GOODBYE WITTGENSTEIN PART 2 - qujOchÖ" /> GOODBYE WITTGENSTEIN PART 2 - qujOchÖ" />

GOODBYE WITTGENSTEIN PART 2

Tue Nov 1 – Fri Dec 9 2016
Linz

GOODBYE WITTGENSTEIN is an inter­na­tio­nal exchan­ge pro­gram bet­ween artists and aca­de­mics from qujOchÖ in Linz, Aus­tria and artists selec­ted by A3 Pro­ject Space in part­nership with BOM Bir­ming­ham Open Media and Ate­lier­haus Salz­amt Linz.

Par­ti­ci­pants in the pro­gram take the rela­ti­ons­hip bet­ween the Aus­tri­an born phi­lo­so­pher Lud­wig Witt­gen­stein (1889 – 1951) and David Hume Pin­sent from Bir­ming­ham (1891 – 1918) as a star­ting point for a series of pro­jects that will hap­pen in Linz and Bir­ming­ham during 2016. The pro­jects respond to Wittgenstein’s ear­ly text “Notes on Logic” which was dic­ta­ted by Witt­gen­stein in 1913 during a visit to see David in Bir­ming­ham. “Notes in Logic” is nota­b­ly the pre­de­ces­sor of what is con­s­i­de­red to be one of the most important phi­lo­so­phi­cal texts of the 20th Cen­tu­ry, “Trac­ta­tus Logi­co Phi­lo­so­phi­cus”.

The first pha­se of the Good­bye Witt­gen­stein pro­gram was a visit to Bir­ming­ham from qujOchÖ artists Vere­na Hen­et­mayr, Tho­mas Phil­ipp and And­re Zogho­ly in Sum­mer 2016 who have been enac­ting and docu­men­ting a series of public inter­ven­ti­ons at pla­ces that are con­nec­ted to the life of Witt­gen­stein and Pin­sent. In Novem­ber 2016 a group of four artists around A3 Pro­ject Space will come to Linz, whe­re Witt­gen­stein visi­ted the tech­ni­cal ori­en­ta­ted “K.u.k. Real­schu­le” bet­ween 1903 and 1906. Emi­ly War­ner, Tre­vor Pitt, Pete Ash­ton and Mike Johnston will use their resi­den­ces at Ate­lier­haus Salz­amt and quitch to go on the trail of the phi­lo­so­pher.

The resi­den­cy inclu­des a public talk at quitch on 4 Novem­ber 2016 and an exhi­bi­ti­on of the works at Ate­lier­haus Salz­amt, run­ning from 24 Novem­ber to 9 Decem­ber 2016.

Dis­co­bo­bu­la­te­b­ang­bang: Good­bye Witt­gen­stein
Fri 4 Nov 2016 19:00
quitch, Unte­re Donau­län­de 10

On Fri­day 4 Novem­ber 2016 the four artists from Bir­ming­ham will talk about their work and the methods they use for GOODBYE WITTGENSTEIN. This is fol­lo­wed by an alter­na­ting DJ-Set cal­led “Dis­co­bo­bu­la­te­b­ang­bang”.

Kris­tal­lin #38: Good­bye Witt­gen­stein
Tue 24 Nov – Fri 9 Dec 2016
Ate­lier­haus Salz­amt, Obe­re Donau­län­de 15
Ope­ning: Wed 23 Nov 2016 19:00

The works rea­li­zed in Linz will be shown during the 38th edi­ti­on of the Kris­tal­lin series at Ate­lier­haus Salz­amt. The exhi­bi­ti­on will be ope­ned on Wed­nes­day 23 Novem­ber 2016 at 7 pm and runs until Fri­day 9 Decem­ber 2016.

Links:
http://a3projectspace.org
http://www.bom.org.uk
http://digbethfirstfriday.com
http://www.linz.at/kultur/salzamt.asp
http://mikeinmono.blogspot.co.at
http://emily-warner.com
http://www.podprojects.org
http://www.peteashton.com

Sup­por­ted by Aus­tri­an Cul­tu­ral Forum Lon­don, BKA Kunst, Land Ober­ös­ter­reich and Stadt Linz.

(Pho­tos: Pete Ash­ton)

GOODBYE WITTGENSTEIN in LINZ | Works

Trevor Pitt

Tre­vor Pitt: “David and Lud­wig”

Artist state­ment: “I will use my time at Salz­amt to deve­lop the form and struc­tu­re for a 21st Cen­tu­ry Queer ℗ope­ra; sket­ching out the libret­to (based on Pinsent’s dia­ries), com­po­sing music using Logic soft­ware and crea­ting maquet­tes for sta­ging, mise-en-sce­ne. […] One of the out­co­mes of the resi­den­cy will a live per­for­mance of extracts from the ope­ra ‘David and Lud­wig’.”

Tre­vor Pitt is an artist and cura­tor based in Bir­ming­ham who has been devi­sing pro­jects in gal­le­ries and the public sphe­re for 15 years. His work emer­ges from the soci­al and cul­tu­ral con­text wit­hin which they are pro­du­ced and he adopts a spec­trum of col­la­bo­ra­ti­ve stra­te­gies and methods of enqui­ry. Alt­hough his prac­tice is fun­da­ment­al­ly that of an artist, he ope­ra­tes as a cura­tor, com­mis­sio­ner, rese­ar­cher and faci­li­ta­tor depen­dent on the natu­re of the “role” he adopts wit­hin the dyna­mic of a pro­ject. In 2007 he set up POD Pro­jects as a plat­form and a stra­te­gy for col­la­bo­ra­ti­ve ven­tures with artists, orga­ni­za­ti­ons and the public. In 2012 he set up A3 Pro­ject Space in Bir­ming­ham, UK as artist stu­di­os and a gal­le­ry that pro­vi­des con­tem­pora­ry artists with the oppor­tu­ni­ty to deve­lop new work and new rela­ti­ons­hips with their audi­en­ces.

peteashton_photo

Pete Ash­ton: “Witt­gen­stein wan­delt weh­mü­tig wid­ri­ger Win­de wegen Wien­wärts”

Artist state­ment: “For Good­bye Witt­gen­stein I plan to use the schoo­ly­ard taunt ‘Witt­gen­stein strolls wist­ful­ly Vien­na-wards due to adver­se winds’ as a tem­pla­te to explo­re Linz from the per­spec­tive of the young phi­lo­so­pher. I plan to under­ta­ke regu­lar walks from the Real­schu­le in the direc­tion of Vien­na both alo­ne and accom­pa­nied by others. The­se walks will con­sti­tu­te part of the work. Pho­to­gra­phic and other data cap­tu­red on the­se walks will then go towards a pie­ce of visu­al art com­po­sed using algo­rith­mic pro­ces­ses trai­ned in part Wittgenstein’s work.”

Pete Ash­ton is an artist, most­ly working with came­ras and com­pu­ters, based in Bir­ming­ham, Eng­land. Most of his work is ancho­red by his fel­low­ship at Bir­ming­ham Open Media whe­re he has been based sin­ce it ope­ned in Novem­ber 2014. This work is cur­r­ent­ly being deve­lo­ped on Git­hub and will start taking shape through 2017. During 2016 his fel­low­ship work was most­ly a sab­ba­ti­cal based around Spe­cu­la­ti­ve Came­ras, rethin­king the came­ra as an artis­tic tool. His latest works inclu­de “20/20 Visi­ons” (for Know­le West Media Cen­tra), “Ikon Traces Wal­king Tour” (for Ikon gal­le­ry and Still Wal­king fes­ti­val), Sit­ting In Sta­gram (2015), Cross City Walks at the Flat­pack Film Fes­ti­val (2015) and Live Soni­fi­ca­ti­on of Pho­to­gra­phy (2014).

Mike Johnston at Peace Gardens

Mike Johnston: “The Linz Chap­ter”

Artist state­ment: “The Linz Chap­ter will both be a stan­da­lo­ne pie­ce and a part of my ongo­ing writ­ten work inspi­red by Wittgenstein’s visits to Bir­ming­ham. The­se are scar­ce­ly men­tio­ned in the exis­ting nar­ra­ti­ves of his life, but after much rese­arch an inte­res­ting sto­ry has begun to emer­ge. […] The Linz Chap­ter is pos­si­ble becau­se it too is a post-indus­tri­al second city like Bir­ming­ham. Con­se­quent­ly the trans­fer of the­mes will pro­vi­de an inte­res­ting com­pa­ri­son. And as we know, Wittgenstein’s edu­ca­ti­on was in Linz which makes his ghost avail­ab­le for com­ment. Two the­mes in par­ti­cu­lar have emer­ged from rese­arch in Bir­ming­ham – not­hing­ness and para­di­se. Deve­lop­ment of the­se in Linz will invol­ve an explo­ra­ti­on to find and docu­ment their local signi­fiers. […] The­re will be a rea­ding of The Linz Chap­ter during the final week of resi­den­cy.”

Mike Johnston was born in Bel­fast, Nort­hern Ire­land and lives in Bir­ming­ham, Eng­land, sin­ce 1990. He gra­dua­ted from Uni­ver­si­ty of Wol­ver­hamp­ton in 1993 with a degree in Phi­lo­so­phy and Poli­tics. In 1999 he for­med the elec­tro­nic music group Plo­ne and released for “Begin­ner Pia­no” on Warp records. Fur­t­her musi­cal adven­tures inclu­ded Mike in Mono, ZX Spec­trum Orches­tra and Modi­fied Toy Orches­tra, with relea­ses on Half-Eaten, Sta­tic Cara­van, and Warm Cir­cuit. His art prac­tice sprang from invol­ve­ment in the ZX Spec­trum Orches­tra: crea­ting ani­ma­ti­ons using machi­ne code, archaic prin­ted works and graph paper illus­tra­ti­ons. Johnston exhi­bi­ted at Citric, Bre­scia and LABo­ral, Gijon. Sin­ce 2008 he has been wri­ting about the histo­ry of Bir­ming­ham in the first half of the twen­tieth cen­tu­ry, the phi­lo­so­phy of Lud­wig Witt­gen­stein and the unex­pec­ted con­nec­tions bet­ween the two.

Emily Warner

Emi­ly War­ner: “Num­ber 4, Aus­tria”

Artist state­ment: “Retra­cing the rou­te covering Wittgenstein’s time in Bir­ming­ham, I am com­pi­ling an inven­to­ry of rese­arch that will act as a score for per­for­ma­ti­ve respon­se upon arri­val in Linz. This docu­men­ta­ti­on com­pri­ses of visu­al records, scrip­ted text and move­ment based respon­ses that cor­re­la­te direct­ly with the sites signi­fi­cant to the Good­bye Witt­gen­stein nar­ra­ti­ve. Focu­sing upon Wittgenstein’s obses­si­on with the pro­duc­tion of an ide­al space for gene­ra­ting phi­lo­so­phi­cal mat­ter – the remo­te hut he built by hand. I will be con­struc­ting and inh­a­bi­ting both real and ima­gi­ned spaces during my time in Linz. Brin­ging toge­ther mate­ri­al gar­ne­red from sites in Bir­ming­ham and Linz, I will fabri­ca­te space as a method for impo­sing con­di­ti­ons of work and pro­duc­tivi­ty.”

Emi­ly War­ner is an artist and rese­ar­cher working in a mul­ti-disci­pli­na­ry way to explo­re art as an on-going pro­cess, some­thing that tem­pora­ri­ly exists as a live expe­ri­ence, an action-based encoun­ter or a con­ver­sa­tio­nal situa­ti­on. Activating rela­ti­ons­hips with peop­le and place, she is inte­rested in the con­di­ti­on and con­struc­tion of rela­ti­ons­hips in both phy­si­cal and digi­tal con­texts.