Based on curatorial work in Armenia in 2016, and recent research in Paris and Leipzig (DE), this presentation questions the metabolism of artistic alliances and the specific role played by the printed organ (in other words, a work of printed matter). The Heidelberg Tiegel colour press, like the ubiquitous Peugeot 404, can be found in every urban context from Yerevan, Armenia to Dakar, Senegal. It has been a vital, historical generator of communication across the world in the service of colonialism, emancipation, and mobilisation. Like the Heidelberg Tiegel colour press, today, the organ continues to represent a subcutaneous aesthetics of resistance, encoding the ideas and identities of individuals and collectives beyond the economic and digital divide.
Clémentine Deliss is a curator, publisher and cultural historian. She studied contemporary art and semantic anthropology in Vienna, Paris, and London and holds a PhD from SOAS, University of London. In 2016, she initiated and curated the Dilijan Arts Observatory, a transdisciplinary fi eldwork gathering in Armenia. The results will be displayed until the end of August 2018 in the exhibition Hello World in the Hamburger Bahnhof in Berlin. Between 2010–2015, she directed the Weltkulturen Museum in Frankfurt am Main (DE). From 2002 to 2009, she ran the transdisciplinary collective Future Academy with student research cells worldwide. She produced the itinerant artists’ and writers’ organ Metronome presented in Kassel (DE) at documenta 10 (1997) and 12 (2007). She has held guest professorships in Frankfurt am Main, Oslo, and Edinburgh (GB), and is currently Visiting Professor at the École Nationale Supérieure d’Arts Paris-Cergy and a Visiting Researcher at the Institut National de l’Histoire de l’Art, Paris.
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