Difference between revisions of "Project 2 * Library of Inclusions and Omissions"

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=Intro=
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{{Interlink|5_Reflection,_theorization_of_projects#Library_of_Inclusions_and_Omissions_.E2.80.93_radical_publishing_practices_require_radical_librarianship|chapter Reflection, theorization: The Library of Omissions and Inclusions – radical publishing practices require radical librarianship}}
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{{Interlink|5_Reflection,_theorization_of_projects#Library_of_Inclusions_and_Omissions_.E2.80.93_radical_publishing_practices_require_radical_librarianship|see chapter: 05*Reflection, theorization of projects: The Library of Omissions and Inclusions – radical publishing practices require radical librarianship}}
The Library of Inclusions and Omissions (LIO) is one of the four projects submitted for this Ph.D. This page's function is to give a quick overview of the project with short factual descriptions of its elements and practical steps. For a detailed reflection and theorization, please see chapter 05*Reflection and theorization of projects.
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The Library of Inclusions and Omissions (LIO) is one of the four projects submitted for this PhD. What follows is a quick overview and short factual description of the projects’ elements. A detailed reflection and theorization follows in chapter 05*Reflection and theorization of projects.
  
 
=Starting point and context=
 
=Starting point and context=
The LIO is a practice-based experiment in critical knowledge infrastructures. Through an open call for contribution, it builds a reference library that is curated by the community that is using it. So far, roughly 100 contributions are on the shelf. The library gathers feminist, intersectional, postcolonial materials which are not, or only sparsely available in institutional collections or databases, too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. I wanted to explore whether such a curatorial concept can help to give voice to undiscovered, suppressed, or otherwise not acknowledged material. How can a library turn from being a repository of knowledge into a space of social and intellectual encounters? And could such a project build a community or connect different communities? In short, could such a project help to build collective knowledge infrastructures that in some ways are able to counter the normativity of how knowledge is created and shared in institutional libraries? <br/>
+
The LIO is a practice-based experiment in critical knowledge infrastructures. Through an open call for contributions, a reference library is collectively built and curated by the community that is using it. To date, there are roughly 100 contributions on its shelves. The library gathers feminist, intersectional, and postcolonial materials that are not, or are only sparsely available in institutional collections or databases: too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. I wanted to explore whether such a curatorial concept can help to give voice to undiscovered, suppressed, or otherwise unacknowledged material. How can a library turn from being a repository of knowledge into a space of social and intellectual encounters? And could such a project build a community or connect different existing communities? In short, could such a project help to build collective knowledge infrastructures that in some ways are able to counter the normativity of how knowledge is created and shared in institutional libraries? <br/>
  
 
=Invitation Letter=
 
=Invitation Letter=
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[[File:LIO-letter_English.jpg|left|600px|link=]]{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-ENGLISH-poster.pdf|English letter}}{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-SWEDISH-poster.pdf|Swedish letter}}{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-ARABIC-poster-web.pdf|Arabic letter}}
 
[[File:LIO-letter_English.jpg|left|600px|link=]]{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-ENGLISH-poster.pdf|English letter}}{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-SWEDISH-poster.pdf|Swedish letter}}{{Outerlink|http://evaweinmayr.com/wp-content/uploads/IO-Library-ARABIC-poster-web.pdf|Arabic letter}}
  
In the hope to receive contributions from a range of cultural backgrounds and communities, the open call was published in Swedish, English, and Arabic and distributed in community centers, libraries, universities, art spaces, in and around Gothenburg (including suburbs such as Angered).</br>
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In the hope of receiving contributions from a range of cultural backgrounds and communities, the open call was published in Swedish, English, and Arabic and distributed in community centers, libraries, universities, and art spaces in and around Gothenburg (including suburbs such as Angered).</br>
 
<br clear=all>
 
<br clear=all>
 
<br/>
 
<br/>
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=Index Card Catalogue=
 
=Index Card Catalogue=
  
[[File:LIO index card Ain Bailey2.jpg|left|450px|link=]]
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[[File:IO-Emmenegger Nicole-Jean Rys.jpg|left|400px]]
[[File:IO-Bowman Jason - The Burston Rebellion.jpg|left|450px]]
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{{Outerlink|http://andpublishing.org/library-of-omissions-and-inclusions-index/|see: LIO Index Card Catalogue}}
[[File:IO-Emmenegger Nicole-Jean Rys.jpg|left|450px]]
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{{Interlink|5_Reflection,_theorization_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality|see chapter 05*Reflection, theorization of projects: Perspectives and Framing under the disguise of neutrality}}
  
{{Interlink|Reflection,_theorisation_of_projects#Perspectives_and_framing_under_the_disguise_of_neutrality|see: Reflection, theorization of projects: Perspectives and Framing under the disguise of neutrality}}
+
The LIO asks contributors for a short written rationale as to why the book they have selected is important to them, and why they want to share it with others. This task shifts the emphasis from attempting to frame the content of the books in an arguably objective manner towards describing the readers' processes of meaning-making. The short statements are printed on yellow index cards that accompany the books and serve as an entry point and framing device for the library users. This approach to cataloging is an attempt to connect people and communities through their readings, their discoveries, desires, struggles, and hopes. It is, therefore, an experiment to challenge the problematic concepts of neutrality and universality that form the basis of standard cataloging systems – discussed in detail in chapter 05*Reflection and theorization.
{{Outerlink|http://andpublishing.org/library-of-omissions-and-inclusions-index/|see: LIO Index Card Catalogue}}
 
The LIO asks contributors for a short written rationale, why this book is important to them, and why they want to share it with others. Through this, the emphasis shifts from trying to frame the actual content of the book in an arguably objective manner towards describing the readers' making of meaning and the publications agency for the reader. The short statements are printed on the LIO's index cards, thus serving as an entry point and framing device for the library users. This subjective catalog approach can be understood as an experiment to connect people through their readings, discoveries, desires, struggles, and hopes. This experiment challenges the concept of neutrality and universality in standard institutional cataloging systems that are bound to using a 'controlled vocabulary' and classification system.
 
  
 
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<br clear=all>
 
<br/>
 
<br/>
  
=Temporary Reading Rooms installed in different contexts=
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=Temporary Reading Rooms, multiple sites =
  
 +
[[File:IO-Library-slideshow.gif|link=|left|400px]]
 +
{{Outerlink|http://gabocamnitzer.com/meaning-making-meaning|see project website: Meaning Making Meaning}}
 +
<b>"Meaning Making Meaning", A-venue Gothenburg<br/>March 16 – April 2, 2016</b></br>Convened by Gabo Camnitzer, "Meaning Making Meaning" was a three-part project consisting of an exhibition, a series of workshops and the Library of Inclusions and Ommissions Reading Room. Thirty-seven artists and educators responded to two questions: "How do you bring a classroom to life as if it were a work of art?" (Felix Guattari, <i>Chaosmosis: An Ethicoaesthetic Paradigm</i>); and its reformulation: "How do you bring a work of art to life as if it were a classroom?" The invitation to participate in "Meaning Making Meaning" kickstarted LIO. The exhibition's discursive and event-based character and its focus on the relationship between critical knowledge practices, education, and the arts, triggered numerous contributions by the participating practitioners and theorists, as well as from the art school community.
  
[[File:IO-Library-slideshow.gif|link=|left|400px]]
+
The exhibition included work, talks, and workshops by: Alina Tenser, Andrea Phillips, Ann-Charlotte Glasberg Blomqvist, Annette Krauss, Anton Vidokle, Barnfilmskolan, Bronwyn Bailey-Charteris, Cara Tolmie and Kimberley O'Neill, Doa Aly, Elizabeth Ellsworth and Jamie Kruse (Smudge Studio), Emanuel Almborg, Eva Weinmayr, Felicity Allen, Gert Biesta and Carl Anders Säfström, Glenn Loughran, Harrell Fletcher, Henry Giroux, Irit Rogoff, Janna Graham, Jaroslav Andel, Jason E. Bowman, Jenny Richards, Jessica Hamlin, Jeuno JE Kim and Ewa Einhorn, Katrin Ingelstedt, Lisa Nyberg, Lovisa Gustafsson, Maj Hasager, Maria Acaso and Jordi Ferreiro, Monica Sand, Olav Westphalen, Olivia Plender, Pedro Lasch, Stephan Dillemuth, Stephen Duncombe, Sunshine Socialist Cinema, and Tyson E. Lewis.
{{Outerlink|http://gabocamnitzer.com/meaning-making-meaning|see: Meaning Making Meaning}}
 
'''"Meaning Making Meaning", A-venue Gothenburg <br/>16 March – 2 April 2016'''<br/> Convened by Gabo Camnitzer, "Meaning Making Meaning" was a three-part project consisting of an exhibition, a series of workshops and the Library of Inclusions and Ommissions Reading Room. Thirty-seven artists and educators responded to two questions: "How do you bring a classroom to life as if it were a work of art?" (Felix Guattari, Chaosmosis) and its reformulation: "How do you bring a work of art to life as if it were a classroom?"<ref name= "participants"/> The invitation to participate in "Meaning Making Meaning" triggered the library project. It provided a generative context, because so many participants and visitors were invested in the relationship between critical knowledge practices and the arts, and therefore actively contributed by adding many and varied materials to the library.
 
  
 
<br clear=all>
 
<br clear=all>
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[[File:LIO-AND Publishing.jpg|link=|left|400px]]
 
[[File:LIO-AND Publishing.jpg|link=|left|400px]]
  
'''"The Research Show", A-venue Gothenburg <br/>6 – 23 April 2016'''<br/>
+
<b>"The Research Show", A-venue Gothenburg <br/>April 6–23, 2016</b><br/>
Convened by Cora Hillebrand, Ram Krishna Ranjan, and Mick Wilson, "The Research Show" was an informal work in progress exhibition by doctoral researchers based in the Faculty of Fine, Applied and Performing Arts, at the University of Gothenburg.<ref> participating artists included André Alves, Eva la Cour, Kerstin Hamilton, Annelies Vaneycken, Arne Kjell Vikhagen, and Eva Weinmayr.</ref> "The Research Show" took place in the same venue as Meaning Making Meaning, in an empty shop in Gothenburg's city center. As it followed on the "Meaning Making Meaning" exhibition, the reading room stayed and the exhibition around it changed. The implications of this change of context, from a multilayered exhibition/workshop/discursive project to a more traditional exhibition framework is discussed in chapter "Reflection, theorization.  
+
Convened by Cora Hillebrand, Ram Krishna Ranjan, and Mick Wilson, "The Research Show" was an informal work-in-progress exhibition by doctoral researchers based in the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg. Participating artists included André Alves, Eva la Cour, Kerstin Hamilton, Annelies Vaneycken, Arne Kjell Vikhagen, and Eva Weinmayr. "The Research Show" took place in the same venue as “Meaning Making Meaning”, an empty shop in Gothenburg's city center, immediately after the exhibition. Therefore the LIO reading room stayed as the exhibition around it changed. The implications of this change of context, from an event-based exhibition to an exhibition that focused on the display of exhibits is discussed in chapter 05*Reflection and theorization of projects.  
  
 
<br clear=all> <br/>
 
<br clear=all> <br/>
  
 
[[File:LIO-Eva Weinmayr-Lets Mobilize-Valand Academy01.jpg|link=|left|400px]]
 
[[File:LIO-Eva Weinmayr-Lets Mobilize-Valand Academy01.jpg|link=|left|400px]]
{{Interlink| Let's Mobilize: What is Feminist Pedagogy?|Project: Let's Mobilize: What is Feminist Pedagogy?}}
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{{Interlink| Project_4_*_Let%27s_Mobilize:_What_is_Feminist_Pedagogy%3F|see project 04*Let's Mobilize: What is Feminist Pedagogy?}}
'''"Let’s Mobilize: What is Feminist Pedagogy?"<br/> Valand Academy, 12-14 Oct 2016'''<br/>
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<b>"Let’s Mobilize: What is Feminist Pedagogy?"<br/> Valand Academy,<br/>October 12–14, 2016</b><br/>
Organized by the Feminist Pedagogy Working Group at Valand Academy,<ref> The core working group's members were Andreas Engman, Eva Weinmayr, Gabo Cammnitzer, Kanchan Burathoki, Mary Coble, and Rose Borthwick.</ref> "Let's Mobilise: What is Feminist Pedagogy" was a three-day international mobilization investigating queer and intersectional feminist pedagogies. Participants from seven European countries arriving in Gothenburg brought materials to add to the library reading room installed during the event.  
+
The LIO was hosted by the three-day international event "Let’s Mobilize: What is Feminist Pedagogy?", which proposed to investigate queer and feminist pedagogies. The mobilization was organized by the Feminist Pedagogy Working Group (Andreas Engman, Eva Weinmayr, Gabo Camnitzer, Kanchan Burathoki, Mary Coble, and Rose Borthwick) at Valand Academy and welcomed over 100 participants, local, national and international (from seven European countries). Many of the attendees had brought books, pamphlets, and printouts to be added to the reading room installed in the main assembly room.  
 
 
 
<br clear=all> <br/>
 
<br clear=all> <br/>
 
   
 
   
 
[[File:LIO-Eva Weinmayr-Utopia of Access-Venice Biennale01a.jpg|link=|left|400px]]
 
[[File:LIO-Eva Weinmayr-Utopia of Access-Venice Biennale01a.jpg|link=|left|400px]]
{{Interlink|Summary of projects and submitted material#Dear_Hannah_.28pamphlet.29|Pamphlet "Dear Hannah"}}
+
{{Interlink|4_Summary_of_projects_and_submitted_material#Dear_Hannah_.28pamphlet.29|see published pamphlet: "Dear Hannah"}}
 +
 
 +
<b>"Utopia of Access", Pavilion for Artistic Research, 57th Venice Biennale,<br/>May 11 – July 2, 2017</b><br/>
 +
Curated by Jan Kaila (Uniarts Helsinki) and Henk Slager (Utrecht University), the exhibition "Utopia of Access" invited ten researchers from different Nordic doctoral programs to articulate new modes of artistic thinking on the notion of access. Despite the topic's relevance – access to materials that are not institutionally validated – another set of questions emerged: what are the underlying politics of "exhibiting" a collectivized resource that is anchored in a local community in the context of an international art biennale? Would the practicalities of such an exhibition context be productive? Would visitors actually use the reading room and contribute relevant materials to the library? {{Outerlink|http://www.matthewlangley.com/blog/Enzo-Mari-Autoprogettazione2.pdf|see book: <i>Autoprogetazione</i> by Enzo Mari, 1974}}
 +
Rather than creating a reading room and moving the whole resource (the books themselves) to Venice, I used this occasion to document and share the Gothenburg project. I presented a 1:1 scale photographic representation of the books and the accompanying index cards on the shelves. This large-scale wall display was accompanied by a table built following an open-design by Enzo Mari (Enzo Mari, <i>Autoprogetazione</i>, 1974), and the pamphlet "Dear Hannah". The pamphlet discusses the implicit contradiction in exhibiting a collective resource – under a singular artistic authorship – at the Venice Biennale.
  
'''"Utopia of Access", Pavilion for Artistic Research, 57th Venice Biennale, 11 May - 2 July 2017'''<br/>
 
Curated by Jan Kaila (Uniarts Helsinki) and Henk Slager (Utrecht University), "Utopia of Access" invited ten researchers from different Nordic doctoral programs to articulate new modes of artistic thinking on the notion of access. My approach to installing a reading room in Venice was led by questions such as: Can a collectively owned resource be exhibited at an international art show such as the Venice Biennale? What are the underlying politics of "exhibiting" a resource that is anchored in a local community and collectively owned, in the context of an international Art Biennale? Would the practicalities of such an exhibition be productive: Would visitors come back and add relevant materials to the library? I decided to use this occasion "to tell" about the project rather than moving the whole resource to Venice. I presented a 1:1 scale photographic representation of the books on the shelves, printed on large posters that were accompanied by a printed pamphlet. In this pamphlet named "Dear Hannah", I discuss the fine line when exhibiting turns into an act of artistic co-option.
 
  
 
<br clear=all> <br/>
 
<br clear=all> <br/>
  
 
[[File:AND Marabouparken Unboxing Room8 lowres.jpg|link=|left|400px]]
 
[[File:AND Marabouparken Unboxing Room8 lowres.jpg|link=|left|400px]]
{{Interlink|Boxing and Unboxing|Project: Boxing and Unboxing}}
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{{Interlink|Project_5_*_Boxing_and_Unboxing|see project 5*Boxing and Unboxing}}
'''"Boxing and Unboxing", Guestroom Research Residency, Marabouparken Konsthall Stockholm, 21 April – 26 August 2018'''<br/>
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<b>"Boxing and Unboxing", Guestroom Research Residency, Marabouparken konsthall Stockholm,<br/>April 21 – August 26, 2018</b><br/>
  
 +
During AND's research residency at MarabouParken Konsthall in Stockholm, and at the invitation of Marabouparken Konsthall’s curator Jenny Richards, a selection of books from the Library of Inclusions and Omissions was installed in what came to be called AND Publishing's "Unboxing Room". The "Unboxing Room" housed 12 cardboard boxes that were shipped from AND’s studio in London to Stockholm. The boxes contained materials Rosalie Schweiker and I were working on at the time, both collaboratively and individually. Visitors were invited to 'unbox' this archive-in-progress, that included ephemera from [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [http://andpublishing.org/teaching-for-people-who-prefer-not-to-teach-2/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [http://whatisfeministpedagogy.tumblr.com/ Let's Mobilize: What is Feminist Pedagogy?], [https://www.artsadmin.co.uk/events/3850 a selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as a box containing research on terms and conditions of work in and with arts organizations, emails, and other miscellaneous items.
  
Invited by MarabouparkenKonsthall curator Jenny Richards, selected parts of the Library of Inclusions and Omissions were installed in AND Publishing's "Unboxing Room" at MarabouParken Konsthall. In this room, we displayed a range of cardboard boxes that we shipped from London to Stockholm, containing materials we were working on at the time. Visitors were invited to 'unbox' this archive in progress.<ref name= "materials"/> This "Unboxing Room", initially designated to be in the main galleries, unfolded eventually in one of Marabouparken Konsthall's office/archive rooms in the administration wing. This change of plan was initiated by the realization that the formal no-daylight gallery space did not allow for the kind of engagement we hoped for. The new room on the corridor next to the staff kitchen was a more friendly and conducive environment for this intended process of discovery. Visitors were guided by Konsthall staff to the admin office wing – "backstage," so to say, making the invisible processes of administration and organization and finances at the admin offices visible to visitors.
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This "Unboxing Room", initially designated to be in the main galleries, eventually occupied one of Marabouparken Konsthall's office/archive rooms, in the administrative wing. This change of plan was caused by the realization that the formal no-daylight gallery space did not allow for the kind of engagement we hoped for. The new room, next to the staff kitchen, was a more friendly and inviting environment for spending time and making discoveries whilst unpacking the boxes. Visitors were guided by konsthall staff to the administrative office wing – backstage so to speak – making the hidden work of administration, organization, and finances visible to visitors.
  
 
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<br clear=all>
 
=Notes=
 
<references>
 
 
<ref name= "participants">See the project website [http://gabocamnitzer.com/meaning-making-meaning "Meaning Making Meaning".] The exhibition included work by Alina Tenser, Andrea Phillips, Ann-Charlotte Glasberg Blomqvist, Annette Krauss, Anton Vidokle, Barnfilmskolan, Bronwyn Bailey-Charteris, Cara Tolmie and Kimberley O'Neill, Doa Aly, Elizabeth Ellsworth and Jamie Kruse (Smudge Studio), Emanuel Almborg, Eva Weinmayr, Felicity Allen, Gert Biesta and Carl Anders Säfström, Glenn Loughran, Harrell Fletcher, Henry Giroux, Irit Rogoff, Janna Graham, Jaroslav Andel, Jason E. Bowman, Jenny Richards, Jessica Hamlin, Jeuno JE Kim and Ewa Einhorn, Katrin Ingelstedt, Lisa Nyberg, Lovisa Gustafsson, Maj Hasager, Maria Acaso and Jordi Ferreiro, Monica Sand, Olav Westphalen, Olivia Plender, Pedro Lasch, Stephan Dillemuth, Stephen Duncombe, Sunshine Socialist Cinema, and Tyson E. Lewis.</ref>
 
 
 
<ref name= "materials"> These boxes contained materials, for example, from [http://andpublishing.org/?s=the+piracy+project The Piracy Project], [http://andpublishing.org/teaching-for-people-who-prefer-not-to-teach-2/ Teaching for people who prefer not to teach], [http://andpublishing.org/library-of-omissions-and-inclusions/ The Library of Omissions and Inclusions], [http://whatisfeministpedagogy.tumblr.com/ Let's Mobilize: What is Feminist Pedagogy?], https://www.artsadmin.co.uk/events/3850 a selection of good and bad sports bras (D cup and upwards)], [http://makeitclear.eu/ Keep It Complex], as well as our [https://eastsideprojects.org/projects/policy-show/ terms and conditions], emails and other miscellaneous items.</ref>
 
</references>
 

Revision as of 11:56, 23 September 2020

⟶  see chapter: 05*Reflection, theorization of projects: The Library of Omissions and Inclusions – radical publishing practices require radical librarianship The Library of Inclusions and Omissions (LIO) is one of the four projects submitted for this PhD. What follows is a quick overview and short factual description of the projects’ elements. A detailed reflection and theorization follows in chapter 05*Reflection and theorization of projects.

Starting point and context

The LIO is a practice-based experiment in critical knowledge infrastructures. Through an open call for contributions, a reference library is collectively built and curated by the community that is using it. To date, there are roughly 100 contributions on its shelves. The library gathers feminist, intersectional, and postcolonial materials that are not, or are only sparsely available in institutional collections or databases: too flimsy in format or otherwise not validated by publishing houses or institutions such as libraries. I wanted to explore whether such a curatorial concept can help to give voice to undiscovered, suppressed, or otherwise unacknowledged material. How can a library turn from being a repository of knowledge into a space of social and intellectual encounters? And could such a project build a community or connect different existing communities? In short, could such a project help to build collective knowledge infrastructures that in some ways are able to counter the normativity of how knowledge is created and shared in institutional libraries?

Invitation Letter

LIO-letter English.jpg

⟶  English letter⟶  Swedish letter⟶  Arabic letter

In the hope of receiving contributions from a range of cultural backgrounds and communities, the open call was published in Swedish, English, and Arabic and distributed in community centers, libraries, universities, and art spaces in and around Gothenburg (including suburbs such as Angered).


Index Card Catalogue

IO-Emmenegger Nicole-Jean Rys.jpg

⟶  see: LIO Index Card Catalogue ⟶  see chapter 05*Reflection, theorization of projects: Perspectives and Framing under the disguise of neutrality

The LIO asks contributors for a short written rationale as to why the book they have selected is important to them, and why they want to share it with others. This task shifts the emphasis from attempting to frame the content of the books in an arguably objective manner towards describing the readers' processes of meaning-making. The short statements are printed on yellow index cards that accompany the books and serve as an entry point and framing device for the library users. This approach to cataloging is an attempt to connect people and communities through their readings, their discoveries, desires, struggles, and hopes. It is, therefore, an experiment to challenge the problematic concepts of neutrality and universality that form the basis of standard cataloging systems – discussed in detail in chapter 05*Reflection and theorization.



Temporary Reading Rooms, multiple sites

IO-Library-slideshow.gif

⟶  see project website: Meaning Making Meaning "Meaning Making Meaning", A-venue Gothenburg
March 16 – April 2, 2016

Convened by Gabo Camnitzer, "Meaning Making Meaning" was a three-part project consisting of an exhibition, a series of workshops and the Library of Inclusions and Ommissions Reading Room. Thirty-seven artists and educators responded to two questions: "How do you bring a classroom to life as if it were a work of art?" (Felix Guattari, Chaosmosis: An Ethicoaesthetic Paradigm); and its reformulation: "How do you bring a work of art to life as if it were a classroom?" The invitation to participate in "Meaning Making Meaning" kickstarted LIO. The exhibition's discursive and event-based character and its focus on the relationship between critical knowledge practices, education, and the arts, triggered numerous contributions by the participating practitioners and theorists, as well as from the art school community.

The exhibition included work, talks, and workshops by: Alina Tenser, Andrea Phillips, Ann-Charlotte Glasberg Blomqvist, Annette Krauss, Anton Vidokle, Barnfilmskolan, Bronwyn Bailey-Charteris, Cara Tolmie and Kimberley O'Neill, Doa Aly, Elizabeth Ellsworth and Jamie Kruse (Smudge Studio), Emanuel Almborg, Eva Weinmayr, Felicity Allen, Gert Biesta and Carl Anders Säfström, Glenn Loughran, Harrell Fletcher, Henry Giroux, Irit Rogoff, Janna Graham, Jaroslav Andel, Jason E. Bowman, Jenny Richards, Jessica Hamlin, Jeuno JE Kim and Ewa Einhorn, Katrin Ingelstedt, Lisa Nyberg, Lovisa Gustafsson, Maj Hasager, Maria Acaso and Jordi Ferreiro, Monica Sand, Olav Westphalen, Olivia Plender, Pedro Lasch, Stephan Dillemuth, Stephen Duncombe, Sunshine Socialist Cinema, and Tyson E. Lewis.


LIO-AND Publishing.jpg

"The Research Show", A-venue Gothenburg
April 6–23, 2016

Convened by Cora Hillebrand, Ram Krishna Ranjan, and Mick Wilson, "The Research Show" was an informal work-in-progress exhibition by doctoral researchers based in the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg. Participating artists included André Alves, Eva la Cour, Kerstin Hamilton, Annelies Vaneycken, Arne Kjell Vikhagen, and Eva Weinmayr. "The Research Show" took place in the same venue as “Meaning Making Meaning”, an empty shop in Gothenburg's city center, immediately after the exhibition. Therefore the LIO reading room stayed as the exhibition around it changed. The implications of this change of context, from an event-based exhibition to an exhibition that focused on the display of exhibits is discussed in chapter 05*Reflection and theorization of projects.



LIO-Eva Weinmayr-Lets Mobilize-Valand Academy01.jpg

⟶  see project 04*Let's Mobilize: What is Feminist Pedagogy? "Let’s Mobilize: What is Feminist Pedagogy?"
Valand Academy,
October 12–14, 2016

The LIO was hosted by the three-day international event "Let’s Mobilize: What is Feminist Pedagogy?", which proposed to investigate queer and feminist pedagogies. The mobilization was organized by the Feminist Pedagogy Working Group (Andreas Engman, Eva Weinmayr, Gabo Camnitzer, Kanchan Burathoki, Mary Coble, and Rose Borthwick) at Valand Academy and welcomed over 100 participants, local, national and international (from seven European countries). Many of the attendees had brought books, pamphlets, and printouts to be added to the reading room installed in the main assembly room.

LIO-Eva Weinmayr-Utopia of Access-Venice Biennale01a.jpg

⟶  see published pamphlet: "Dear Hannah"

"Utopia of Access", Pavilion for Artistic Research, 57th Venice Biennale,
May 11 – July 2, 2017

Curated by Jan Kaila (Uniarts Helsinki) and Henk Slager (Utrecht University), the exhibition "Utopia of Access" invited ten researchers from different Nordic doctoral programs to articulate new modes of artistic thinking on the notion of access. Despite the topic's relevance – access to materials that are not institutionally validated – another set of questions emerged: what are the underlying politics of "exhibiting" a collectivized resource that is anchored in a local community in the context of an international art biennale? Would the practicalities of such an exhibition context be productive? Would visitors actually use the reading room and contribute relevant materials to the library? ⟶  see book: Autoprogetazione by Enzo Mari, 1974 Rather than creating a reading room and moving the whole resource (the books themselves) to Venice, I used this occasion to document and share the Gothenburg project. I presented a 1:1 scale photographic representation of the books and the accompanying index cards on the shelves. This large-scale wall display was accompanied by a table built following an open-design by Enzo Mari (Enzo Mari, Autoprogetazione, 1974), and the pamphlet "Dear Hannah". The pamphlet discusses the implicit contradiction in exhibiting a collective resource – under a singular artistic authorship – at the Venice Biennale.




AND Marabouparken Unboxing Room8 lowres.jpg

⟶  see project 5*Boxing and Unboxing "Boxing and Unboxing", Guestroom Research Residency, Marabouparken konsthall Stockholm,
April 21 – August 26, 2018

During AND's research residency at MarabouParken Konsthall in Stockholm, and at the invitation of Marabouparken Konsthall’s curator Jenny Richards, a selection of books from the Library of Inclusions and Omissions was installed in what came to be called AND Publishing's "Unboxing Room". The "Unboxing Room" housed 12 cardboard boxes that were shipped from AND’s studio in London to Stockholm. The boxes contained materials Rosalie Schweiker and I were working on at the time, both collaboratively and individually. Visitors were invited to 'unbox' this archive-in-progress, that included ephemera from The Piracy Project, Teaching for people who prefer not to teach, The Library of Omissions and Inclusions, Let's Mobilize: What is Feminist Pedagogy?, a selection of good and bad sports bras (D cup and upwards), Keep It Complex, as well as a box containing research on terms and conditions of work in and with arts organizations, emails, and other miscellaneous items.

This "Unboxing Room", initially designated to be in the main galleries, eventually occupied one of Marabouparken Konsthall's office/archive rooms, in the administrative wing. This change of plan was caused by the realization that the formal no-daylight gallery space did not allow for the kind of engagement we hoped for. The new room, next to the staff kitchen, was a more friendly and inviting environment for spending time and making discoveries whilst unpacking the boxes. Visitors were guided by konsthall staff to the administrative office wing – backstage so to speak – making the hidden work of administration, organization, and finances visible to visitors.