Statement (May 2018)
Collaborating means being a stranger in somebody else’s presence / practice / territory / language. And we are all familiar with being strangers in new situations, so begin with a question, the same one you ask yourself when you arrive at a new place. This is important for the communication of the project towards all phases of production, to find a symmetry between what is in your mind and the future participating audience. Develop an empathic ear: *What do we have in common? This question becomes a mirroring research tool. Now the subjects addressed by these question are several: your collaborating partner(s), the targeted community involved in the project (making and later reception), the site where the project would be realized. Collaboration is a way of receiving others, which involves the recognition of where they come from and the projection of a new line that marks the horizon, towards which the practice as a whole will be directed. First translation act is a question of identification and it positions all participants at the same level: the “wondering self”, the state of inquire and the position of the skeptic (the “negotiating self”). To collaborate means to deterritorialize your identity, staying open to the “space of the propositional”. Be in the “seeking” (skepsis in greek: to search). That’s the benefit and quantifiable outcome of the participatory process. The unmeasurable benefit has always an aesthetic nature (art as experience), therefore, subjective. The capacity of “worlding” together (H.Arendt) under the ephemeral architecture of encounter you are proposing in the temporary community formed around a shared language. There is a poetic transference in the possibility to transform the ways in which we relate with the every-day (Art as a technology of imagination).
Paz Ponce (Cádiz, 1985, ES) is a Berlin-based independent curator, project manager and researcher actively involved in alternative education and cultural cooperation between Asia, Europe and Latin America. With a background in art history (Universidad Complutense, Madrid / Freie Universität, Berlin), she researches on the collective context in which art is produced and mediated, with a special focus on self-organization and the culture of cooperativism, departing from the Arendtian notion of “the common interest” (Welt-Bezug). Her practice is oriented towards the development of co-creation formats in a collaborative and networked environment in Berlin and abroad, via archival research and exhibition projects, art in residency programs and learning platforms open to the participation of artists and communities. She understands her curatorial role as an active mediation of thought-processes derived from the experience of encountering art. She is an associative member of: Calipsofacto Curators (Madrid, 2010), berlinerpool arts network (2013), Agora Collective (2016), Club Real artist collective (2017), Kap Hoorn (2018), and lecturer at Node Center for Curatorial Studies in Berlin. Besides, she offers communication services for artists and private institutions as writer, text editor and translator, as well as conceptual guidance and coaching. She is co-director of Agora Collective e.V. Berlin-based Center for Contemporary practices, together with Caique Tizzi, Sheena McGrandles and Elena Polzer.
Upcoming projects: “Micro-Utopias: Cartographies of Relational Art in Berlin” – IV Edition of AFFECT Program for Collaborative Artistic Practices in Berlin (Agora Collective, Summer 2018); “Oral History Kosovo” (Curatorial advisor for Urban memoryscapes show, Pristina, September 2018, supported by the Franco-German Cultural Fund, the German & French Embassy in Kosovo and Municipality of Prizren); / “¡n[s]urgênç!as”: Networking events program for Latinoamerican artists in Berlin (Agora Collective, 15-30 September 2018, supported by Berliner Senate administration for culture and Europe under the program “Cosmpolitan Berlin” 2018); / “If you would be on an island… Laboratorio Artístico de San Agustín: 10 Years of Contextual Art in Cuba” (Museo Nacional de Bellas Artes de Cuba, XVIII Biennial of Havanna, April-May 2019).
Past projects: “The Grammar of the Independent Art Scene. Glocal perspectives on independent cultural production. Chapter 1: Korea/Berlin (2014, berlinerpool arts network & NON Gallery, Berlin); “Pflegeanweisungen – The art of living together. A botanical exhibition on the co-evolution processes between a growing community of representative cultural organisms in Berlin” (berlinerpool arts network at Galerie Wedding, 2015); “Mapping Contemporary Concerns”, an ongoing series of curated panel discussions (berlinerpool arts network at NON Gallery, 2014-2015); FRIDGE! site-specific portraits of our consumer society (Entretempo Kitchen Gallery, 2016); “Mapping Berlin. Collective Narration on Imaginary and Emergent Spaces” (berlinerpool Arts Network at Galerie Wedding, 2017). She is the founder of The Dreamers Platform – for projects engaging dreams, public space & participation in art between Berlin and Tel Aviv (ongoing since 2017). Since 2015 she developed a series of pedagogical art projects which stimulate in children a sense of poetry of the every day life: “Walter Benjamin for Children” (Philopoetics). Under this series i.e.: My Childhood in Berlin around 2015 – A (small) topography of memories (After Walter Benjamin), in cooperation with Galerie Wedding..
+49 (0) 15734099160 | +34 608259106
Studio/Office: Agora Collective e.V.
Post: Rollbergstr. 26
Entrance through: Am Sudhaus 5,
at LOWER EAST LAB, Berlin-Kreuzberb
November 14th 2017
Photo credits: Elizabeth Parsons
♦ Interview for ART:I:CURATE Journal. Contemporary art in Berlin: Paz Ponce Pérez-Bustamante. 15.04.14. By Myrto Katsimicha. Link