as-ethnographer has become naturalized in the early 21st century researcher-in-residence. Funded to map and mine for ready-mades and representations, the researcher transubstantiates this modsling into surveillance Em,en and cultural capital.

In the popular imagination, Oberwinterthur blonde artist is a swindler, a charlatan, even a pedophile.

The year after the death of Single scottish men in Seebach Karam, a philosopher across the ocean writes, "Art is too self-confident, audaciously self-confident, and too high-flown, for it is in no way bound to answer for life. It is not only mutual answerability that art and life must assume, but also mutual liability to blame.

Her ongoing project is the epic life-log of the fictional character, edited into episodic scenographies or performative environments, for Taboo modeling studio Emmen access by users. Episodes feature the narrative and imaginary landscapes RK encounters over the course of his lifetime, from the late nineteen seventies until the mid twenty fifties.

Artistic fieldwork in preparation studo this project involves composing a series of never-ending suggestions entitled "What We Should Do With Our Brain. They employ the rhetorical device of parrhesia to illuminate juxtapositions among disciplines otherwise regimented to separation by the sentimental despotism of capital. Presentation by Johan Lundh The proliferation of residencies over the last two decades has been unparalleled.

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In a syudio of decades, they have New oriental massage Freienbach an integral part the institutionalized art world, adopting similar formats across the globe. As with any rapid development, a critical self-reflection is needed, from organizers and participants' points of views.

What are the successful models, the inept formats? What are the ethics of operating residencies and participating in them?

Can we utilize residencies to foster creative expressions and social relations which wouldn't be possible without them? Together with artists, curators, theorists, designers and others, he engineers frameworks for artistic actions and discursive formations.

New proposals for land use Statement by Theo Tegelaers Theo Tegelaers started his art practice in and experimented with making exhibitions in collaboration with other artists.

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Tegelaers founded stduio non-profit space BEAM, Nijmegen and fully dedicates himself to curating and producing exhibitions. Tegelaers was appointed as director of W, Amsterdam - He worked as a freelance curator on national and international shows and projects - In he received a grant for a halve year residency at ISCP in New York and from Tegelaers worked for the Chief Government architect as curator and coordinator of art projects for governmental buildings and offices, where he realized projects with Monika Sosnowska, Liam Gillick, Lara Almarcegui, William Speakman, Dan Peterman Emmsn.

Tegelaers is curator for the Rijksmuseum Amsterdam on contemporary art projects related to the renovation of the building.

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