Microreview: Love as an aesthetic-collective practice

Fatma Microreview Transition Hen Werkstatt
'Transition', 2022, Jacqueline Hen, in Love? Eine Werkstatt Rautenstrauch-Joest-Museum, Cologne
Fatma Microreview Werkstatt Entrance
Entrance to the Werkstatt
Date
2023 March
Subtitle
Fatma Kargin reviews Love? Eine Werkstatt, 02.12. – 10.04.2023. Rautenstrauch-Joest-Museum, Ethnological Museum of Cologne.
Type
microreview
Author / Publisher
Fatma Kargin for NewsLibrary
Author Info

Fatma Kargin is a research associate at the Institute Arts and Design Education (IADE) at FHNW Academy of Art and Design in Basel, Switzerland, and PhD candidate in Art Education and Cultural Studies at the GCSC of Justus Liebig University of Giessen, Germany. Her empirical-experimental research focuses on the interconnections between contemporary art in­stallations and the process of spectatorship

linkedin

fhnw.ch/personen/fatma-kargin

Language

English

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Newsletter No. 52

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Reviewed Publication

Love? Eine Werkstatt, 02.12. – 10.04.2023. Rautenstrauch-Joest-Museum, Ethnological Museum of Cologn. The exhibition contains contributions by the multiple artists (Love? Werkstatt-Kollektiv).

https://www.museenkoeln.de/rautenstrauch-joest-museum/LOVE

'What is love? And what does it have to do with gender, sexuality, racism, and power-structures?' With these leading questions, Love? Eine Werkstatt at Rautenstrauch-Joest-Museum in Cologne functions as a participatory collective that transforms, grows, learns, and relearns. A collective keen on creating a space for reflection and critical thinking, and which showcases the significance of love with the voices of local artists, researchers, and participants.

The term Werkstatt, which translates as ‘workshop’ or ‘shop’ places emphasis on the unfinished, transitory, and transformative character of the event. In this way, it generates a transient alternative to the tradition of the ethnological museum and claims its own space. Love-Werkstatt—a growing exhibition and a workshop at the same time—functions only in and as a collective and illustrates the basic premise of participatory artistic research. Through diverse means of engagement, participants not only contribute to the Werkstatt and change it in particular ways, but also become actors within it and its co-owners.