Dream of Insomnia Workshop

17 Febbraio 2012

Un recluso sogna di essere chiuso in una cabina e sottoposto ad un esperimento come fosse un’anatra, con possibilità di sopravvivenza del 50% Susan Hiller; Notebooks of participants in Dream  Mapping 1974; Pencil, ink, watercolour; 23x36 (open) Susan Hiller; Notebooks of participants in Dream  Mapping 1974; Pencil, ink, watercolour; 23x36 (open) Insomniac dream 2012 Donald Sutherland, Invasion of the Body Snatchers (1978) by Philip Kaufman

Workshop Sogno d’Insonnia
17-18 febbraio 2012

a cura di Éric Alliez in collaborazione con Annie Ratti, Andrea Lissoni e Cesare Pietroiusti

presso la Fondazione Antonio Ratti – Villa Sucota


Nel luglio 2011 Susan Hiller ha realizzato presso la Fondazione Antonio Ratti The Dream Seminar II, in cui l'artista si proponeva, non senza un intento provocatorio, di riprendere un suo progetto degli anni '70 in cui chiedeva ai partecipanti di "prendere parte a sessioni intensive di lavoro di gruppo dedicate a sogni individuali". Si trattava qui di dare prova attraverso il sogno, che la ripetizione non è una ri-presentazione, un re-make o un modo di ri-ciclare, nella forma di una infinita retrospettiva priva di prospettiva, poiché, al contrario, la ripetizione non vale che a esprimere una singolarità che ha fatto la differenza dislocando il sogno nella vita.

E' questa esperienza che desideriamo prolungare nel Workshop Sogno d'Insonnia sovvertendo al passaggio i limiti e i confini  dell'uno e dell'altro.  Passaggio al limite dove Insonnia, Sonnambulismo e altre Medianità tendenti a immettere la notte in zone intermedie che non appartengono a pieno titolo al soggetto della psicoanalisi saranno convocati ad una Critica, fra teoria e pratica, del sogno e della sua interpretazione.
Critica dunque nel senso primario di una topografia della ragione impura; ma anche Critica e Clinica, in un senso più sperimentale, del sogno come strada maestra dell'inconscio che mescola il desiderio con l’interpretazione. Critica alla fine della quale si ritrovera il sogno non piu come il sogno del sonno o il sogno della veglia ma come un sogno d'insonnia.



Il workshop è strutturato in conferenze seguite da performances.

Durante la giornata di venerdì 17 febbraio le conferenze si terranno dalle 10.00 alle 19.00, alle 22.15 è prevista una performance notturna di John Duncan dal titolo Narcomantic (concerto e videoproiezione), un esperimento di ipnosi e manipolazione del sogno su un pubblico volontario e dormiente. Per assistere alla performance di John Duncan è necessario iscriversi (infocsav@fondazioneratti.org; 03133384976).

Sabato 18 febbraio dalle 10.00 alle 19.

In occasione del workshop verrà presentata la pubblicazione dei giovani artisti che hanno partecipato al XVII Corso Superiore di Arti Visive edita da Mousse Publishing.

Dream of Insomnia Workshop
17-18 February 2012

curated by Éric Alliez in collaboration with Annie Ratti, Andrea Lissoni e Cesare Pietroiusti

at Fondazione Antonio Ratti – Villa Sucota


In July 2011, Susan Hiller held The Dream Seminar II at the Fondazione Antonio Ratti. Not without a hint of provocation, the artist proposed reviving a project of the seventies in which she asked the participants to "take part in intensive group workshops focusing on individual dreams". It was a question of showing through dream that repetition is not a re-presentation, a re-make or a re-cycling in the form of an infinite retrospective devoid of perspective, since, on the contrary, repetition only serves to express a singularity, which makes the difference, by shifting the dream into life.


It is this experience that we wish to extend in the Dream of Insomnia Workshop, subverting the limits and boundaries of both dream and life. Drifting to the edge of sleep, where insomnia, sleepwalking and other mediumship take us into the night’s intermediary zones, we will convoke a critique, between theory and practice, of dreams and their interpretation – a critique which no longer belongs to "the subject" of psychoanalysis.
Critique therefore in the primary sense of a topography of impure reason; but also Critique and Clinic, in a more experimental sense, of the dream as highway of the unconscious that mixes desire with interpretation, at the end of which we will rediscover the dream, no longer as a dream of sleep or a daydream but as an insomniac dream.




The workshop is structured around lectures and artistic performances.

On Friday the 17th of February the lectures will be from 10am to 7pm. At 10.15pm an all-night performance (a solo concert and videoprojection) entitled Narcomantic will be held by John Duncan. An experiment in hypnosis and dream manipulation of a voluntary audience as they sleep. Please register in order to attend the performance by John Duncan (infocsav@fondazioneratti.org; +3903133384976).

Saturday the 18th of February from 10am to 7pm.

The workshop will host the presentation of the publication of the young artists who participated in the XVII Advanced Course in Visual Arts edited by Mousse Publishing.



Susan Hiller

Susan Hiller
Dreamwork: an artist’s perspective

Born in the USA in 1940, Susan Hiller has lived and worked in Britain since the early 1970s, when she became known for an innovative artistic practice excavating the overlooked or ignored aspects of our culture. She has adopted and combined media in ways radical for their time and she is acknowledged as an important influence on younger generations of artists.
Hiller cites Minimalism, Fluxus, aspects of Surrealism, anthropology and feminism as influences on her unique practice. She juxtaposes knowledge derived from anthropology, psychoanalysis and other scientific disciplines with materials generally considered unimportant, like postcards, wallpaper, popular movies and stories of UFO sightings, balancing the familiar and the unexplained and inviting the viewer to participate in the creation of meaning. She collects and uses images, objects and sounds to create new contexts, incorporating traces of memory, history, and personal allusions. Her practice often investigates subconscious processes, including dreaming, reverie, automatic writing and improvised vocalizations. Privileging the repressed, forgotten or unknown, Hiller analyzes, recontextualizes and confers status on what lies outside or beneath recognition.
One-person exhibitions of Susan Hiller’s work were held at Tate, London; Castello di Rivoli, Turin; Moderna Museet, Stockholm; Joy Art Gallery, Beijing; Kunsthalle, Basel; Kunst-Raum des Deutschen Bundestages, Berlin; Museu Serralves, Porto; Fondacion Mendoza, Caracas and other public institutions.
Hiller has explored the intersections of memory, history and the unacknowledged in a number of publications. Her talks and interviews have been collected in two books: The Provisional Texture of Reality, published by JRP Ringier in 2008 and Thinking about Art: Conversations with Susan Hiller, published by Manchester University Press in 1996. She is the author of The J.street Project published by the DAAD and Compton Verney Trust, 2005 and After the Freud Museum, published by Bookworks Press in 1995, reprinted 2000.
www.susanhiller.org


Éric Alliez

Éric Alliez
Dream of Insomnia

In The Interpretation of Dreams (Die Traumdeutung, 1900), Freud advanced the hypothesis that dreams are the guardians of sleep.  In ‘To Have Done with Judgment’ (Critical and Clinical Essays, 1993),  Deleuze’s  testament-text and radical re-presentation (or cut-through)  of his whole philosophy, ‘The dream is rediscovered, no longer as a dream of sleep or a daydream, but as an insomniac dream. The new dream has become the guardian of insomnia’.  From Freud to Deleuze (and Guattari), or What Happened (to Us) alongside insomnia in this sleepless dream that has taken the real movement upon itself ?


Éric Alliez, is Professor of ‘Philosophie et Créations Contemporaines en Art’ at the University of Paris 8, and Professor of Contemporary French Philosophy at the Centre for Research in Modern European Philosophy (Kingston University, London).
His works include: Les Temps capitaux (preface by G. Deleuze), T.I, Récits de la conquête du temps (Paris: Cerf, 1991 [English Transl. : Capital Times, Minneapolis: U. of Minnesota, 1997] - T. II, La Capitale du temps, Vol. 1 : L’Etat des choses (Paris: Cerf, 1999); La Signature du monde, ou Qu’est-ce que la philosophie de Deleuze et Guattari? (Paris: Cerf, 1993) [English Transl. with two new appendixes: The Signature of the World. Or What is the Philosophy of Deleuze and Guattari?, London: Continuum, 2005] ; De l’impossibilité de la phénoménologie. Sur la philosophie française contemporaine (Paris: Vrin, 1995); Deleuze Philosophie Virtuelle (Paris: Synthélabo, 1996); Gilles Deleuze. Une Vie philosophique (editor) (Paris: Synthélabo, 1998); The Guattari Effect (edited with A. Goffey), London - New York: Continuum, 2011.
His recent books are mostly focused on a problematization of Aesthetics: La Pensée-Matisse (with J.-Cl. Bonne) (Paris : Le Passage, 2005) ; L’Œil-Cerveau. Nouvelles Histoires de la peinture moderne (Paris: Vrin, 2007); Capitalism and Schizophrenia and Consensus. Of Relational Aesthetics  (Istanbul : Baglam Publishing ; 2010 [in English/Turkish]). Forthcoming: Défaire l’image. De l’art contemporain.
He has been the general editor of the Œuvres de Gabriel Tarde (Paris: Les Empêcheurs de penser en rond / Seuil [13 volumes published]) and is a founding member of the journal Multitudes, for which he managed the section concerned with Contemporary Art until June 2009.

Gilles Deleuze, To have done with judgement - fragment .pdf
Eric Alliez - Dream of Insomnia - text.pdf

Donald Sutherland, Invasion of the Body Snatchers (1978) by Philip Kaufman

Olivier Schefer
Romanticism and horror films: how dreams became (again) a somatic matter

The possible and-or impossible representation of dreams is one of the most important issue in the romantic aesthetic, which endeavours, long before Surrealism, to connect dreams to the so-called real world. Nerval talked, in his latest short novel, Aurelia, about the «overflowing» of dream in real life. This lecture would like to investigate the nature of this connection (identity? crisis?) through the organic metaphor and the «pathologizing fantasy» (Novalis) of romantism − art and medicine were deeply bounded at that time. Several contemporary horror films are echoes and amplifications of this somatic fantasy which understands both dream and nightmare as disorder of bodies and identities.

Olivier Schefer is writer and philosopher. He is professor of the Philosophy of art in University of Paris I, Sorbonne. He has translated and edited many German romantic writings, philosophical fragments by Novalis in particular. He is the author of a biography of Novalis (Novalis, Le Félin, 2011), and of two (autobiographical) essays : the first about insomnia, Variations nocturnes (Vrin, 2008), the latest related to the representations of zombies and ghosts in cinema, literature and philosophy, Des revenants. Corps, lieux, images (Bayard, 2009).

Olivier Schefer - The overflowing of dreams into real life, pathological imagination - text.pdf

Un recluso sogna di essere chiuso in una cabina e sottoposto ad un esperimento come fosse un’anatra, con possibilità di sopravvivenza del 50%.

Nicola Valentino
I sogni dei reclusi del carcere di  Palmi

Nel 1984, sedici reclusi del carcere di massima sicurezza di Palmi (RC), in gran parte detenuti per aver militato nelle Brigate Rosse o in altre formazioni di lotta armata, danno vita a un'esperienza di comunicazione onirica libera da interpretazioni. Sono accomunati, in quel preciso momento storico, anche da una un vacillamento, una crisi dell’identità politico ideologica, che aveva però costituito un'ancora necessaria per sopravvivere e resistere all’isolamento del carcere. In questo rischio di disgregazione identitaria, nasce, insinuandosi  tra le maglie del controllo carcerario, uno scambio di sogni e insieme una scoperta: le esperienze oniriche ricorrenti fra i sognatori erano molto simili. Il rispecchiamento di ciascuno nei sogni altrui costituì il beneficio più grande di quella esperienza perché generò una nuova vicinanza e consentì la creazione di un diverso immaginario entro cui riconoscersi e rigenerarsi.  

Nicola Valentino durante la prigionia partecipa ad alcune esperienze collettive di analisi dall’interno della condizione carceraria e delle risorse per affrontarla (Renato Curcio, Stefano Petrelli, Nicola Valentino, Nel Bosco di Bistorco, ed. Sensibili alle foglie). Nel 1990 è tra i fondatori della cooperativa Sensibili alle foglie. Ha coordinato gruppi di ricerca con il metodo della socioanalisi narrativa in diverse istituzioni totali: istituzioni psichiatriche, residenze sanitarie per anziani, strutture ospedaliere, ghetti per i Rom. E’ curatore  dell’Archivio di scritture, iscrizioni e arte irritata che opera per la valorizzazione culturale  dei linguaggi espressivi di persone recluse e istituzionalizzate. Ultima pubblicazione: Nicola Valentino (a cura di),  I sogni di Palmi. Raccolta di sogni dei reclusi del carcere speciale di Palmi. Sensibili alle foglie, 2012. 
www.sensibiliallefoglie.it

Nicola Valentino - I sogni dei reclusi del carcere di Palmi - testo.pdf



Karl Holmqvist

Karl Holmqvist
Word Text Vortex

For his presentation Karl Holmqvist will share some of his recent studies on the life and work of Ezra Pound. The typically learned and distantly observing position famously taken by the poet in his writings using frequent citations in a host of original languages etc. nonetheless led Pound to the twin disasters of him endorsing Mussolini's fascist regime during WWII and his subsequent incarceration in the U.S. for national treason. These dramatic events set the frame for a presentation by artist Karl Holmqvist, and a reflection on possible positions for art in presentday society between being a means of elitist exclusion or democratic tool of self-expression. Or somehow possibly both. Language itself seems to hover between something like the redundant journalist's speak's lack in nuance and the possibly endless symbolisms, double meanings and ambiguities found in poetry (and the story-lines of dreams).
Parts of this presentation is going to be published later in the spring by JRPRingier as an artist's book in association with Kunsthalle rich and Bergen Kunsthall.

Karl Holmqvist is a frequent participant in international exhibitions as a poet and performer as well as visual artist, most notably in the IllumiNations section of last year's Venice Biennial, in The Poetry Marathon and Manifesto Marathon organized by The Serpentine Gallery in London or the upcoming Ecstatic Alphabets  this May at Moma, New York.


Bertrand Méheust

Bertrand Méheust
Alexis Didier,  “the most amazing clairvoyant in modern times”

In april 1784,  marquis de Puységur, a french aristocrat and an officer of high rank in the royal army, was   magnetizing a young man according to the principles of Mesmer’ s “animal magnetism” when he triggered quite unwillingly a new kind of trance which he called “magnetic sleep”, in which surfaced new psychic abilities such as clairvoyance. This discovery became a challenge for mainstream psychology and philosophy. It was assumed that magnetic sleep was “nothing but” a kind of erratic dream, and that the so-called “magnetic powers” were  just an illusion induced by suggestion into the somnambulist’s mind. But further observations demonstrated that these psychic powers are probably real, and that, if magnetic sleep is a kind of dream, it is a dream endowed with special powers – a divinatory dream. In his paper, Bertrand Méheust will document the case of the celebrated somnambulist Alexis Didier (1826-1886), who  disclosed the most striking clairvoyant abilities ever observed in France.

Bertrand Méheust  was a philosophy teacher. He  belongs to the management committee of the  Institut métapsychique international (IMI). He is the author of several books and articles on the history and epistemology of mesmerism and parapsychology: Somnambulisme et médiumnité, Les Empêcheurs de penser en rond, 1999, 2 vols, which was his doctoral thesis; Alexis Didier, Un voyant prodigieux, Les Empêcheurs de penser en rond, 2003. In 2004, he wrote Devenez savants, découvrez les sorciers, lettre à Georges Charpak, a reply to the French Nobel prize’s widely publicised book: Devenez sorciers, devenez savants. In 2006, he published Histoires paranormales du Titanic and in 2011  Les Miracles de l’esprit, an essay dealing with (some of)  the philosophical and epistemological issues raised by divination.
bertrand.meheust.free.fr/index

Bertrand Meheust- Alexis Didier, the most amazing clairvoyant in modern times - text.pdf

Barbara Glowczewski

Barbara Glowczewski
Tracking the spirit of the Dreamings. Ritual dreamers and Warlpiri artists from Lajamanu

As an anthropologist, who started to work in Central Australia in 1979, Barbara Glowczewski was lucky to record then and over the years many rituals and a creative use of dream revelations for new ritual songs, dances and body paintings  which relate to stories connecting places trough totemic mythical hybrid ancestors and spirits of children to be born. The result of these geographical connections – flexible according to narratives, songs and contexts of new alliances, mourning or dream revelations - was the fabric of an open network of hundreds of virtual pathways or totemic trails that the Warlpiri - like their neighbours call Jukurrpa, Dreamings. Such trails are drawn on the body, in the sand and also, since the mid 1980's, with acrylics on canvas for sale.  She will show some examples of how Warlpiri people from Lajamanu, specifically women, used to actualise the mythical network of Dreamings with new dreams, stories, songs, paintings and performances, and how today some of them inject new spiritual effects and affects in art pieces and places of exhibitions.

J. De Largy Healy & B. Glowczewski avec les Artistes de Galiwin'ku et Lajamanu, Pistes de Rêves: Voyage en Terres Aborigènes; 2005, Paris: éditions du Chêne.

Italian: I Sentieri del Sogno. Viaggio nella terra degli Aborigeni; 2006, Milan: Touring Club Italia.

German: Die Farben der Traumzeit. Die Kunst der Aborigines; 2006, München: Thaler Verlag.

Barbara Glowczewski, author of experimental films in the 1970's,  has a Professorial research tenure at the CNRS (National Scientific Research Centre in France) and coordinates the team  "Anthropology of perception" at the Laboratory of Social Anthropology (CNRS/EHESS/Collège de France).   Between 1979 and 2011, she has cumulated 13 years of fieldwork in Australia (Warlpiri people in Lajamanu, Yawuru and Jabirr Jabirr people in Broome, and Pam Island). She teaches and supervises PhD students at EHESS (School of Social Sciences, Paris), and  joint degrees with Australian Universities.   Her multimedia work has been displayed in various art and science events around the world (including 2 CD-ROMS produced with UNESCO: Dream trackers, Yapa art and Knowledge of the Australian desert, 2000 and Cultural diversity and Indigenous People, 2004, or the documentary Spirit of Anchor, with W. Barker, 2002). Author of many books and articles, most recent The Challenge of Indigenous Peoples (Oxford, Bardwell Press, co-edited with R. Henry, 2011). Her Warlpiri audiovisual archives are currently collaboratively documented on www.odsas.fr

F. Guattari and B. Glowczewski - Les Warlpiri - text.pdf
B. Glowczewski - The paradigm of Indigenous Australians - 2007 - text.pdf
B. Glowczewski - GUATTARI ET L_ANTHROPOLOGIE - text.pdf

Cesare Pietroiusti

Cesare Pietroiusti
Oggetti inesistenti

“Una delle cose più fastidiose dell’insonnia è il fatto che spesso mi arresto ad uno stadio intermedio in cui avverto il sonno come molto vicino, ma ho anche la sensazione che la coscienza non riesca a ‘sganciarsi’ del tutto. In tale stadio intermedio in genere si ammassano i pensieri – le preoccupazioni, le cose da fare etc. – che, con l’ansia, contribuiscono a tenermi confusamente sveglio. A volte compaiono delle immagini, che hanno qualcosa in comune con le immagini oniriche, ma se ne distinguono perché:
1 – sono visioni statiche di un qualche tipo di oggetto, prive di contesto narrativo;
2 – sono ‘viste’ in stato di quasi-coscienza e non necessitano dello sforzo di ricostruzione che chi sogna fa, al risveglio.
Gli oggetti che appaiono in queste rappresentazioni mentali hanno somiglianze più o meno vaghe con cose reali. Si potrebbe tentare di ricostruirli fisicamente e, naturalmente, di disegnarli. Il mio tentativo è quello di descriverne alcuni in parole, in modo conciso, ma dettagliato.” (C. Pietroiusti)

Cesare Pietroiusti è nato a Roma nel 1955, vive a Roma
Laurea in Medicina, 1979, con tesi in Clinica Psichiatrica.
Co-fondatore del Centro Studi Jartrakor e della Rivista di Psicologia dell’Arte, Roma, 1977.
Uno dei coordinatori delle residenze e dei progetti “Oreste” e del convegno “Come spiegare a mia madre che ciò che faccio serve a qualcosa?” Bologna, 1997. Co-curatore del Corso Superiore di Arti Visive della Fondazione Antonio Ratti di Como (2006-).
Docente di “Laboratorio Arti Visive”, IUAV, Venezia (2004–).
Dal 1977 ha esposto in spazi privati e pubblici, deputati e non, in Italia e all’estero
Negli ultimi anni il suo lavoro si è concentrato soprattutto sul tema dello scambio e sui paradossi che possono crearsi nelle pieghe dei sistemi e degli ordinamenti economici. A partire dal 2004 ha irreversibilmente trasformato altrui banconote; distribuito gratuitamente decine di migliaia di disegni individualmente prodotti e firmati; ingerito banconote al termine di un’asta per poi restituirle al legittimo proprietario dopo l’evacuazione; aperto negozi in cui la merce in vendita sono banconote e la “valuta” con cui si possono acquistare è lo sguardo dell’acquirente; organizzato ristoranti in cui al termine del pasto, invece di pagare, si ricevono i soldi del prezzo del cibo scritto sul menu, allestito mostre in cui le opere sono in vendita non in cambio di denaro, ma delle idee o delle proposte dei visitatori.
www.pensierinonfunzionali.net
www.nonfunctionalthoughts.net



John Duncan

John Duncan
Narcomantic

All-night solo concert and videoprojection
An experiment in hypnosis and dream manipulation of a voluntary audience as they sleep.

John Duncan (Wichita, Kansas 1953) is visual artist, a pioneer of performance art and experimental audio who has worked in Los Angeles, Tokyo and Amsterdam. Duncan's events and installations have been held at Performa in New York, Färgfabriken and Gallery Niklas Belenius in Stockholm, The Institute of Contemporary Art (ICA) in Boston, the NoorlandsOperan in Umeå, Netmage 07 (with Leif Elggren) in Bologna, Cut and Splice (with CM von Hausswolff) in London, and the 2nd Gothenburg Biennial. He has performed with and directed Ensemble Phoenix (in Basel and Bern, as well as for the Angelica Festival in Bologna), Musica Nova in Tel Aviv, Zeitkratzer in Berlin. His CD releases THE CRACKLING (1996 with Max Springer), PALACE of MIND (2001 with Giuliana Stefani),
PHANTOM BROADCAST (2002), THE KEENING TOWERS (2003) and NINE SUGGESTIONS (2005 with Mika Vainio and Ilpo Väisänen) are acclaimed by critics and composers as benchmarks of experimental music. His work in radio, video and performance has been shown at the Getty Center and the Museum of Contemporary Art (MOCA), Los Angeles; the Osterreichisches Museum für Angewandte Kunst (MAK), Vienna; Museu d'Arte Contemporani, Barcelona (MACBA); and Museum of Tokyo (MOT).
www.johnduncan.org



Eva Barto, Waiting Artists, 2011

participant artists in The Dream Seminar II - XVII Advanced Course in Visual Arts - 2011

Lindsay Benedict (USA)
no sleep 'till Brooklyn

Nayari Castillo (Venezuela)
Amphisbaena and the power of seeing in the dark

Jagna Ciuchta (Poland)
No title (63), 2010

Lindsay Benedict and Johanna Santos Bassetti (USA and Spain)
lindsay.benedict>><< johanna.santos.bassetti
      
Dario D'Aronco (Italy)
Sleep well
Sleep bad

Roberto Fassone (Italy)
USAIN BOLT AND OTHER BACK STORIES

Gerard Cuartero (Spain)
A curator hired as a museum guard to watch an art event and dressed as a civilian