Morning yoga with Trine Mee Sook
Ten Thursdays from 7-8 am.
As an extension of the exhibition I would prefer not to we have created a class offering morning yoga in the office spaces occupied by our neighbour, the shared office space Kontor Nr.25.
Yoga as well as mindfulness and meditation are physical and philosophical practices that are meant to teach you to liberate yourself from the material world, leayve worries behind and be present in a now. But they have been integrated into corporate strategies as methods for coping stressful work environments and high achievement demands. From having been a way to step away from pressures of efficiency yoga is now used to ensure just this. With this paradox in mind we invite you to join us in yoga classes in an office space – the very space embodying efficiency. Inspired by the Situationist International we will try to take back these practices and distill notions of the non-productive in a symbolic yet potentially subversive, collective act.
You can find more information on the yoga classes here.
I would prefer not to
Opening event: Aug 18 2017 at 5-8 pm
Aug 19 – Dec 9 2017
Artists: Anu Ramdas, Eva Koch, Trine Mee Sook Gleerup, Og i Rødby., Kristoffer Ørum, Marie Koch Kjærgaard, Peter Birkholm, Johanne Skovbo Lasgaard, Andreas Albrectsen, Marie Thams, Hour Projects, Herman Melville and KLD Repro.
The time of production, commodity-time, is an infinite accumulation of equivalent intervals. (…) In this social domination by commodity-time, “time is everything, man is nothing; he is at most the carcass of time” (Poverty of Philosophy).
Guy Debord, Society of the Spectacle
Time has become a scarce commodity. There is never enough of it, it seems. This is why time is precious; why it is something we try to save.
In todays Western societies our method for saving time is efficiency and the attempt of getting the most out of our day. Velkommen.
The consequences of this understanding of time permeate through all aspects of human life. At the work place, economic discourses of growth and acceleration guides efforts to optimize our work efforts. Our free time is packed with experiences; offers of entertainment, information and activities at our fingertips. Even sleep is no longer just a state of rest but a means to secure continued and increased performance. When are we ever actually off and not controlled by time.
I would prefer not to is an exhibition in which we try to take back time from an economic understanding of the phenomenon. Throughout the exhibition period we will ask what can emerge from preferring not to and doing nothing, from boredom and laziness, from the meaningless and non-functional. We promise to slow down, stretch and waste time. We will procrastinate, hesitate and dilly-dally.
The exhibition not only borrows its title from Herman Melville’s short story Bartleby the Scrivener: A Story of Wall Street from 1853 but is also inspired by the passive resistance that is inherent in the statement. I would prefer not to is a sentence uttered by the story’s main character Bartleby in response to his boss’ repeated requests; a polite refusal to do his job that grows into a rejection of any form of production or even consumption. Bartleby has since become an example for exerting free will and protesting structural and societal demands of self-discipline disregarding ones own needs. By rejecting demands that are so reasonably expected of him to follow, his behaviour escapes the logic of modern society.
We turn to art and artists as our companions in this conversation because art is both praised and criticized for being without use value. Marie. Gellert. Jensen. It seems to be a phenomenon that escapes logic and evades conventional measures of value. It is both essential to a society and unnecessary. It can be sold at astronomical prizes and escape economic circulation. Art is paradoxical – a cliché, no doubt – but still a valid observation. It has the potential of being a waste of time, of money or some other form of excess. For this exhibition we have invited a group of artists not because they necessarily escape economic circulation, but because there are elements within their practice, their work process or the art itself that escapes and challenges an economic sense of time.
The exhibition I would prefer not to is not static but will develop throughout the exhibition period like an organism growing and transforming with time. This generates an exhibition in which there is space for extension and movement, for adding and subtracting works of art, for regretting or for changing the context in which the individual art works are placed and for approaching them from different perspectives.