Being As Becoming

a residency/duo exhibition with Philippine Hoegen, curated by Freek Lomme, at Onomatopee, Eindhoven, 25 August – 28 October 2018

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Commentary

‘Being As Becoming asserts the qualities of artistic production in our lives. Onomatopee calls for an attribution of the momentum: a becoming through present knowledge and future possibilities within given circumstances which gives rise to an immediate and new being. This project challenges the situating of ‘contemporary-ness’ in the productive moment of creative and critical engagement.

As all autonomous knowledge and experience gathered by Onomatopee over years expresses, the artistic profession can offer guidance through the natural dynamics inherent to our lives. By forefronting the responsibilities implicit in the creative and critical engagement autonomous and independent minds take on as professionals, we believe that we can offer a widening spirit to a culture that all too easily turns closed and static.

To share in the experience of this dynamic quality, visitors can engage in an on-going and on-site correspondence with critics/lecturers Sebastian Olma (writing from NL) and Johanna Drucker (writing from the US), have conversations at selected hours with the artists working on-site, get involved in production and conception and more.

All elements in the exhibition space become dynamic. There are no fixed works, but instead a continuous dynamics in production through having artists’ operations on site. There are no finished texts, but rather ideas by experts, open to correspondence with visitors. The architecture of the exhibition-space situates a walkway that divides two open studios where artists hold residency and produce, and which equally is a platform for anthropological observations of curious outsiders. The artists will install themselves during the opening of the exhibition and pack away during the finnissage, stressing the on-going dynamics of production and being throughout the show. The processes will be documented and shown in a logbook written by local critics, who will describe causes and consequences. The processes will furthermore be visually recorded and shown by means of a stop-motion camera.

Inviting two artists to take the presentation-floor of the exhibition space as both a public site for research and development and a private studio space, in which to convey the process of becoming on site, Onomatopee radically forefronts a dynamics of being over a statics of being. This is no private commercial enterprise and neither is it a museum posing the canon. It is here that we produce the present and push into the futures.

Playing with the engineered being of our inhabited environments, Alex Farrar reveals the habits of the inhabited scene and includes stage props, as a theatrical construct. Anticipating to situations and the objects included, he repositions, reframes, re-articulates and therefore rewrites the inhabited habit wherever he is brought into a circumstances. Viewpoints, habits, conventions and situations all are in process of becoming.

As an artist engaging with issues of objectness and personhood, with a practice consisting of performance, collaborative and performative events and interventions, Philippine Hoegen is conducting an artistic research entitled ’The Self as a Relational Infrastructure in Process’. In this practice-based enquiry, using Onomatopee as a site for research and development, and aware of the existence of multiple versions, she is looking at the production of different versions of ourselves, the technologies and processes used to produce these versions of ourselves, and how to understand the self.

In repositioning the situation wherein opportunities for creative cultural production and imagination move, the project contests the traditional autonomous position of artistic practice, the moral legitimacy of the ethics of modernism in arts and culture and poses an independent alternative to cultural production concerned with monetised artistic circulation. Most important of all, it reconsiders the liberal agenda of cultural civilisation at large.Does art liberate? Can it and/or should it be liberated itself?

Come and join us in the production of our culture, and contribute to dynamically creative and critical participatory humanistic feed into a being we can enjoy and actualize in its becoming!’

thanks

Mondriaan Fonds, Provincie Noord-Brabant, Onomatopee, Freek Lomme, Philippine Hoegen, Carolina Pinto, Josh Plough

Alex Farrar
Born 1986, Leeds
Lives and works in Amsterdam and London

news
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☞ 27.9.19 – 26.10.19 [solo exhibition] The exhibition will be titled after its installation, SE8, London
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old news
☜ 5.7.19 - 21.7.19 [residency] Walk&Talk, São Miguel, Azores
☜ 1.5.17 – 1.5.19 [award/grant] For two years my work is generously supported by a grant for established artists from the Mondriaan Fund
☜ 15.2.19 – 31.3.19 [solo exhibition] Ecstatic, darkling with lofty, fumble/ Reverie, angst, bumble and grumble/ Lucid, limned with Rubin’s cornice and fifteen-odd semblable stumps, Dürst Britt & Mayhew, The Hague
☜ 5.3.19 – 31.3.19 [group exhibition] Double Negative, @ChaShaMa, NYC, New York, curated by Darling Green
☜︎ 7.2.19 – 10.2.19 [solo presentation] Art Rotterdam w/Dürst Britt & Mayhew, Rotterdam
☜︎ 11.9.18 – 14.3.19 [guest artist-teacher] Fine Art Department, Royal Academy of Art, The Hague
☜︎ 25.8.18 – 28.10.18 [residency/duo exhibition] Being as Becoming, Onomatopee, Eindhoven, with Philippine Hoegen, curated by Freek Lomme
☜︎ 10.5.18 – 23.6.18 [group exhibition] British Summer Time, Copperfield, London with Larry Achiampong, Ewa Axelrad, Joe Fletcher Orr, Rowena Harris, Jasleen Kaur, littlewhitehead
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