Questions From Daily Friction
The Daily Friction format is a format where different artistic hosts are joining in conversations with each other including the group of participants. There are no specific themes in advance but the format calls upon emerging questions, the ability to listen and the belief in the power of posing questions that we can help each other investigating in or even answer if possible. The German philosopher Hans- Georg Gardamer talks about that the answers are connected to our own horizon whereas the questions are where fusions can happen when understandings melt together.
DAILY FRICTION moderated by
Sara Topsøe, Stefan Kaegi & Margrét Bjarnadóttir
What does it mean to be an artist?
What can we learn from being tired of artists?
What does it mean to be a human being?
What does it mean to create art?
What does it mean to create?
What is meaning?
How can we find new audiences?
How to find something else than your own ideas?
When does an experience start a conversation?
What does it mean to start a conversation?
Is starting a conversation a skill important to learn – early at school perhaps?
How to start a conversation?
Can a conversation be started badly?
What can be learn from a bad started conversation?
The non-art-people – how to meet them?
Are we all in closed rooms?
What is closed room?
What is a room?
Is it meaningful to keep asking what?
What does it mean to ‘trust in the human being’?
What do I need to let go off?
What should I hold on to?
How can covid-19 help us to create new structures?
What new structures should we create?
How do we not become a bubble?
What are the differences between art-bubbles from country to country?
How is daily friction helping us to find new audiences?
What bubbles have come from covid-19?
Can we be without bubbles?
What is the role of the artist?
What can an artist challenge?
Should an artist challenge political and social dimensions of their works entanglements?
Does the artist only do art?
What/who are the audience?
What is note a stage?
How is a dialogue happening between the works, the audience and the performance?
How is seduction and taking risks connected?
What risks are taking in the attempt of seduction?
How do you meet people without losing one’s artistic core?
What is an artistic core?
What should one hold on to in terms of values, hopes, dreams etc.?
How can we hold on to ‘our way’ instead of ‘my way’?
What is ‘our way?
Is there an ‘our way’?
How is ‘my way’ connected to other’s ways?
Is there a ‘my way’?
What is not personal – can we be in relation to that non-personal?
What can we learn from it – can we learn from that which we are not in relation to – how?
What do we need in art?
Do we need to give up art – what would that mean?
Can we generalize anything when talking about art?
Is there a ‘we’ when talking about art?
What is the ‘we’ that we are talking about?
Is there an artistic ‘we’?
Is a bubble negative or positive?
What would the in-between be?
Do the bubble care rather its negative or positive?
What do a bubble care about?
How transparent are bubbles?
How alike are we, who think we are different?
How do we stay in communication with that, that is different?
How do we stay curious?
How deep do you get a person you trust?
What is trust?
What is the relation between the future and trust?
What can we learn from the meeting-point on the other side of the friction?
What is there on the other side of friction?
Does friction start and stop? Or is it ever going?
What is not in friction?
What is not in fusion?
Can we be sure that humans have meeting-points?
DAILY FRICTION moderated by
Phillip Venables vs. Lilibeth C. Rasmussen
Is all art political?
How is gender important in art?
How is gender important in all human endeavors?
What is non-gender-art?
Does it exist?
How to cross gender?
What can be learn from segregating gender?
What is unlearnable?
Can we learn from everything?
What is an ‘outside’ gender?
What is ‘inside’ gender?
How to train to be a gender?
What is a gender?
What is awareness?
Can lack of awareness create new futures? Or would it hold on to the existing present?
What can birds teach us about gender?
What can we learn birds?
What potential lies in not losing one’s native language?
What is a native language?
What do we take for granted in language?
Why are gestures important?
What have been normalized by language?
Can language deconstruct norms?
What is the potential of solidarity?
Can things be cancelled?
How to talk about what I haven’t experienced?
Why did toilets get separated into male/female?
Why do you wear a dress, and you don’t?
What structures should we change?
What to do, when you don’t see the structures?
How to deal with the unknown complications of gender troubles?
Is it meaningful to say that everything is political?
What is the politics of grass, of the sun over our heads, and for the art to come?
Is it meaningful to ask so?
Are we aware of things politics?
Do we want to change?
Why is change good?
What is wrong with the now?
What would happen if we stayed the same?
How can an artist in a valid way say that a works in not political?
Is something/everything always political or personal?
How to escape a political context?
What are we first, a political being, or just a being?
Can the human being start be ‘only a being’?
Can we take of the humanness?
[Is taking notes neutral?]
How to stay with the hot potato?
Can an artist escape gender?
Can an artist be with gender?
I a non-gender a gender?
How can statistics help us understand a issue?
How would a conversation, or debate, daily friction, be if we couldn’t use body language?
What can we learn from a perspective outside the systems?
Do we need a common agreement?
Can we have a common agreement as political beings?
What is gentle friction?
How to articulate artistic development?
What are the dangers of underestimating the audience?
What is a masterpiece?
Do we need more student-pieces?
What is a student-piece?
In what way can the student-piece be the masterpiece?
DAILY FRICTION moderated by
Aljoscha Begrisch vs. Eva Meyer-Keller.
What drives you?
What is the need to create art?
How to look at perception?
In what way are perception something all has to deal with?
What is the potential of mathematic models that shows us what we don’t see?
How does life feel like?
What can be tested in the laboratory of the theater?
What cannot be tested in this theater?
How do our conceptions change when encountered with new science and methods?
What does it mean that it’s costly to have a brain?
What is the cost of the brain?
Do our body always want to pay such a high cost?
What happens if we can’t afford our brain?
How to make ungraspable things graspable?
How can perception be controlled?
Why would we control our perception?
Do stable structures/installations exist?
What does it mean to be stable?
Is change stable?
How can growth be a way of staying with structures?
Is an overview useful for relating?
What is the implication of our senses and brain’s collaboration?
What is the potential of making the engager more conscious of the gaps?
How can we create spaces where/within something new can be created?
What is the implication of if you only see what you already know?
What is the need of the gaps/bridges?
How to open up?
How to create and encounter?
What spaces and dialogues do we need to deal with our present and future?
How to open up spaces?
What openings is without spaces?
What can we do for the world?
Is creating spaces for encounter a social praxis?
Can you be curious if you are afraid?
How to lower fear and narrow perspectives?
How to encounter those, who are not here?
Why to encounter these?
What should we look for in the emptiness?
How to fill the gap?
How to bridge/translate the gaps?
What are the consequences of not recognizing?
What is most pressing – an artistic or political strategy?
What is an artistic strategy?
Can we be without strategy – speculations?
Can we stop being a wolf?
What is the strategy of life – does it have one?
Why is it important to trust each other?
Can a conversation work well without trust?
How to generate trust?
What is the relation between trust and collaboration?
What is relating with trust?
Is trust a way of relating?
What is the relation between trust and our way of perceiving?
How is trust a part of open up?
What is trust?
Is there a clear purpose of art?
What is the potential of an unclear purpose?
Is anything clear in a universal sense?
What do we want other people to learn?
What is important to learn for the future?
Are there more things today that we need to engage with, than before?
What are the limits of our engagement?
What is the potential of saying: “Try – go ahead!”
What is the value of not understanding?
What is the ‘good’ of the aporia?
How to find out what we don’t know?
What is the potential of realizing how little one knows or have discovered?
What does it mean to ‘know’ something, in compare to having ‘experiences’ with something?
How to trust – in order to somebody listening and engaging?
How is sharing and trust related/connected?
Can one truly share in non-trusting-space?
Can one receive the shared if not trusting the sharer?
How to trust a project or an idea?
How to trust the unknown? The future? Nature?
How to create space for reacting?
Do we need to act more than react?
How do one’s responsibility for a space affect one’s relation to the space?
How fare up can you open up limits?
What voice/story have we forgotten?
How long term is ‘long-term’?
How fare into the future can we relate to?
What is knowledge and what is knowable?
How to deal with the unknowable?
What do we do when we don’t get funding, as artists?
What are the implications for art, that it to some degree depend on funding?