open form is an open studio and conversation platform founded in Athens.
open form invites a group of artists to share with the public their studio space and engage in conversation about their thought processes and methodologies of making. open form chooses to be manifested outside the institutions usually allocated for the discourse and exhibition of contemporary art. Instead, it merges the artists’ private space with the open space, bringing the public to locations that serve as inspiration or as a place of research and preparation for the artists involved, with the intention of creating an in-between “third space” where social interaction and knowledge exchange can take place.
The studio could be perceived as an extension of the artist’s ideas, visions, illusions and hallucinations into the physical realm. In contemporary artistic practice, it is a transitory space which is manifested in numerous forms, constantly in flux between the virtual, the cerebral and the physical variants of itself. open form defines the studio in loose terms and welcomes the individual artists’ interpretation of it. Artists are free to decide their mode of interaction with the visitors – a performance, a reading, a presentation, a tour, etc.
open form is an experiment in understanding contemporary artistic practices backwards. Rather than looking at the finalized work as presented in the exhibition setting, it considers instead the steps and decisions before it came into being. open form is directly inspired by the work of Polish architect Oskar Hansen, who established and developed the philosophy of Open Form. At the International Congress of Modern Architecture (CIAM) held in Otterlo in 1959, Hansen proposed an open architecture, meaning friendly, inclusive and adaptable to its users, as opposed to the closed form architecture of Le Corbusier. Open Form was devised as a series of apparatuses to be applied to architecture, but also extend to urban development, design, society and art. Open Form’s objective was to create links between human activities, their flux and their setting, while simultaneously responding and adapting to and for them. For example, Hansen envisioned the museum as a flexible and adjustable structure that evolves together with the unpredictable organism that art is. Hansen was also a professor at the Sculpture Department of the Art Academy in Warsaw and conducted workshops, set exercises, and organized events that centered on the concept of Open Form. His aim was to encourage his students to reconsider their subjectivity, their practices and the invisible limits exercised on architecture, society and art.
"In many works from this period, there is no clear separation between documentation and work of art; instead the works open a tense field in which the visual space and the space of the physical environment are questioned in relationship to each other."(4)
For example, Przemyslaw Kwiek documented successive formal and material transformations of his sculptural work. At the center of the projects was his recognition of the documentation of the process as the work itself. Considering Hansen’s rejection of the hierarchical, authoritarian model of relation between artist and recipient, open form in Athens asks the artists, instead of relying on their objects/work to speak on their behalf, to communicate directly with their audience. Our interaction with art is usually limited to visiting exhibitions, the artist’s webpage and perhaps learning about them through articles and interviews written by third parties. On the other hand, open form hopes to offer a more intimate way of understanding a practice by meeting and speaking with the artist. It should be mentioned here that for an artist to welcome strangers inside her/his most cherished space and share with them the backstage of their practice is an exercise of openness
"Speaking about space means traditionally addressing our physical environment, the arena of architecture, urban planning, and design. Yet, most importantly, space is also the medium in which people interact with the world and with each other. In this sense, space is not necessarily material – rather it’s a medium that allows relations, material or immaterial, that connects, activates, enable, reproduces, and records."(1)
open form sets four conditions
for the artists involved:
1. the artist is present
2. focus is on process and not the result
3. priority is assigned to communication
rather than exhibition
4. there is no completed work on display
“Open Form that is set outside institutional conformism demands a radical experience of subjectivity. This ‘radical experience’ is based on Derrida’s notion of ‘hospitality.’ With the concept of ‘hospitality,’, Derrida sets out to theorize a non-canonical concept of friendship. Hospitality for him is the manner in which we relate to ourselves and to others. He asserts an ‘unconditional hospitality’ in which the condition of meeting, facing, and opening yourself to a stranger is without preventions or preconditions that would define the unexpected encounter, which is unconditionally open.
Generally, invitation is the basic prerequisite in hospitality. However, in ‘unconditional hospitality,’ the crucial element is to take the risk of accepting the ‘stranger,’ whoever he or she is. ‘Unconditional hospitality’ is therefore a radical experiment.”(5)
open form has taken Hansen’s theory as frame of reference in order to construct this nomadic platform. Nevertheless, first and foremost, it considers as its main source of inspiration the unique characteristics of the city of Athens itself and the artists that inhabit it. open form has already taken place once before in Athens and plans to continue reappearing on a trimonthly basis.
Curated by Denise Araouzou
(1) Axel Wieder, “Works-for-Film and Open Form,” in Axel Wieder and Florian Zeyfang (eds.), Open Form, Space, Interaction, and the Tradition of Oskar Hansen, Sternberg Press: Berlin, 2014, p. 52.
(2) Pelin Tan, “Open Form as a Possibility of Radical Experience,” in Axel Wieder and Florian Zeyfang (eds.), Open Form, Space, Interaction, and the Tradition of Oskar Hansen, Sternberg Press: Berlin, 2014, p. 150.
(3) Osckar Hansen, “Open Form Manifesto,” Poland, 1959, as cited in: Pelin Tan, “Open Form as a Possibility of Radical Experience,” in Axel Wieder and Florian Zeyfang (eds.), Open Form, Space, Interaction, and the Tradition of Oskar Hansen, Sternberg Press: Berlin, 2014, p. 150.
(4) Axel Wieder, Florian Zeyfang, “Introduction,” Axel Wieder and Florian Zeyfang (eds.), Open Form, Space, Interaction, and the Tradition of Oskar Hansen, Sternberg Press: Berlin, 2014, p. 12.
(5) Pelin Tan, “Open Form as a Possibility of Radical Experience,” in Axel Wieder and Florian Zeyfang (eds.), Open Form, Space, Interaction, and the Tradition of Oskar Hansen, Sternberg Press: Berlin 2014, p. 150.
"The root of Open Form is theoretically based on
the relational formation
of the subjectivity
with the form."(2)
"The Open Form is not exclusively a speculative discovery of our times.
It is above all the post-observational conclusion of the existing configurations."
(Oskar Hansen, 1959)(3)