ON COLLECTIVE SIGNATURES
The limits of my language stand for the limits of my world.
― Ludwig Wittgenstein
Multiple, disparate, heterogeneous authorships that combine, overlap, and intersect,
without it being possible to reduce them to an individual, sovereign authorship.
― Boris Groys
WITHIN SPACES OF CO-CREATION, HOW DO WE DEAL WITH SIGNATURE?
HOW ARE DIFFERENT AUTHORSHIPS IMPLICITLY AND EXPLICITLY NEGOTIATED?
HOW DO PERFORMANCE ARTISTS AND CURATORS GENERALLY COME TOGETHER?
HOW DO THEY RELATE THROUGH A COMMON WORK? HOW DO THEY WORK TOGETHER?
HOW IS THEIR BEING-TOGETHER STRUCTURED?
HOW CAN INDEPENDENT CURATORS CREATE BETTER WORK CONDITIONS (AND LIFE)
FOR BOTH PERFORMANCE ARTISTS AND THEMSELVES?
Conceived in 2017, COLLECTIVE SIGNATURES is an itinerant critical hub of conversation, collective enquiry and performative writing – to enquire into the role and responsibility of the curatorial practice within performance art, and focusing on the value of writing in both these practices:
Addressing to a worldwide community of performance artists and curators who are interested in a dialogical approach and dialectic confrontation, COLLECTIVE SIGNATURES provides a creative environment, free from any intellectual censorship, for collaborative encounters and conversations beyond the conventional confines of art spaces, thus challenging systems of knowledge production and art production.
Focused on individual and collective writing, creative writing and experimental writing that function with/in/out of performance, COLLECTIVE SIGNATURES aims to shape a text corpus on performance art material and curatorial vision by privileging a multi-modal / multi-genre approach: letters, poems, proses, conversation transcriptions, performance drafts, performance descriptions and analysis, pedagogical material, performance images translated into words, performance sketches, drawing up of future co-creation projects, selected excerpts of critical essays.
This to provoke a critical transformative contact zone of cultural production; to co-create a unique performative curatorial vocabulary for performance artists and curators to better understand each other; and to explore and understand if the curatorial writing can be expanded from its own classical definition; to support, take care and promote performance artists’ textual productions (performance artists from all backgrounds, age, gender, origins, careers); and to start building a vibrant timely ‘live archive’ of performance art texts and language-related materials, exploring the necessity of live archive to be built in the present moment, being writing one of the possible tool to explore the fragility of individual and collective memory.
WHAT DOES IT MEAN TO ENGAGE IN COLLECTIVE SIGNATURES PROCESS?