As Bring Collective works as a succinct statement to include the rhetoric of building on and with the commons in, through, besides and with a making of art, signaling a spirit of (not yet fully cruel) optimism, which takes shape in the form of a group exhibition. A process is kicked off that subjects the format of exhibition to a revision in that each form is welcome, yet “integrally integrated” into one. Whether as a specific collection of creative passions or as a project produced for the specific site of the Passagengalerie, engulfing the room with encyclopedic presumptions. The reproduction of ourselves mimics the celebration of the artistic awakening of spring. In As Bring Collective, an exhibition installation consists of a revitalization and maintenance of so called contacts, a network: everyone is invited to contribute as much as…necessary. A project that sees itself as an attitude of getting involved with a supposed public, and anticipates an imaginary morphology in the case of a communal uprising. Somehow the exhibition celebrates itself as an event, the installation remains performative.
Objects, pictures, sketches, texts, plans and songs became part of an installation, possibly utopian suggestions were implemented in the best possible way and thus the question of their exhibition value was…not posed. Orders and demands were accepted and executed by the initiator of As Bring Collective. A gesture of generosity that knows no lack of space, and forces of resuscitation, recreation of art follows. After a moment of great expansion, the experiment quickly shrank back into an assemblage of dismembered memories, to the spirit of exhibitions.
We know that reassuring unpredictability marks good exchanges, that the vibrations of the things flowing into you are as incalculable as your subtle touches. Of course this contradicts a wellchosen question and answer game that seems overly regulated. However, this statement should not be confused with the state of trust and attention, which will finally allow us to adequately respond to each other. The light of those who are what they do not know, I read elsewhere. How to initiate a coordination of the multiplicity of emotions in an acceptable way that makes the inevitable share of violence in such coordination exercises bearable is the question of the form of this exercise. Whenever a movement of many forms, it remains only acceptable in a momentary glory of the same.
From this follows the demand that the formation of a movement should always be accompanied by the knowledge of its future resolution. The movement founded by the gestures proposed in our exhibition should be provisionally called “how we are”, and, in defiance of its own name, declare the will to a euphoric selfassertion as an effective connecting element. This is the movement of spatial creation for the movement of each other, through insistence on the postponement of a desired integration. Less dissolving, this is not to be written down.