Our friends Ana and Vincent from Tijuana ( Sao Paulo ) invited us for their second Tijuana Edition.
The Zine was released in Sao Paulo 2 Month ago. Printed in Germany with a Circulation of 40.
The Zine is featuring works from Philip Emde, Vincent Schneider, Maito Firmino, Melike Kara, Julia Maiquez Esterlich and Hermes Villena.
The Zine is also feat. an Interview with Georg Barringhaus & Hermes Villena by the Lovely Rebeca Maria
Here the Englisch Version:
The CTP right now is existing since seven years, and you have been organizing events exhibitions and movie screenings, published zines and books, realized skate-jams. With that you have represented your artists and yourself in very different ways.
This year you have become an association and a collective.
Since our last exhibition „And suddenly we are standing here“ in November 2011, we are understanding us more as a collective. In the moment it feels like, if the combination of people, who are currently working with and for the CTP, form a good entity, and accordingly complement one another.
Actually the CTP always has been a collective. But until now we haven‘t defined us as that.
Because of the fact, that most of us are in the CTP since it started, the decision to present us as a collective is just logical.
The idea IS the collective. I have to accent that. What Hermes is saying is crucial: it‘s about the deliberate decision to name it a collective and with that give every participant the explicit possibility to understand themselves as a collective. Through this they can present the intention of CTP outwards.
Perhaps one should mention, that the concept of the collective can be extended constantly.
One wouldn‘t call you a homogenous artist-collective in the classical sense: you are graphic-designers, musicians, illustrators, photographers, skaters, media-artists, writers and enthusiast. This bandwith of creative diversity and craftsmanship enables you as a group to do… well… what actually?
Everyone of us can understand themselves as the center of the collective and is as matter of fact self-employed. Simultaneously each of us is part of the collective, who can realize ideas with the help of the group and thereby gives new impulses, which, under certain circumstances, could lead to a creative necessity for somebody else.
I even would say: the whole of the Come Together Project has developed from these so- called necessities. There always have been ideas, which simply originated form everyday life.
And these wanted to be realized. Sometimes the individual creative practice or technical skills were limited, or there were others, who could do it just better. Out of this situation we often could realize further projects out of which other projects were triggered.
Through that process works of art or products are created, which originated from the „external“ impulse and are individually processing this.
R: You are seemingly following a very direct and fast reception-approach, which transforms in to something more like a product. Is this an intentional thought based in
CTP? How do you see the relation between process, documentation / reception and the final product?
H: Documentation and reception are a basic factor in CTP
G: The process is shown within the documentation, also showing the space in between, which happens between and during the artistic events. The everyday life of each individual, with his artistic or emotional existence, has the same significance, as the creation or product itself. The CTP brings the artistic factor, the everyday factor and the individual aspects together.
H: The processes that‘s happening , when the individual does something for somebody else or get‘s into that impulse, is what we are living and have defined as our discourse. And as we observe, the spoken and written word is becoming a explicit factor.
R: I find your media performance in modern exhibition-spaces, like T-shirts, displayers, murals, canvas and peculiar magazine-formats extremely remarkable. Than it seems, that the narrow localization of art is nullified throughout that process.
H: That is probably a more undeliberate development, which is inflicted through the interdisciplinary approach – all though we all dislike that term. The diversity of media, which we as a collective produce, doesn‘t make anything else possible.
G: The decentralization in the urban, breaking frontiers, dissolving the localization and making the black and white colorful, is the happening which we are able to realize. If it is acknowledged as art, is always a different question. Art for us always means participation; its about the opposite of distance. It is most of all the emotional, the feeling and touching of art, the coming alive and the respect of all these projects, which is important to us. It‘s about the participation.
R: Art and space are generally difficult topics, which we discussed this evening. What are you doing with that?
H: The impulsive is the energy that drives us. But we have become more concentrated. We are curating our own impulses. Meanwhile the conceptual thought grew stronger. Art is a term, just like the term love needs to be placed well thought.
G: We define inner spaces, but try to exceed local or geographic spaces. We search a collective understanding, no, we try to investigate and perceive a collective understanding non-spatial.
Every art needs a frame, wether a space or room in which is taking place or the media, with which it is presented. The question, which comes to our mind more and more is the question of where, when, how and what?
Rebeca Maria Jaeger studied Arthistory and German Literature in Bonn Germany. She is leaving in Cologne with her daughter Jade and works as an author. Since 2006 she has been organizing and curating exhibitions for the art-association “Raum für Kunst und Musik e.V.”