Franziska Koch – författare

What is a text score? Scores for Meeting Otherwise traces a speculative feminist history of the performance score, beginning with Pauline Oliveros’s text instructions from the early 1970s and Womens Work, the score magazine edited by Alison Knowles and Annea Lockwood. From these foundational experiments, the book looks toward the future of the score as a diverse, relational and multidimensional form.Bringing together newly commissioned works by artists, writers and composers, Scores for Meeting Otherwise offers the text score as a proposal for gathering, collective attention and social imagination. Rooted in queer-feminist, anti-colonial and disability justice practices, the scores invite reading, discussion, negotiation and performance by anyone. Scores for Meeting Otherwise holds multiple voices, temporalities and possible futures within the score as a space of encounter.Contributors include: Ximena Alarcón-Diaz, Sarah Hennies, Tomoko Hojo, Kunci’s School for Improper Education, Cannach MacBride, Bint Mbareh, Elaine Mitchener, Matana Roberts, Romy Rüegger and Ginger Brooks Takahashi.

This book traces the intersections between the growing controversies revolving around the Anthropocene on the one hand, and artistic and curatorial practices situated in the Sinophone world on the other. Exploring the relevance and multiple relations of both concepts as mediated in specific aesthetic, visual, and performative practices, and affiliated understandings of the planetary, seven academic case studies, supplemented by four conversations with emergent and senior curators, map the “Sinophonecene”. Accounting for the transcultural entanglements of different ontologies—humans, plants, animals, as well as technoid beings—and being aware of Man’s epistemological conditions and limits, the recent concept helps to think through global issues of habitability and interspecies relationships with regard to the particular world of Chinese contemporary art. Eschewing essentialist, nationalist, civilizational, and human-centric notions of “Chineseness” in favor of more “worlded” approaches, the multi-vocal chapters also contribute to bridging existent divides between area specialists, art historians, artists, curators and educators, who are engaged in the field.