Bonaventure Soh Bejeng Ndikung’s expanded curatorial practice delineates the space of exhibition making as a space of critical thinking and of experimentation. By proximity, the texts in this anthology, echo each other, resonate with each other, interfere with each other, and present perspectives on the political, poetic, and philosophical potentials of exhibition making, beyond the tight corset of the discipline itself.
Dieses Buch legt eine Auswahl von Worten, Arbeiten und Bildern offen, die es geprägt, angestiftet und verkörpert haben. Es wurde nicht einfach als ein Ausstellungskatalog realisiert, sondern als eine Publikation die einen Rechercheverlauf nachverfolgt, als eine Gelegenheit SAVVYs kuratorischen Vorschlag um eine zusätzliche chorale Perspektive zu erweitern.
This publication unfolds as a collection of words, works, and images that informed, incited, and embodied SAVVY Contemporary’s project Ultrasanity. On Madness, Sanitation, Antipsychiatry, and Resistance, an exhibition and research project on the elasticity of sanity.Â
We Have Delivered Ourselves from the Tonal — Von, mit, zu, ĂĽber Julius Eastman ist eine Auswahl von Essays, Libretti, Liedtexten, Erinnerungen, Fotos und persönlichen Anekdoten von Musiker*innen, bildenden KĂĽnstler*innen, Forscher*innen und Archivar*innen, die dem Werk und Leben des afroamerikanischen Komponisten, Musikers, Performers und Aktivisten Julius Eastman Ehre erweisen.Â
We Have Delivered Ourselves from the Tonal — Of, Towards, On, For Julius Eastman is a collection of essays, librettos, lyrics, memories, photos, personal anecdotes by musicians, visual artists, researchers and archivers that pays homage to the work and life of African-American composer, musician, performer, activist Julius Eastman.Â
The unlikely seemed possible in the summer of 2015, as thousands of immigrants from mostly Syria made their way to Germany and Angela Merkel made the statement “Wir schaffen das” (We can do it/ we can cope with it). A German's venture into open hospitality was being witnessed as the country celebrated its newfound “Willkommenskultur.”
The film series conceived of by SAVVY Contemporary, which ran from September 2016 through March 2018, was a response to our own dismay at the continued injustices that the world faces. Each week SAVVY invited a different speaker who would choose a film that she or he felt answered, or asked more questions of, the question, “how does the world breathe now?”