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Dieser Beitrag ist kein Glossareintrag im engeren Sinne, da er keine Definition für den Begriff des ‚Schmuggels‘ bietet. Vielmehr dockt er an das ‚Schmuggeln‘ als ein Modell für das Kuratorische an. Und indem er einige Gedanken eines früheren Textes von mir wieder aufgreift, erweitert er den Begriff, um eine Praxis zu konnotieren, mit der es hoffentlich möglich ist, von innen heraus den institutionellen Rahmen der Kunst neu zu gestalten. Aus meiner Perspektive als Kunst- und Kulturschaffende of Color in einem europäischen Kontext schlage ich hiermit das „Schmuggeln“ als Methode einer langsamen und stillen Subversion vor.

What are recent examples of practices in which ‘assembling’ and ‘disseminating’ reconfigure agencies, resources, affects and information to give rise to new forms of collectivities? This round table brings together Björn Heerssen and Noel David Nicolaus from the interdisciplinary collective Clusterduck, and sociologist Serhat Karakayali to ask about the relationships and interdependencies between ‘assembling’ and ‘disseminating’ as constitutive mechanisms in processes of collectivization. How do agencies, resources, affects and information elevate processes of creating collective feelings? Together we discuss how ‘assembling’ and ‘disseminating’ take shape in each example, leading to different forms of collectivities; what practicable mechanisms, interfaces and infrastructures come into play; and how do these two instances approach possibilities of collective inter­action in terms of ‘sharing’ and ‘learning’. 

This text was part of the opening to the symposium sharing/learning: methods of the collective in art, research and activism and was read on 28th June 2019, in English, by two members of the organizing team, as introductory words. The text deliniates the central questions from which the two-day gathering arises, as well as its methodologies and actors. Many formulations originate from previously written concept papers, which were used to present the project for various purposes. These in turn are informed by the many conversations that took place within the organizational team – a group of people whose constellation was shifting along the way – orally as well as in writing. 

Looking at examples of presenting practices in Berlin and Toronto, this essay sketches the difficulties that arise when embarking on a curatorial practice with a decolonial impulse. This text is a partner to “On Smuggling and Drawing. A Conversation in Blocks”, a dialogue between curator Juana Awad and artist Luisa Ungar, written in 2020 and appearing in the publication Künste dekolonisieren. Ästhetische Praktiken des Lernens und Verlernens (edited by Julian Bauer, Maja Figge, Lisa Grossmann, Wilma Lukatsch; Berlin, Transcript Verlag, forthcoming.) But while the dialogue focuses on Ungar’s creation process of the over one hundred original drawings intervening throughout the publication, this essay brings to the forefront Awad’s questions about, and experiences and observations with the mingling of the curatorial and the decolonial, from her perspective as a curator and cultural worker.