[Nettime-ro] Fwd: BWA WrocÅaw presents For Kids and Adults: the play exhibition

[stefan rusu <suhebator@gmail.com>]

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From: Art-Agenda <art-agenda@mailer.e-flux.com>
Date: Fri, Aug 26, 2011 at 10:00 AM
Subject: BWA WrocÅaw presents For Kids and Adults: the play exhibition
To: suhebator@gmail.com


  August 26, 2011 [image:
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 Petra Feriancova, *Public Playgrounds â From My Dad's Research*, 2010
  For Kids and Adults
*the play exhibition*

7 Septemberâ2 October 2011

*Opening:*
7 pmâ9 pm
The exhibition continues:
4 Novemberâ4 December 2011
Salon of the Museum of Contemporary Art, Belgrade, Serbia

*BWA WrocÅaw*
Galeria Awangarda,
ul. Wita Stwosza 32

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*Artists:*
Nikos Arvanitis, Hubert Czerepok, Marko Crnobrnja, Marija ÄorÄeviÄ, Petra
Feriancova, Karolina Freino, Nenad JeremiÄ, Alicja Jodko (DWF/ Entropia),
KidsPatch, Vladimir PeriÄ, Vedran Perkov, Joanna Rajkowska, Milorad StajÄiÄ,
Katarina Åeda, Janek Simon, Kama Sokolnicka, Predrag TerziÄ, MiloÅ TomiÄ,
Vova Vorotniov, Zorka Wollny, Martin Zet

*Curators:*
DuÅica DraÅiÄ, Anna MituÅ, Una PopoviÄ, Joanna Stembalska

The works presented in the exhibition "For Kids and Adults" deal with the
phenomena of play and game, without which one cannot imagine any human
community. We are interested in the role played in its dynamics by space
(whether real or virtual) as well as spontaneous (i.e. play) and structured
(i.e. game) ludic transactions which define itâits emergence, integration,
modification and decomposition.

Play is still associated with the culture of free time, whichâin modern
societiesâis separated from what is productive, and dismissed to what is
private and foolish. The social experience of the last decade forces us to
look critically at that separation, and to perceive play as an inspiring
experience in which we act independently from any social control and
individual or group purpose, and through which we can gain space for the
longed-for freedom.

Analyzing culture as a system of rules, hierarchies, behaviours, decision
making, manipulation and accumulation of knowledge, play may be considered
an activity through which we can introduce changes to the very system, and
operate within it. How we play is preconditioned by the environment, a total
system which includes spaceâpolitical, social and personal. At the same
time, play may influence and change that environment. Play also refers to
the movement, look, quest, creationâthese are "tools" which can be used in
the action within a (possible) process.

And it is exactly in this sense that the exhibition refers to *the play
drive, *a term introduced in Schiller's *Letters Upon the Aesthetic
Education of Man*, denoting a formative process which resists time and
persists from the first to the last day of man's life. As observed by
Ranciere in his *Esthetiques comme poitique, *Schiller's revolutionary
contribution was to create the idea of political change by revisiting what
he called the distribution of the sensible. According to his *Letters, *the
change would be possible if we were to cease perceiving art as separated
from life, and play as separated from work.

The exhibition loosely refers to historical contexts of play and game,
drawing from the political potential of "action" and transactional character
which bonds the community. The explosion of the notions of play and games in
various fields, from literature to architecture, coincided with essential
political and social changes in this part of Europe in the 1980's and 90's.
But the critical and social potential of the *play* *drive *had already been
crucial in the 60's and 70's. Its subversive edge and potential was revealed
in various movements, including *Fluxus* and *Situationists*, later followed
in Poland, especially in WrocÅaw, by the *Orange Alternative *and the group
*LUXUS*, as well as by numerous conceptual artists in former Yugoslavia.

What is displayed in the projects and works created by the invited artists
is the formative, economic and political dimension of play and games, with
special significance of art in public space and its critical character.

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