Planning the companions
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thinking through forms
What if “conversation is understood not as the space of seeing, but of coming to terms with certain forms of blindness?... What drives the reticence for conversation is the acknowledgement of non-knowledge rather than recognition… If, as an art, conversation is the creation of worlds, we could say that to choose to have a conversation with someone is to admit them into the field where worlds are constructed. And this runs the risk of redefining not only the other but us as well” - Monika Szewczyk

This focus on blindness, on reticence and non-knowledge and the inherent risk in “redefining not only the other but us as well,” is what is at stake in positioning dialogue around the artist’s practice at the center of a CGE programme. This is the nebulous place where the potential to activate the gallery as a site of co-constructive learning lies.

While groping to define provisionally and partly, what a particular concept may mean, we gain insight into what it can do. It is in the groping that the valuable work lies. (Mieke Bal, 2002, p. 11)
I began to work with clay — to bridge a gap. It was another way of articulating ideas,focusing on the potential of dialogue, the site of conversation, as a basis for co-construction.
These drawings were made in preparation for companions

A methodology for developing these conversations with artists’ practices was fundamental to beginning my project because, unless the artist and I trusted each other and I became intimate with the ways of thinking and working at play, it would be impossible to develop a workshop that would truly become resonant with their practice.

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Planning shapes for sharing meals and conversations