26.4.18 Our exhibition, Second Annual Report from the Strategic Sanctuary for the Destruction of Free Will, opens 10.5.18 at Centre Clark, Montreal:
10.5.18 - 16.6.18
Centre d'art et de diffusion CLARK
5455, avenue de Gaspé, suite 114
Montréal (QC) Canada H2T 3B3
+1 514.288.4972 / email@example.com
OPENING + PERFORMANCE / THURSDAY, MAY 10, 8PM
ARTIST TALK / SATURDAY, MAY 12, 3PM
Why don’t we do a little exercise… Would anyone like to put themselves forward?”
--Masked voice from the performance in Second Annual Report from the Strategic Sanctuary for the Destruction of Free Will (2018)
In writing about architecture, LeCorbusier observed how things, over time, melt into primary shapes. Like Grecian ruins, great things become reduced to simple, formal arrangements: "I think that the flatness of the horizon, particularly at noon when it imposes a uniformity on everything about it, provides for each one of us a measure of the most humanly possible perception of the absolute". An investigation into how we perceive the world around us, particularly the power structures that bind us, is the starting point for Pil and Galia Kollectiv’s Progress Report from the Strategic Sanctuary for the Destruction of the Free Will. In this site-specific installation by the London-based duo we experience an ineffable, white, total world where self-expression is in tension with over-arching regulating systems.
In Strategic Sanctuary, we encounter a white, horizonless space. Clues to where we are, and what era we are in, provide both comfort and unnerving possibility. A ready-made cardboard Bauhaus room might be a prison cell, monk’s sanctuary, or padded therapy room. The uniform skin of whiteness is cut by swaths of black tape. Long, black lines describe wall hinges and life-sized triangles. They restrain form but also entice us toward ungraspable horizons. The title of the installation is derived from a pamphlet from the 1950s entitled SYNANON: STRATEGIC SANCTUARIES FOR THE DESTRUCTION OF FREE WILL written against Synanon, an offshoot AA cult whose mandate was to get people to stop drinking by using LSD instead. The space itself seems to make a parallel between the mechanisms of state control and regulation on the one hand, and the idea of self-expression and spiritual release, on the other. An audio soundtrack based on a Youtube group therapy session plays eerily in the background. We anticipate de-tox, absolution, or full ecstatic ritual.
Is chaos still chaos if we find ways to contain it? We may stand for or against the monitoring of our well-being and suitability for work, normalcy, and complicity with the whole, but we can’t help but notice how freely we express ourselves when masked. Or how we fall into the surreal gestures and choreology of cult rapture, metal band performances, and group therapy confession. In Strategic Sanctuary we are asked to let go and empathise. Placed under such voluntary house-arrest, the excessive generation of subjectivity (aka sharing) feels like the high of psychedelic drugs, the collective fire of shared justice, and the levelling fervour-to-belong that can bring us, willfully, to the point of worship, making us question the way such experiences are constructed. — Text by Alisha Piercy
Pil and Galia Kollectiv are artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and the relationship between art and politics. Their band WE extends their interrogation of the construction of individuality and collectivity. They have had solo shows at Naughton Gallery, Belfast, Pump House Gallery, London, Te Tuhi Center for the Arts, New Zealand and The Showroom Gallery, London. They have also presented live work at the Stedelijk Museum, Amsterdam, the 5th Montreal Biennial and Kunsthall Oslo. They are the directors of artist run project space xero, kline & coma and work as lecturers in Fine Art at the University of Reading, the Royal College of Art and the CASS School of Art.
The artists would like to thank Victor M. Jakeman, Rosie Ridgway, Mingo L'Indien, Dominique Pétrin, University of Reading, Royal College of Art and the CASS School of Art.
WE will also be playing live in Montreal on 11.5.18 at La Sotterenea:
Analogue Addiction présente:
*** La Sotterenea = petite salle sous La Sala Rossa
*** La Sotterenea = small venue under La Sala Rossa
---- 4848 St-Laurent ----
- WE (UK)
11 Mai à La Sotterenea — 21h, 8$
May 11th at La Sotterenea — 9pm, 8$
Affiche par Karmen Mantha
20.3.18 WE videos are on show as part of Fusion at Rising Sun Arts Centre, Reading:
The Rising Sun Arts Centre
30 Silver St.
Saturday 24.3.18 at 14:00
Fusion is a one day Sound Salon with Sinéad Bligh, Harriet Butler, Gary Charles, Copper Sounds, Shirley Penga, Starky and the Moondoctor, Linda Stupart and WE (Pil & Galia Kollectiv), curated by Simone Hesselberg
The Rising Sun Arts Centre will host an ensemble of artists working with sound, who eschew traditional artistic mediums. Fusion is an immersive auditory experience tinged with chaos, and includes performances, installations and videos bringing a vibrant range of new commissions and existing work to Reading.
Fusion is supported by Arts Council England, Reading International and the University of Reading
More information here: https://www.facebook.com/events/1936994309963988/
We are also screening Better Future, Wolf-Shaped in Zurich:
Thursday 22.3.18 at 18:30
Contributions by Hana Earles, Maëlle Gross, Anna Linder, Nunzio Madden, OMSK Social Club PUNK IS DADA, Pil & Galia Kollectiv, Marilou Poncin, Tabita Rezaire, Roee Rosen, Scagliola & Meier, Nicolaas Schmidt, Bo Zheng
Curatorial Group: Damian Christinger, Kristina Grigorjeva, Christine Kaiser, Ronald Kolb, Ella Krivanek, Marco Meuli, Camille Regli, Dorothee Richter, Oliver Rico, Elena Setzer
in collaboration with zürich moves!
Taking queer practices & theories as a point of departure, ‚Queering the Exhibition‘ suggests both a conceptually and formally polyphonous environment of 12 video artworks by several artists. Against naturalized, binary subject constructions this group show puts ambiguity, fluidity and layering at the forefront to enhance multiple levels of subjectivity. By challenging its format, the exhibition invites the visitor to perpetually reconfigure the offered narratives.
The exhibition was inaugurated by Elie Autin’s and Juliette Uzor’s performance How can I call what is between us (II).
The Oncurating Project Space (oncurating-space.org) organizes this exhibition with young curators of the Postgraduate Programme in Curating, Zurich University of the Arts (curating.org) in collaboration with alumnus Marc Streit for zürich moves!(festival for contemporary arts practice in performing arts).
Opening times: Tue–Thu, 4–7pm or by appointment (firstname.lastname@example.org)
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