Is a space for artistic research, experimentation and imagination. Set up by Bartels in an attempt to articulate and enclose the fringes in the scope of her artistic practice. To explore the absurd, bizarre, boring and (un)usual fascinations at a certain point in time. To dive into the potential of fragmentary bits an pieces, creating analogies between
concepts, questions and ideas. Blurring fiction and reality, where nothing is what it seems and vice versa.
Serious play or playful seriousness.
Schmilblique derived from Schmilblick
The Schmilblick is an imaginary object created by the French humorist Pierre Dac during the 1950s. It is absolutely useless, and can therefore be used for anything, being rigorously entire. Pierre Dac himself credits the brothers Jules and Raphaël Fauderche with its invention.
The word quickly became very popular in French language and was sometimes used as a synonym for thing or stuff, or something designating a strange or unknown object. Nowadays, this word is frequently used to refer to some limited help provided by someone to solve a difficult problem. The idiom is actually 'Faire avancer le schmilblick' (To make the schmilblick move/get ahead, literally). Also, advancing a subject.
Ouvroir | Faire avancer le schmilblick
is a space for artistic research, experimentation and imagination. To explore the absurd, bizarre, boring, the (un)usual. To dive into the potential of fragmentary bits an pieces, creating analogies between concepts, questions and ideas. Blurring fiction and reality, where nothing is what it seems and vice versa. Serious play or playful seriousness.
Set up by Karin Bartels in an attempt to articulate and enclose the fringes in the scope of her artistic practice.
Website in Process
PROCRASTINATION
ACADEMY
Is a subjective platform in the making that celebrates
acquiring alternative knowledge when you refrain, avoid or postpone doing what you should be doing while trying to meet a deadline, focus on a longterm project, work, study etc.
Although procrastination is often seen as a bad habit, Karin proposes to look at it from a different perspective. Being a Pro in procrastination herself, she often wondered where she would have been without it. Concluding that the seemingly random knowledge that she acquired during those times where in fact key in developing her ideas and shape the course of her practice.
Wouldn't it be interesting to take a closer look at the moments one is procrastinating. And instead of finding mechanism to avoid it, actually be more intentional about this time spent. Instead of aimlessly scrolling trough social media timelines, watching viral video's, flipping tv channels, checking email, messages or the news. Procrastination Academy is an attempt to articulate the ideas en fascinations that are derived from the alternative knowledge of procrastinating. Switching gears between high and low culture, there will be experiments, playful, quirky, poetic, historic, contemporary, offbeat and imaginative connections. A place to find curated content that feeds a sense of curiosity and wonder with a dash of quiet activism.
Procrastination (n.)
"a putting off to a future time; dilatoriness," 1540s, from Middle French procrastination and directly from Latin procrastinationem (nominative procrastinatio) "a putting off from day to day," noun of action from past-participle stem of procrastinare "put off till tomorrow, defer, delay," from pro "forward" (see pro-) + crastinus "belonging to tomorrow," from cras "tomorrow," a word of unknown origin.
Italo Calvino • Thoughts Before an Interview
Every morning I tell myself, Today has to be productive—and then something happens that prevents me from writing. Today . . . what is there that I have to do today? Oh yes, they are supposed to come interview me. I am afraid my novel will not move one single step forward. Something always happens. Each morning I already know I will be able to waste the whole day. There is always something to do: go to the bank, the post office, pay some bills . . . always some bureaucratic tangle I have to deal with. While I am out I also do errands such as the daily shopping: buying bread, meat, or fruit. First thing, I buy newspapers. Once one has bought them, one starts reading as soon as one is back home—or at least looking at the headlines to persuade oneself that there is nothing worth reading. Every day I tell myself that reading newspapers is a waste of time, but then . . . I cannot do without them. They are like a drug. In short, only in the afternoon do I sit at my desk, which is always submerged in letters that have been awaiting answers for I do not even know how long, and that is another obstacle to be overcome.
Eventually I get down to writing and then the real problems begin. If I start something from scratch, that is the most difficult moment, but even if it is something I started the day before, I always reach an impasse where a new obstacle needs to be overcome. And it is only in the late afternoon that I finally begin to write sentences, correct them, cover them with erasures, fill them with incidental clauses, and rewrite. At that very moment the telephone or doorbell usually rings and a friend, translator, or interviewer arrives. Speaking of which . . . this afternoon . . . the interviewers . . . I do not know if I will have the time to prepare. I could try to improvise but I believe an interview needs to be prepared ahead of time to sound spontaneous. Rarely does an interviewer ask questions you did not expect. I have given a lot of interviews and I have concluded that the questions always look alike. I could always give the same answers. But I believe I have to change my answers because with each interview something has changed either inside myself or in the world. An answer that was right the first time may not be right again the second. This could be the basis of a book. I am given a list of questions, always the same; every chapter would contain the answers I would give at different times. The changes would contain the answers I would give at different times. The changes would then become the itinerary, the story that the protagonist lives. Perhaps in this way I could discover some truths about myself.
But I must go home—the time approaches for the interviewers to arrive.
God help me!
—Italo Calvino
Excerpt • Italo Calvino • Interviewed by William Weaver & Damien Pettigrew •The Art of Fiction No. 130 • Paris Review • ISSUE 124, FALL 1992
