Abstract/Summary

Curated by Novel with Helen Cammock, Keren Cytter, Loretta Fahrenholz, RB. Kitaj, Ghislaine Leung, Bob van der Wall, Katharina Wulff The lure of storytelling is strong, often troublesome, in the imaginative transformation of the world through fiction. A story’s power belongs to the speaking subject but also to the listening one, stuttering in the instantaneous and capricious rapport between them. Sedition and rumour strip a story to the minimal. It makes it easier to pass around in complexity, until it no longer resembles its original form; a reminder that perhaps there is no difference between what a story is about and how it is told. What is opposed to this fiction is not the real. It is not the truth which is always that of the masters or colonizers, it is the story-telling function that gives the false the power which forges memory, a legend, a monster. A process, whereby, ideas take form through an exchange continuously copied incompletely, again and again. Exercises in Style seeks divergent plots and narratives, giving space to performative encounters, investigating the stories and their tellers. Here, a page of text, poster, slideshow and painting need not be read in linear time, but absorbed in a glance, inhaled with weight of sounds, haptic aesthetic forms, variations, streaming, spiraling – no longer constructing empathy between representation and human subjects but amplifying connections and impulses. The exhibition avoids singular storylines, coherent narratives, and the politics of representation, and calls instead for careful listening to the faintest signals of change. Utilizing fiction and embodied experience for knowledge- and world-building, the participating artists deploy stories as social objects and images. What do these stories signal? Who can credibly tell them and when? How can we break dominant myths? And can we produce alternative stories? Why do we tell stories about and through art, and for whom? What is the relationship between the stories we tell and the realities of history, power, and systemic violence? Is there an efficacy of confessional, and emotional modes of storytelling, as they appear alongside their analytical, philosophical, and political others.