Une proposition de Catherine Beaugrand
et Georges Pfruender
En partenariat avec :
An art/research initiative engaging artists/researchers associated to Wits School of Arts of the University of Witwatersrand, and to DataData, a research institution linked to ENSBA Lyon
FUNDBURO is a collaborative project between Lyon, France and Johannesburg (Joburg) in South Africa, comprised of artists and researchers.
The task of this collaboration is to put the focus on what has become, in the context of a global view of the world, a simple, residual detail: the real distance between places. It is not simply a question of physical space but of everything that separates and distinguishes them. Connective technologies (both modes of rapid transport and electronic forms) have developed the idea of instantaneous real time and allow for the coexistence of unacknowledged discontinuities, misunderstandings and unanticipated gaps.
Based on a theoretical and artistic exploration of the question of distance, FUNDBURO acts in a continuous way in the evolution of each project, individually and collectively, by way of regular exchanges between contributors.
A flexible laboratory
FUNDBURO LYON is an intermediate phase of a research project which interrogates classical formats of exhibition and of workshop principles in the arts.
FUNDBURO Lyon tries to render visible the methods and the processes of research we currently undertake in ways we deem the most adequate regarding the formats, but also regarding collective and individual processes.
FUNDBURO Lyon allows – thanks to this moments of collaborative work - to further pursue, to reconsider, and to re-interpret a prototype of a flexible laboratory
A collective set-up of enunciations, soft subversion
The collaborative principle comes into play at several levels: in theoretical research; in the circulation/migration of roles (author, facilitator, translator); in art projects which implicate in a fluid way various actors of the research team.
Félix Guattari suggested the term of collective set-up of enunciations to define a mode of existence in networks in which the intersections, adjacencies, proximities and parallels allow emerging of representations and intensify the processes of elucidation.
The set-up of enunciation surpasses the problematic of the singular subject which is always situated in groupings and negotiation spaces.
In a contemporary understanding, the term « network » covers the digital universe and human relationships anchored in a global urbanity.
Research production, computing with/out computer
Since the unfolding of the digital era, what has happened to the arts, to the poetry, to plasticity, to textuality, to conceptions and to realization ?
The notion of Digital Humanities was introduced in the 40ies to translate the overthrow of humanities in contact with digital technologies. When disciplines take into account the matter of conceptualizing and implementing research via digital media, they are to confront themselves with pre-existing formats, temporalities and textualities inherent in digital practices.
Without computation, the principle of research is essentially centred around content. This posture is displaced by the digital tools which impose questions regarding format and shape. The researchers are thus forced to think about the medium of production and of dissemination of their works as part of their research realities.
Matter of concern
In this work process, we wish to query the notion of materiality as distinguished from physicality.
Materiality is always of an emerging quality. It is created thanks to interactions between physical characteristics and the more or less stable strategies of sense and interpretations.
Materiality marks a junction between physical reality and intentions. This matter of concern requires from us to think, to hesitate, to imagine, to take position in context of this co-evolution of human beings and techniques.
C.Beaugrand et G.Pfruender