Uncivilised Paradigms

Uncivilised Paradigms is a free online course open to 50 participants that embarks from socially engaged practices, New Genre Public Art, critical pedagogy and activism, in dialogue with contemporary artistic practices. The premise of Uncivilised Paradigms is that artistic practices are not only able to deconstruct complex interdependent socioecological crises but are in fact, able to develop ideas and stories for reciprocal states of being to dismantle them. Uncivilised Paradigms focuses on moving from debilitating mindframes and narratives.
Through a series of seminars, working group sessions and master classes, the programme explores artistic practices, proposals, and research from the Euro-Mediterranean region that can lend themselves as tools to learn from. The aim of this course is two-fold – to reflect on our epistemologies while also developing practical tools that answer the question: what does ‘being ecological’  in times of multiple and converging crises mean? During the course, the participants will be asked to develop their own proposals to raise awareness on the environmental impact of artistic practices, institutions and more specifically, the cultural events of the Mediterranea Biennale.
The course intends to thead questions concerning environmental issues within the geopolitical realities of the globalised Mediterranean – such as, aridity lines, increased levels of toxicity in waters, electronic colonialism in seabeds and desertification – to issues arising within our societies and their institutions. Uncivilised Paradigms will cast a spotlight on practices that dismantle the nature-culture divide; challenge hegemonic and anthropocentric ideas of being with our worlds; question the social construct of civilisation; and that actively resist socio-political and environmental forms of oppression and injustice.
Fifty young participants, from thirty-nine different countries, have been selected to take part in Uncivilised Paradigms
Adrian Abela, Brigita Antoni, Ermina Apostolaki, Mya Berger, Adna Camdzic, Riccardo Centazzo, Iliada Charalambous, Aadita Chaudhury, Gian CRUZ, Felicia Cucuta, Yara El Turk, Amalie Elfallah, Carrie Foulkes, Rory Hierzer, Mati Jhurry, Ariana Kalliga, Katerina Kallivrousi, Margherita Kay Budillon, Libby Langsner, Yusi Liu, Paul Majer, David Mann, Lizaveta Matveeva, Anas Mghar, Chun Minji, Sebastiano Moltrer, Azal Narmon, Yubing Pan, Emmi Pennanen, Jaxon Pope, Federico Rudari, Bárbara Sánchez Barroso, Luana Santos, Edanur Seçim, Giacomo Segantin, Olivia Siino, Agata Szymanek, Filippo Tartaglia, Hoyee Tse, Sebastian Varra, Dora Vasilakou, Nikolaos Verginis, Eva Lín Vilhjálmsdóttir, Gerta Xhaferaj, Julia Yanase, Farida Youssef, Damianos Zisimou, Rahman Zikri, Volynova Nastia. Pētersone Tīna

Uncivilised Paradigms program

Curatorial Lab with “A Natural Oasis?” 2022-2023, curated by Alessandro Castiglioni and Simone Frangi

All the lectures have been streamed live from Metochi Study Center in Lesbos, where the fellows and the curators of the program will be together for one week research seminar with the fellows of the equivalent program “Nordic Noise” (https://nordicnoise.art) organised by Fluks (https://www.uia.no/senter-og-nettverk/fluks-senter-for-ung-kunst-og-kultur).
August 31, 10 am to 12 pm, Stefano Mudu “The Migratory Cycle of Images. A theoretical model for understanding artistic reactivations.”
In her collection of essays entitled “On Photography” (1977), critic and theorist Susan Sontag introduced the notion ‘ecology of images’ to oppose the greed with which we produce and consume visual products. The author thus claimed that new productions should be avoided until the whole existing visual production had been used. Interpreting her words, this lecture aims to outline the rules of a visual production that has increasingly re-used existing images as materials to build new artistic objects, often adapting them to a novel critical and narrative framework. A context in which, according to French critic and curator Nicolas Bourriaud, art is no longer interested in “elaborating a form on the basis of a raw material”; it rather works “with objects already informed by other objects”.
August 31, 4 pm to 6 pm, Marie Hervé “What to do with all this mess? Some photographic navigation paths”
From the practice of the family album to journalism and masses of images stored on our mobile phones, photography since its invention has had a growing presence in our social, political, family and intimate life, soon becoming the cornerstone of Western media and communication systems. Our research will consist in observing these potentialities and uses of the image by taking up the term “iconomie” as described by the economist Gilson Schwartz, and more recently by Michel Volle : images within « the economy of icon, information and knowledge ».
September 1, 9 am to 11 am, Evagoras Vanezis “Narratives of becoming-with”
How can we re-work narratives to accentuate material flows and invest in processes of becoming? The starting point of the lecture is Donna J. Haraway’s use of the ancient visual and narrative motif of Potnia Theron (the Mistress of the Animals) in her tentacular mobilisation of the chthonic (of, in, or under the Earth and the seas). This leads to a reflection on how the inhabitation of narratives from unexpected angles can be utilised as a methodological tool to explore human and non-human interconnectedness.
September 1, 11 am to 1 pm, Marie-Nour Hechaime “Museums in the Planetary Age: decolonial strategies & the environmental turn”
“The questions that confront writers and artists today are not just those of the politics of the carbon economy; many of them have to do also with our own practices and the ways in which they make us complicit in the concealment of the broader culture.” Amitev Gosh, The Great Derangement, 2016. The most recent definition of a museum proposed by ICOM, stresses its necessary sustainable character denoting an environmental turn. However, ‘sustainability’ as criticized by thinker Dipesh Chakrabarty refers to a certain set of anthropocentric values that should be re-thought within the age of the ‘planetary’. The lecture proposes to look at recent curatorial and museum practices, to take as a case study a few Museums within the Arab region (such as the Sursock Museum, the Palestinian Museum, and the Museums in the Gulf), and posits that environmental struggles could not be de-linked from decolonial practices.
September 2, 10 am to 12 pm, Joachim Aagaard Friis “Art and the Anthropocene”
Taking as its premise that the proposed geologic epoch of the Anthropocene is necessarily an aesthetic event, this lecture explores the concept of the Anthropocene, art that adresses aspects of this concept, and the relationship between contemporary art and the current era of ecological crisis. Lastly, I talk about some implications that the concept of the Anthropocene has for my own practice-driven art research. Proposed reading: Davis, H. og Turpin, E. 2015. “Art & Death: Lives Between the Fifth Assessment & the Sixth Extinction” in: Art in the Anthropocene. I: Davis, H. og Turpin (red.), E. London: Open Humanities Press, s. 1-31.
September 2, 4 pm to 6 pm, Klodiana Millona “Sticky Entanglements”
Even though the creation of landscape has been narrated as a natural and neutral phenomenon, landscape formation and its engineering has served to imperial expansion and agriculture has been used as a technology for its supremacy. Through the concept of material witness as introduced by Susan Schuppli in her book “Material Witness- Media, Forensics, Evidence”, —in which she explores nonhuman entities that archive their complex interactions with the world, producing ontological transformations and informatic dispositions that can be forensically decoded and reassembled back into history,— this lecture will address landscape as an active agent and a living archive against the flattening and colonial condition of the soil. The presentation will go through Sticky Entanglements — Seeds as bio social archive, a  long term collaborative research which looks at the critical materiality and hidden narratives of genetically modified crops, by revisiting the Japanese Empire seed engineering project in colonial Taiwan and position it within broader twentieth-century processes of ecological imperialism.

Allelopraxis curated by Denise Araouzou

6th of September 17-19 CEST with Marwa Arsanios, followed by the Mediterranean Node of the Design Justice Group
8th of September 17-19 CEST, with Dr Malaika Cunningham
13th of September 17-19 CEST, with Alice Bonnot + other guest (tbc*)
15th of September 17-19 CEST, with Ibrahim Nehme + other guest (tbc*)
20th of September 17 – 19 CEST, guests tbc*
22nd of September, 16-19 CEST Conclusion with Denise Araouzou, followed by presentation of Dare to Impact by Svetlana Racanović

Dare to Impact curated by Svetlana Racanović

September 22th, Svetlana Racanović, Montenegro – Art Historian, Art Critic and Curator, University Professor
September 27th, Jovan Cekic, Belgrade, Serbia – Philosopher, Artist and University Professor
September 29th, Ivica Mitrovic, Split, Croatia – Graphic Designer, Publicist, University Professor
October 4th, Maja Stankovic, Belgrade, Serbia – Art Historian, Art Critic and Curator, University Professor
October 6th, Liinu Grönlund, Helsinki, Finland – Visual Artist

Final sessions

October 10th; 11st; 12nd: presentation workshops and one to one meeting
October 18th, 19th; 20th; 25th; 26th: Lectures by fellows of A Natural Oasis?
October 27th: Final Workshop and one to one meetings

BJCEM is supported by:

Logo comune di Torino
Social media & sharing icons powered by UltimatelySocial