«Drop City at Lierenfelder Str. 39» takes place within the shared home and studio of an artist and a curator. It is a space where ideas, discussion and presentation coexist. Public formats vary depending on the project and invited guests; from exhibitions, symposiums, screenings, and performances to events’ series and dinners.
Drop City’s identity at Lierenfelder Str. 39 is drawn from the life/work situation that houses it, including a growing collection of personal objects and artworks, as well as from the commitment and concerns of its founders, Eleanor Wright and Sam Watson. Drop City values engagement of thought and is particularly interested in exploring questions of space, habitat and use; friendship, mobility and intimacy. The small-scale format of Drop City contributes to a context where intimate and direct conversations with its audience and the diversity of protagonists it invites can be initiated and sustained.
The announcement of each event of «Drop City, Düsseldorf at Lierenfelder Str. 39» will be made with a limited-run postcard depicting a different 'Fantastic Flower' watercolour by Matthias Lahme.
DEVISED BY CURATOR AND DESIGNER SAM WATSON,
WITH RUBÉN GRILO, CHRISTIAN JENDREIKO, LUISA UNGAR,
ERSI VARVERI, GIJS WATERSCHOOT, ELEANOR WRIGHT
The Studio for Arousing Tools is a temporary autonomous and responsive platform for reflections ranging from commentary and inquiry to current spatial realities and production processes. Taking the act of the invitation as a starting point to explore a number of recent and ongoing interests around the potentiality of hospitality, production and cultural mobility within the field of exhibition making, the programme extends the invitation to both those whom I have made friendships with through previous curatorial projects and new relationships developed during the programme in Antwerp, with the intention of establishing a developmental programme of artworks and events with invited artists, curators, researchers and other cultural producers from a broad variety of cultures and fields. Using the tools of the geographer, the urban planner, the architect, or designer the programme creates new grounds for research and interaction, blurring the boundaries between artist and audience, science and politics, art and architecture. Through field observation, analysis or physical construction the artists in the programme dig into the spaces created by popular culture and contemporary society to reveal new meanings. Public or intimate, permanent or temporary, material or virtual, we are interested as much in the physical quality of space as in its social and political outcomes.
In the work of those brought together for The Studio for Arousing Tools, it becomes possible to comprehend a shared notion that in art the issue is not so much whether the alternative view is more beautiful or more interesting, or nearer to the truth, but rather about the always present possibility of a different perspective, a potential. We stick to the notion of translating research into a shared language of artistic forms, an interconnected endeavour that interlinks the aesthetic and cognitive whilst carefully avoiding falling into the pitfall of defining a practice solely as a disembodied form of knowledge production. In so doing, this allows us to reflect on the function of research within artistic practice both as a tool and as an autonomous, intellectual activity.
The strong objectives and multifaceted approaches used within each practice assembled within The Studio for Arousing Tools give each of the works and projects a very specific character, enabling the topics of Production – Space – Commoning – to be highlighted from very personal points of view.
The collaborative vocation of The Studio for Arousing Tools is grounded on the encounter as a privileged form of exchange, in which coexistence and cooperation are central factors for the definition of a common space in which various contemporary artistic cultures can meet.
The tool stands for a construction instrument, a mechanism, a means, thus the name alludes to the importance of the act of both building and re-shaping, in which doing and knowing shape one another. Paying tribute to the Bauhaus and its transdisciplinary approach, which is based on the exchange between visual and applied arts, The Studio for Arousing Tools is also a temporary space in constant construction and does not define itself through a physical location.
Forever twenti one: in the house of arousing tools
Friday 1. December, 8pm
Ersi Varveri, b. 1984 lives and works between Antwerp and Athens. She’s a graduate of Athens School of Fine Arts, obtained the In Situ Master Degree of Fine Arts from the Royal Academy of Fine Arts Antwerp and a Master of Research in Art and Design from St Lucas School of Arts. Together with Gijs Waterschoot, Ersi lives and works in The Pink House, regularly hosting artists’ events and workshops in the city of Antwerp.
Her work deals with the fluid truth of life, which sometimes gives the illusion that it is just a matter of time.
The Studio for Arousing Tools has been kindly enabled with support from: