Friday, October 31, 2008

EVA HESSE, untitled statement, Hesse Archives

You asked me to write
Sol, closeness and not knowing enough
Another's world.
I cannot know your world.
You write the systems,
You set up the grids
You note 1, 2, 3, 4.

I see them.
Your order their order.
Units, strength, cubes, columns -tough stances,

but I see the fragile sensitivity
the you which is and should be there

Intution, idea, concept followed through
no arbitrary chices,
no test
never arbitrary, never decoration.

The strength of vision and soul is there, it must.
We are left ultimately with a visual presence.

Why deny that -can't deny that.
It's what we
are left with. A visual presence.
Depth: that too we must be left with.

Sol, there is depth and vision, a presence art

INTERCHANGE Istanbul Completion Party - Sat 1st Nov

Interchange 4 Cities 4 Weeks 30 Artists
Week 2 Istanbul (Oct 27- Nov 2)

20 October-23 November
CCP Car Park GalleryDuke Street, Liverpool L1 5AA
Opening times:Tues-Fri 12-6pm
Exhibition completion parties:
Every Saturday 6-9pm
Every Sunday starting at 4pm

Modelarnia from Gdansk
Hazavuzu from Istanbul
Componibile62 from Naples
Wolstenholme Projects from Liverpool

Project Director: Tomas Harold
Mercy Events Manager: Nathan Jones Mercy
More info:

Over four weeks during the Liverpool Biennial, Interchange will present the work of four groups of artists from Gdansk, Istanbul, Naples, and Liverpool. Each 'city' will occupy the gallery for one week in-turn to produce an exhibition and host a weekend of music, performances and workshops. Visitors will see the exhibition evolve from week-to-week with the successive influence of artists from the North, South, East, and West of a new EU.

Cevdet Erek
Vahit Tuna
and Ha za vu zu: Sukru Ozgur Erkok, Emir Ozer, Guclu Oztekin, Mert Oztekin & Gunez Terkol
Completion party:Music and performances by artist collective Ha za vu zu.
Musicians, artists, friends and lovers, Ha za vu zu are many things, and their approach to everything is high spirited, perceptive, and unexpected.
Workshop:Ha za vu zu

Wednesday, October 29, 2008

'Casco Issues XI: An Ambiguous Case'
Book launch Wednesday 5 November 2008 19:00 hrs.

Casco, Office for Art, Design and Theory and episodes publishers are pleased to announce the publication of Casco Issues XI, which will be launched on Wednesday 5 November at 7 pm at Casco, with a screening of the film 'Why Do Things Get in a Muddle? (Come on Petunia)' (1984) by Gary Hill. The editors will be present to give an introduction about the book. Casco Issues is an annual publication that highlights strands of thought that lead out of Casco's programme.

Titled An Ambiguous Case, Casco Issues XI has been edited by Emily Pethick, Marina Vishmidt and Tanja Widmann, and was developed through the process of a conversation on the subject of openness. This inquiry led into a discussion around a number of related terms – criticality, fractures, ambivalence, ambiguity, undecidability and conflict, to name a few – as well as distinctions between recognising openness as a condition, and practising, or doing, openness. The editors opened this question out to a number of artists and designers, including Babak Afrassiabi and Nasrin Tabatabai (Pages), Gregory Bateson, Gregg Bordowitz, Judith Hopf, Jutta Koether, Runo Lagomarsino, Kobe Matthys, Metahaven, and The Otolith Group, whose responses are in the book. The publication also includes a conversation between the editors, and two 'Metalogues' by British anthropologist & sociologist Gregory Bateson; conversational speech acts that could be seen as creating a form of openness, producing moments of conflict, suspension and indeterminacy.

Casco Issues XI: An Ambiguous Case Contributions by Babak Afrassiabi and Nasrin Tabatabai (Pages), Gregory Bateson, Gregg Bordowitz, Judith Hopf, Jutta Koether, Runo Lagomarsino, Kobe Matthys, Metahaven, The Otolith Group, Emily Pethick, Marina Vishmidt, Tanja Widmann

Edited by Emily Pethick, Marina Vishmidt and Tanja Widmann

Designed by Julia Born & Laurenz Brunner

Published by Casco, Office for Art, Design and Theory, Utrecht and episode publishers, Rotterdam

Language: English

Orders: or

ISBN: 978-90-5973-108-0

Tuesday, October 28, 2008

oleg kulik ve fransiz vaziyetler

Fransiz polisi Oleg Kulik'in FIAC fuarinda sergilenen islerine mahkeme karariyla el koymus. Fotograflari yukarida, hikayesi asagida.

"Circulez!" shouted a wiry man with a shaved head as he fixed a piece of electrician's tape across the entrance to the booth of Moscow's XL Gallery, barring access. "Ce n'est pas un spectacle!" But indeed it was.It was day two of the FIAC art fair in Paris, around 4.15 in the afternoon, and visitors to the small two-storey section at one end of the Grand Palais were witnessing a public performance rarely seen in the contemporary art world. At its centre was From the Dustbin (2007), an installation of unframed photos by Ukrainian artist Oleg Kulik. As is often the case with Kulik's work, many of the photos depicted simulated acts of zoophilia – naked men, usually the artist, pretending to couple with sheep, dogs, and, in one photo, a guy in a monkey suit, the latter in behind the crouched-over Kulik, whose face is contorted in a feigned rictus of rectal pain or pleasure. Other images were more innocuous: the face of a beautiful woman next to the head of a large bulldog; a naked man in the arms of a naked woman; a man walking a dog at the end of a leash; a man walking the artist at the end of a leash; the artist wearing a dog collar and growling at the camera from inside a cage; the artist, bare-chested, flying through the air. Perhaps the most disturbing was a close-up of a smiling young girl hugging a giant mastiff — not because there was anything bestial in the representation, but because the girl had two black eyes.

Next to the photo-installation, a small sign in English and French read, 'The explicit sexual content of certain images is likely to disturb some members of the public and is not suitable for children.'"Whose stand is this?" asked someone in the crowd gathering outside the booth. Someone had removed the sign above the stand indicating the gallery's name and origin.Six other men of identical dress and demeanor were hovering behind the man with the tape. Black jeans, black shirts, black jackets – the only thing differentiating them from most of the onlookers' were the accessories: walkie-talkies and guns. "Is it a performance piece?" someone asked. "Who's the artist?" Under police instruction, XL gallerists Sergey Khripun and Elena Selina take down images by Oleg Kulik.

Alone woman in a dark overcoat joined the group of men as they consulted a thick document. Elena Selina and Sergey Khripun, the gallery owners, towered over them. They looked worried. Khripun, a tall, sad-faced man, pointed at a photo. "It was exhibited in a Paris gallery very recently," he said in broken French. "And this one is in a collection of the French state."The men in black shrugged. Khripun sighed, walked to the wall and began prying thumbtacks from the edges of the offending image with a small screwdriver. Two photos already removed from the wall were on the floor at his feet.Meanwhile, the crowd behind the tape was growing. The woman in the overcoat stepped toward them.

"No photos! We are not artists. You can't take our picture. We are civil servants."
"What's going on?" someone asked.
"What are you doing?"
"There's nothing to see here," said the man with the shaved head.
"Circulez! And stop taking fucking photos!""It's a publicity stunt," said a man as he walked away. A few others rolled their eyes and moved on. Others stayed, more arrived. Word was spreading fast.
"Who are you people?" said a member of the public.
"Why are you taking down those pictures?"
"We're police officers and we have a court order from a judge to seize these photos."
"Because a judge has determined them indecent."
"Indecent? Ridiculous. Since when is art something that a judge decides?" said the man.
"Just doing my job, monsieur. Following the judge's order."
"Since when is bestiality art?" countered a cop with a sneer.
"This is outrageous!""Appalling!""Scandaleux!"A man shouted over the railing at the multitudes milling about on the floor below.
"People, come see! A judge and the police are deciding what you can and can't see!"The police tensed. Walkie-talkies crackled. Within 30 seconds a sizeable phalanx of backup was racing up the stairs.
"Christ," said someone in the crowd. "You don't see this many cops at a murder scene."More duct tape was stretched across the entrance to the stand. The stairs were blocked off. Two young women bearing FIAC badges showed up. "S'il vous plaît," said one, addressing the crowd. "C'est une question de poids. You're too heavy. It's not safe. And there are other works to see. Be reasonable. It's not fair to the other stands."
"It's not fair to us nor to the artist. We have a right to see this."
"Allez!" said a cop. "Let's go. No photos! Move!""And if we don't want to move?" said a petite, fashionably dressed French woman."Then we will move you."The woman giggled.
"Ah, but you see, we are French, and this is la résistance. This is what we do in this country. We resist."
"Vive la résistance!" shouted a man with a heavy German accent. The crowd laughed. No one moved away.
"Get them out of here!" shouted the little man."I tried," said his colleague. "They don't want to.""No! We don't want to!" shouted the petite woman.
"Vive la résistance!"By this point the Russian gallerist with the screwdriver had been replaced by four policemen with penknives. Three quarters of the 30-odd photos were lying in a stack on the floor. A DVD of I Bite America and America Bites Me (1997), Kulik's two-week performance piece at Deitch Projects in New York, was removed from the player and placed in a plastic bag. The video shows visitors in protective suits fighting with the naked and dog collared and chained artist inside a heavily secured doghouse. It and stills from it belong to major art collections around the world. What's more, Kulik's dog-lover photos were on public display just a few yards away – at the FIAC stands of Vienna's Krinzinger Projekte and Moscow’s M&J Guelman Gallery – and had been on view at XL Gallery's stands at earlier art fairs, including Frieze (in the UK, the possession of bestiality imagery is a criminal offence but only if it can 'reasonably be assumed to have been produced solely or principally for the purpose of sexual arousal') and Art Basel.
"There are collages downstairs by Thomas Hirschorn with photos of magazine models next to pictures of dismembered Iraqis with their heads blown open and their brains oozing out."
"This is absurd! You can see worse images on TV or the Internet every day." Which is true – type "Oleg Kulik" into Google Images and thousands of carnal canine pictures will pop into view."Are we to be told what is art?"

"This is a disgrace!"Khripun and Selina had their coats on and the police were escorting them toward the stairs. One of the flics lunged out at a middle-aged tourist with a camera, grabbing him by the forearm. "What did I say? No pictures!""Why not?" said the well-dressed woman.

"Is this a police state? Are we sheep? Are we just going to bend over and take this?"No one answered, but a few saw the parallels and snickered. The police and the FIAC forces gently pushed back the crowd. The gallerist and the police started down the stairs, just as the fair's directors, Martin Bethenod and Jennifer Flay, were coming up. Bethenod, an elegant man dressed in black, pulled out his notepad and began taking names. "This is a scandal," he said. "Some of these works are in national collections."
"What's happening?" a man asked Bethenot."A member of the pubic complained that these images are indecent. A judge has ordered them seized. There will be an enquiry. We have a lawyer who specializes in this and we will do what is necessary." He headed off to the police station, cell phone at his ear. Jennifer Flay, the fair's artistic director, stayed behind."I am shocked that this has happened," said Flay. "French customs held up the images, then two days ago the police told us that their had been a complaint and that we had to put up signs warning people of the explicit nature of the work. The gallery raised no opposition and signs were placed next to the photos. Now, with no prior warning, the police have seized the works, acting on a judgment from the courts." She dropped into a chair. "I don't want to talk about this. It's too upsetting. These works are no more shocking than many of the works of Picasso or Hans Bellmer or other great artists throughout the history of art. This is appalling and we will of course help the gallery.
Within seconds, no trace of the ruckus remained except the gaps and thumbtack holes on the stand wall. The strip of tape came down, new members of the public rolled by, gaping unawares at images and their absence. A handful of photos had survived the police raid: the woman and the bulldog; the artist flying through the air; the artist submerged in a tank of water. These and a few others were scattered here and there across the wall. The video screen was black. A pile of yellow thumbtacks was left on the floor. Visitors puzzled over the haphazard placement. Then they moved on.

Sunday, October 26, 2008

goldin+senneby in texte zur kunst sept 2008 artists' artists issue

Survey: For Every Time its Artists

The term "artists' artist" already points to the importance of "peer recognition" instead of emphasizing institutional or commercial success. Rather, it attests to - or at least promises to open up- a potentially idiosyncratic space of production and interpretation. At the same time, the figure of "the artists' artist" has been increasingly marketed in recent years. By the same token, the figure of artists' artist in large-scale exhibitions by now seems mandatory for curators. To occupy such a position, however, still remains unattractive -after all it implicates a precarious economic condition that can be hardly redeemed by the prospect of posthumous fame. Would you nevertheless like to give out the name of your "artists' artist" and to give the reasons of your choice?

Rosalind Nashashibi:

I don't know if my choice truly qualifies as an artists' artist. I think Goldin+Senneby are curators' artists as much as artists' artists, in that way they are conceptual players of a kind that invite much theorizing and can only be approached and 'seen' via words and text, by language, and so, unintentionally, they might be ideal artists for providing context and providing action for the curatorial stage. But what I find interesting is that at the same time, they are approaching something that seems unsayable, as well as undisclosable.
Their current project is called "Headless". They found references to an offshore company in the Bahamas called "Headless Ltd.". They compare and connect this to the secret society known as "Acephale" from the Greek a-cephalus, meaning "headless"; founded in Paris in the late 1930s by Georges Bataille and his circle of friends.
"Headless Ltd." is a company that seemingly cannot be traced, and it is unclear what they do, a classic offshore phenomenon that recalls spy movies, slippery underworlds and high-end crime. The idea of offshore suggests an ungovernable zone of non-signifying financial signs, a zone with its own sovereignity and therefore a meta world of "Alice in Wonderland" strangeness. Goldin+Senneby play with the connections of two "Headless" projects, both can be seen as secret societies and so have an idea of magic and glamour around them, but "Headless Ltd." also poses contemporary questions of financial black magic, of legal invisibility and the manipulation of economic power, Whilst Bataille's secret society pertains more to mythical magic realities and rituals.
Goldin+Senneby's methods include harnassing ghost writers, writers of fiction and fictuonal writers. They employ private detectives and organize semi-clandestine activities based on (their)
partial knowledge of their own collaborators, and they both reveal and conceal their activities to their audience, to the point where we don't know how much to believe, how much they believe, or to what extent they play.
The term "headless" also makes me visualize blindness, eyeless sight and the appearance of uncanny animation I get from representations of headless bodies. All of this adds to the aura around this project that draws me in, though crucially, I'm not exactly sure why.

Saturday, October 25, 2008

diyarbakır 1. sulh ceza mahkemesi kararı gereği blogger erişimi türkiye'de engellenmiş.
şiddetle kınıyorum.
hangi özgürlük?
ama neyse ki her yasağı geçmenin yolu var. susmak istemeyene her zaman çözüm var.

dear blog followers,
access to blogger has been suspended with court decision in turkey from yesterday evening on.
i'm protesting the mentality shutting down all the public discussion and commenting
areas, censuring all possible ways to say something else!
fortunately, there is always another way...

grateful for the sun: a holiday memory from patara

Wednesday, October 22, 2008

şu an berlin'de değiliz ama marion von osten'i çok severiz sayarız


23 - 25 October 2008

International Conference

Opening: 23 October, 6 p.m.

House of World Cultures, John- Foster- Dulles- Allee 10, 10557 Berlin

The conference on The Colonial Modern is part of the project IN THE DESERT OF MODERNITY, which traces the complex history and interdependency of Europe’s modern mass housing projects and urban planning and the European building projects in colonial North Africa - and hence the ambivalences between colonial rule, decolonization and the utopias of modernity.

For post-war modernity, works of architecture and blueprints for cities had great symbolic character. They were not only exemplary for the aesthetic project of modernity, but also for social modernity and the dawning of a new society, whose feasibility and plannability they represented. However, the symbolic function of the settlement architecture the modern architects designed was “ as one of the preliminary theses of the conference indicates “ embedded in a field of conflict. On the one hand, the architecture of the 1950s and 1960s incorporated population policy strategies that had already been tested in a colonial context. On the other hand, the architects sought to integrate the experience of decolonisation into their planning, which they did by synthesising lifestyles designated ˜pre-modern’ into the project of the Modern movement in order to create a new and different Modernity.

The Colonial Modern conference takes these positions as its starting point. It focuses on the relationship between the aesthetic regime of Modernity on the one hand, and the project of modernisation on the other. Considered in the context of colonialism, the close interrelationship between the two levels becomes acutely clear. The numerous conflicts and negotiations over modernity show that this intricate relationship was full of tensions, as the exhibition IN THE DESERT OF MODERNITY shows with numerous examples. Interest in this subject is more than purely historical, for it raises the question of what conclusions we can draw for present-day problems “ no matter whether they are cultural, scientific or political.


Nezar AlSayyad, architect and urban designer and historian, Berkeley / Kader Attia, artist, Paris/Berlin / Monique Eleb, psychologist and sociologist, Ecole d’Architecture Paris-Malaquais / Jyoti Hosagrahar, expert on historic cities, UNESCO / Christian Kravagna, art historian, Academy of Fine Arts, Vienna / Kobena Mercer, expert on Visual Arts of the Black Diaspora / Valentin Y. Mudimbe, professor of Literature, Duke University / Joe Nasr, scholar of urban planning, Ryerson University, Canada / Peter Osborne, Director Center for Research in Modern European Philosophy, London / Sven-Olov Wallenstein, Philosopher University College of Södertörn and Architectural Theory at Royal Institutute of Technology, editor in chief of Site Magazine Stockholm

Free admission, Detailed program information:

Sunday, October 19, 2008

Thursday, October 16, 2008

gözümüz gönlümüz açılsın

bugünkü berlin programımız

Nanna Heidenreich: choreographed, placed, framed

how does one choose what to screen? In this case the selection started with (UN)SICHTBARE ARBEIT, by Andrea Keiz, -- an 'Invisible' work which shows the backstage, or the invisible part of choreography and staging. Another work in this program: A/C, by Philip Scheffner, begins with sound recordings, between Bombay and Berlin elaborating moments of (a)syncronicity between image and sound to develop its own narration. And then the image disappears entirely: pictures, 'art' on the walls of people's appartments, gone shortly before the house will be demolished, mere apparitions, but more visible then they ever have been in the piece entitled KUHBERGFÜHRUNG by Doro Carl. Azin Feizabadi reframes a photograph of his grandfather: what does it show and how does it travel through time? He prays for eternity - NIYAYESH – A CONVERSATION WITH EBRAHIM SHAHROUDI. Maya Schweizer's FROM THE CLASSROOM finds a stolen moment on youtube – a choreography of a moment of bliss, and the story of an everyday journey. And then the choreography of history: SOMETIMES YOU FIGHT FOR THE WORLD, SOMETIMES YOU FIGHT FOR YOURSELF by Renate Lorenz and Pauline Boudry. Singing music history, 'her'story (Flying Lizards), film history (Jack Smith) and the story of exoticism. An appropriation of the economy of love and the glamour of economy. With Arantxa Martinez and Antonia Baehr.

Andrea Keiz and Philip Scheffner will be present

Nanna Heidenreich, Berlin
(arsenal experimental – // kanak attak –

Wednesday, October 15, 2008

Brussels Biennial is starting and this is the Extra City part

19 October 2008 – 4 January 2009

The first Brussels Biennial opens on 19 October and shows on various locations in Brussels seventy artists in seven exhibitions. Extra City contributes with the project Letter to Leopold, curated by its artistic director Anselm Franke. He brings together artists, writers and architects in a reflection on Belgium's colonial history in a global context, its present day legacy and implications for Europe and the European policies. Letter to Leopold is an exploration of art's possibilities to 'speak to the past'.

More information about Letter to Leopold at

For more information about the opening weekend of the Brussels Biennial (18–19 October) please visit

Details about The biennial debate: The biennial as a global phenomenon (deBuren, 19 October) can be found at

Monday, October 13, 2008

replikas'ın dönüşü muhteşem oluyor

şahane haftasonu ya, replikas'ın yeni albümünün ham halini de dinleme fırsatı yakaladım.
bir ay sonra çıkacakmış. öyle böyle değil.
sevgili arkadaşlarımla da konuştuk, köledoyuran'ın kalbimizdeki yeri başkadır bir yandan.
öte yandan replikas sürekli eli yükseltiyor, gözden kaçırmamak lazım. avaz'da haberini verdiği dönüşü de yapmış. bu adamlar çok sağlam müzik yapıyorlar çok.

çıkmış da görmemişiz: natacha atlas and the mazeeka ensemble'dan ana hina

ona bugünün ümmü gülsüm'ü desek abartır mıyız? ana hina cevabı veriyor.

şahane haftasonuna final: lorna'nın sessizliği

Rosetta'yı izlediğimden beri Dardenne Kardeşler'in her filmini takip ediyorum.
Tam da Ayşe Arman röportajı üzerine Perihan Mağden okuması sonrasına Lorna'nın Sessizliği'ni izledim. Kadın karakterlerini bu kadar şeffaflaştıran, duygularına bu kadar ortaklık edebilen yönetmen çok az.
Biri Dardenne filmleri için "coming together of hopeless powerlessness and power of hope" demiş. Banaysa düzenin etiği ve insan olmanın etiği arasındaki çatışma üzerinden hayatta kalmayı anlatıyorlar.
Lorna, Belçika vatandaşlığı için bir bağımlıyla evlenen bir Arnavut kızı. Ona bu evliliği ayarlayan grup, vatandaşlığını aldığı anda Claudy'yi öldürmeye hazırlanıyor. Lorna bir yandan aldığı paralarla sevgilisiyle birlikte bir snack bar açmayı planlarken, Claudy'nin canının yanmasını istemiyor ve alışverişi bozuyor ama ölümüne engel olamıyor. Başka bir Rus'un vatandaşlık alması için yeni bir paralı anlaşma evliliği yapmaya çalışırken, Claudy'den olduğunu düşündüğü (ultrasonun göremediği) bebeği hissedip kendi kaderini başka bir tarafa çekmeye karar veriyor.
Bu işin çok çok özeti. Dardennelerin tertemiz senaryosu, beklenmedik şiddeti ve yarattıkları duygu yoğunluğu insanda öyle güzel ama öyle buruk bir tat bırakıyor ki. Şiddetle tavsiyedir.

Friday, October 10, 2008

Thursday, October 9, 2008

kapitalizmin sonu yeniden yaşasın marx diyorlar

“Şüpheci görecilik, çoklu dil oyunları (ya da kamusal mutabakat), şimdiki zamanın estetik bir şekilde doğrulanması, ampirik tarihselcilik, altkültürlerin (ya da kültürel çalışmaların) kıymete binmesi vs. altüst edici kudretini yitirdi ve bu nedenle hâkim, yönetici düşünceye dönüştü. Bugün bütün bunlar iktisadi açıdan ileri ulus-devletlerdeki en muhafazakâr kurumların resmi doktrini haline geldi.”
Nedir transkritik yöntem? Karatani'nin kaleminden şudur: “Tayin edici olan, konumlar arasındaki ‘paralaks’tır. Kant da eleştirel bir şekilde bir oraya bir buraya doğru salınıyordu: Sürekli olarak, hâkim rasyonalizmin karşısına ampirizmle ve hâkim ampirizmin karşısına da rasyonalizmle çıkıyordu. Kantçı eleştiri bizatihi bu hareketin içinde var olur. Aşkın eleştiri, sabit duran bir tür üçüncü konum değildir. Yanal (transversal) ve konum değiştirmeye dayalı (transpositional) bir hareket olmadan var olamaz. İşte ben de bu yüzden Kant ile Marx'ın hem aşkın, hem de yanal olan o dinamik eleştirilerini ‘transkritik’ diye adlandırmayı tercih ediyorum.”
Zizek aynı düşünsel yöntemi şöyle tanıtıyor: “Transkritik adlı etkileyici kitabında, Kojin Karatani bu tür bir ‘paralaks bakış’ın eleştirel potansiyelini öne sürmeye çalışıyor: terimin tam Kantçı anlamıyla çatışkılı bir tutumla karşılaştığımız zaman, bir görünüşü bir başkasına indirgemeye yönelik (ya da, daha çok, bir tür karşıtların ‘diyalektik sentezini’ kurmaya yönelik) bütün çabalarımızdan vazgeçmeliyiz; tersine, çatışkıyı indirgenemez bir şey olarak ilan etmeli ve radikal eleştiri konumunu, bir başka konuma karşıt kesinlikle belirli bir konum olarak değil, konumların kendi aralarındaki indirgenemez yarık, aralarındaki tümüyle yapısal çatlak olarak kavramalıyız. Kant’ın tutumu bu yüzden ‘şeyleri ne kendi bakış açısından, ne de başkalarının bakış açısından görmek, fark (paralaks) aracılığıyla sergilenen gerçeklikle yüzleşmektir.'”

Benim notum: Transkritik'in mesele eleştirirken pozisyonları sabit tutmak değil gerekli yer değiştirmelerini görüp çatlaklar üzerinden ilerlemek demesi beni heyecanlandırdı. Marx'ı bir de Kant üzerinden okumayı deneyelim, bakalım. Sol bugünyeni bir koordinasyonun yanı sıra farklı okumalara da ihtiyaç duyuyor. Kitabın eleştirisinden alıntıladığım kısımlar, Elmas'ın geçen gün yazdığı eleştiri, içeriden-dışarıdan sorularına kısmen bir metodoloji cevabı olabilir.

kim gordon aşkına sensational fix!

The Exhibition SONIC YOUTH etc. : SENSATIONAL FIX investigates the collaborations and ties between the experimental guitar band, which was formed in 1981, and artists, writers, filmmakers, designers, and other musicians. Sonic Youth’s multidisciplinary works and those of the artists in the show propose an alternative history of contemporary culture, including a critical view of the division between “high” and “popular” art, while issues are explored such as teenage rebellion, adolescent wanderlust, gender, fame, fashion, sexuality, and religion. The various sections revolve around a central area, which illustrates the band’s long history through their output, such as records, posters, musical instruments and photographs. SONIC YOUTH etc. : SENSATIONAL FIX is held at Museion from 11 October 2008 to 4 January 2009. The exhibition, which combines art and music, has been curated by Roland Groenenboom in close collaboration with the US band Sonic Youth.

Wednesday, October 8, 2008

metin and'dan memleketin tiyatrosu üzerine -ruhu şad olsun

Sayın Metin And, sizce Türk Tiyatrosu'nun dünyadaki yeri nedir? Yeterince tanınıyor mu? Var mı böyle bir tiyatro?

Türk tiyatrosundan söz edilince iki ayrı şey düşünmek lazım. Bir bize özgü, bizim yüzyıllar boyu geliştirdiğimiz, adına toptan Geleneksel Türk Tiyatrosu dediğimiz bir tiyatro var ki, bu yazarsız bir tiyatrodur ve daha çok doğaçlamaya dayanır.

Bunun içine Karagöz, meddah, ortaoyunu, kukla ve daha başka şeyler, hatta eskiden var olan sanat dansı girer.

Bu yanıyla bakıldığında Avrupalılar Türk tiyatrosuna büyük ilgi gösteriyorlar. Nitekim sözgelimi karagözcülerimiz ülkemizde is bulamıyorlar -çocuklar da Karagöz'den hoşlanmıyor, tabii büyükler hiç hoşlanmıyor- buna mukabil onlar Japonya'ya, Ingiltereye gittiklerinde büyük ilgi görüyorlar. İnsanlar dili anlamamalarına rağmen büyük ilgi gösteriyorlar Karagöz'e. Ben buna özellikle Japonya'da tanık oldum. Karagözcülerimiz onbir büyük tiyatroda Karagöz temsilleri verdi. Biletler paralıydı ve tiyatrolar tıka basa doluydu. Dili anlamadıkları halde Karagöz'e gülebiliyorlardı Japonlar. Çünkü Karagöz'ün yapısı evrensel, edebi metne dayanan tiyatronun ise bu sansı yok. Çünkü dil bir engel oluyor. Müzik gibi değil. Sinema bir Ölçüde ve ağır olduğu, görüntüsü kuvvetli olduğu için seyredilebiliyor. Fakat hiçbir yabancı, dili bilmiyorsa Türk tiyatrosundan zevk alamaz.

Hatta bu dil isini daha da ileri götürebiliriz. Söyle ki eski çağlara ait bir oyun, ayni dili konuşan bugünün seyircisi için bile bir engel teşkil ediyor. Bir örnek vereyim: Ben uzun yıllar önce Shakespeare'den bir oyun seyrettim."Kuru Gürültü". Bunu sahneleyen yönetmen ise Zefirelli. Zefirelli bakmış Shakespeare'in o gün kullandığı sözcükler bu gün de var ama artik başka anlamlarda kullanılıyor ve ayni sözcükleri bugün kullansa Shakespeare artik başka anlamlara gelmiş olacak, onun için Shakespeare'i İngilizceden yine İngilizceye çevirmeye karar veriyor. Ancak Shakespeare büyük bir sair olduğu için bunu da ancak bir şair yapabilir düşüncesinden yola çıkıp çeviri işini büyük İngiliz sairi Robert Greas yapıyor.

Anlatmak istediğim, edebi metin her zaman tiyatro için bir engel. Tiyatro aslında görmek, bakmak demek. Hâlbuki günümüzde özellikle Türkiye'de bakılan, seyredilen bir şey yok. Daha çok dinlenilen bir şey var. İki aktör karşılıklı konuşuyor. Görsel hiçbir şey yok. Bunu Avrupa için de söyleyebilirim. Oysa bazı tiyatro adamları edebi metni geri plana itip görselliği ortaya çıkarıyorlar ki, doğrusu da bu. Yani göz kulaktan üstündür. Hatta yalnız göz olabilir. Böyle tiyatrolar da var.

Tiyatro'nun on üç dili var. Birincisi sözlü dil, sonra sözlü dilin üstünde tonlama dili var.

Bunla ilgili bir anımı anlatmak isterim. Ben Galatasaray Lisesi'nde okuduğum yıllarda, her yıl Fransa'dan gruplar gelip okulda temsiller verirlerdi. Bir yılda gelen aktörlerden biri Fransızlarca kutsal sayılan bizde de masalcı olarak bilinen ünlü sair Lafonten'den ünlü Karınca ile Ağustos Böceği Masalı'nı okurken öyle tonladı ki, karıncanın çalışkanlığı ile alay edip, ağustos böceğinin ise sanatçı tarafını öne çıkardı. Metnin kelimesini değiştirmeden sırf tonlamayla rolleri tamamıyla tersine çevirdi. Bu da tonlamanın çok büyük bir silah olduğunu gösterir.

Daha sonra Kinetik adini verdiğimiz aktörün hareketleriyle ilgili dil geliyor. Gözler, yüz ifadesi, basın boynun oynaması, kollar, bacaklar ve bütün vücudun hareketi baslı basına bir dil oluşturuyor. Bu dili Avrupa sahnelerinde de, tabii vücutlarını eğitim sırasında ve sonrasında geliştirmedikleri için Türkiye sahnelerinde de pek göremiyoruz. Bu dili kullanamıyorlar.

Daha sonra makyaj, saç sakal geliyor ki, bu da ayrı bir dil. Bunlar karakteri ortaya çıkaran öğelerden. Kostüm. Aktörün elinde taşıdığı aksesuarlar da çok önemli katkılarda bulunuyor. Bir bastonla çok şeyi ifade edebilirsiniz. Nitekim Doğu tiyatrosuna bakarsak yelpaze kullanıyorlar, onla dans ediyorlar ve yelpazeyle pek çok şeyi ifade ediyorlar. Mendil de öyle. Hatta mendil bizde bir iletişim aracıdır. Eskiden, Osmanlılar zamanında da bu böyleydi. Köyde kırsal kesimde bugün bile bu böyledir. Yani bir mendilin rengiyle, tutulusuyla karsısındaki erkeğe veya başka birine bir mesaj gönderebilir. Bu bakımdan bu tür objeler önemlidir. Bu objeler bazen bir çağı da belirtebilir. Mesela bir İngiliz piyesinde bir enfiye içildiğinde o aristokratça içilmelidir.

Sonra kalıcı bir dil olan dekora da değinmek lazım. Dekor denilince illa boyalarla, tahtalarla yapılmış bir dekor anlaşılmamalı, bomboş bir sahne de bir dekor olabilir.

Bununla ilgili olarak aktörün dışındaki dilleri söylüyoruz. Mesela ışıklar. Işıklarla çok şey yapılabilir günümüzde. Vurgulanmak istenen şeyler aydınlanabiliyor, diğer taraflar karanlıkta kalıyor. Işıkların renkleriyle puslu, sisli hüzünlü atmosferler yaratılıyor.

Ayrıca işitsel ögeler var. Sahne efektleri, ses efektleri ve müzik...

Sonra bir de insanla insan arasında, insanla dekor ve eşyalar arasında ve aktörle seyirciler arasındaki mesafeler de bir dil oluşturuyor. Sözgelimi şurada oturuyoruz. Uzaktan bakan birileri konuştuklarımızı hiç duymadan bile. Orada oturanlar ahbap ama iki kişi daha hararetli konuşuyorlar diye anlam verebilir. Perde açıldığı zaman sahnede bir aile oturuyorsa, seyirci oyuncular hiçbir şey söylemeseler de onların ilişkilerini çıkarabilir. Bu progsemik dedikleri antropolojinin vardığı bir sonuç ve gayet kuvvetli bir dil bu. Yani Kinetik ve Progsemik dediğimiz harekete ve mesafeye dayalı iki dil daha çıktı ortaya.

Bunlardan da anlaşılıyor ki tiyatroda çok kuvvetli bir dil var ve bütün bunların kuralları da olması lazım ama bizde aktör hareket deyince konuştuğu şeyi vurgulamak için kullanılan bir şeymis gibi algılıyor, hâlbuki hareketten kasıt bu değil, Zeki Müren şarki söylerken kalbim dediği zaman elini kalbinin üstüne koyar, sözleri bir tür oynar, bunun hiç bir kıymeti yok iki defa ayni şey vurgulanmış oluyor. Buradaki kastedilen hareket sözün söylemediği şeyleri ortaya çıkaran hareket. O bakımdan çok önemli. Tiyatroda sözden vazgeçebiliriz ama görsellikten vazgeçemeyiz. Sinemada da bu böyle. Burada önemli bir problem genellikle Avrupa tiyatrosu özellikle de Türk tiyatrosu bakımından şu, çok edebi metne bağlı kalınıyor. Bunun için de tiyatro bir konuşma tiyatrosu olarak gözüküyor.

Temalar da aslında Evrenselliği olmayan temalar. Örneğin Ibsen'in Hortlaklar diye bir oyunu var. Oyunun sorunu Frengi hastalığı. Ibsen o zamanların bu korkunç hastalığını bir sosyal sorun olarak koymuş. Bu oyunla ilgili yazdığım eleştirimin baslığını "Penisilin öncesi bir oyun" koydum. Yazarlar da evrensel konuları islemiyorlar. İlle de toplumsal bir mesaj, toplumsal bir oyun. Bunlar da Ibsen'in oyununda olduğu gibi geçici oluyor. Yazarların islemesi gereken konular çok evrensel olmalı tiyatroda. İlk insandan bu güne kadar olan insanin evriminde daima önemli olan, insanın evrenle hesaplaşmasıdır.


Yani tiyatro reji ağırlıklı mı olmalı?

—Hayır, ama tiyatrocu ağırlıklı olmalı. Yani burada iki unsur var. Birincisi seyirci, ikincisi oyuncu. Oyuncu derken, onun içine rejisör de giriyor. Ya oyun yazarı tiyatrocu olmalı, ya da oyun yazarı bir tiyatrocu kadar tiyatroyu bilmeli. Bizde pek öyle birileri yok. Yahut da söz ve fikirlerini dikte ederek oyuncularla yazmalılar. O zaman iyi netice alınabilir.

Artık müzelik olan eski klasiklerin oynanmasına gelince burada da dikkat edilmesi gereken şeyler var. Bunları yepyeni bir şekilde, tozlarını silkeleyerek ele almalı. Sahneye konulacak bir metin artik dokunulmazlığı olan kutsal bir kitap değildir. Üzerinde çalışmalar gerekir. Tiyatrocu onu istediği gibi evirip, çevirip, değiştirip o şekilde sahneye koymalı. O zaman bu tiyatro bir canlılık kazanabilir.

Bir de günümüzde üzerinde çok konuşulan, araştırılan bir konu var: Tiyatroda "Interkültürel" unsurlar. Simdi tiyatroda uzun zaman Bati tiyatrosundan yararlanıldı. Uzak doğuya kadar gidiyor bu yararlanma işi. Simdi ama bu çark artik tersine dönmeye başladı. Simdi Batı, Doğu tiyatrosundan yararlanmaya başlamış durumda. Mesela Amerikalılar, Avrupalılar Japon tiyatrosunu, Hint tiyatrosunu çok iyi tanıyorlar, oralara öğrenci gönderiyorlar aktörlük eğitimi için. Yani aktörün ön plana çıkması. Aktörün tüm vücudunu, bakışlarını kontrol edebilmesi önemli. Doğu bu konuda önemli.

Benim gezdiğim Japonya, Çin oyuncu okullarında bunlar öğretiliyordu. Amerikalı bir gencin Çin tiyatrosunu öğrenmesine tanık oldum. Yani günümüzde artık bütün bu kültürler birbirlerine yaklaşıyorlar. Nitekim benim birkaç yıl önce İngilizce olarak yayımladığım kitabim bu konuyu ele almakta. Adını Türkçeye "Kavşaktaki Tiyatro" olarak çevirebiliriz. O kitapta eksen Türk kültürü olmak üzere, tiyatroyu bu interkültürel açıdan ele aldım. Hititler, Sümerler gibi eski uygarlıklardan günümüze bir köprü olduğu gibi, değişik coğrafyalar arasındaki kültürel farklılıkların üzerinde kurulmuş gösteri sanatları. Aralarında ortak biçim özellikleri var.

Bugün Türkiye'nin geçmişindeki tiyatro da çok önemlidir. Mesela İtalyan Dario Fo oyunlarında yüzde doksan beş oranında İtalya Commedia De'l Arte Halk Tiyatro sanatından yararlanır. Bu oran bizde yüzde bir bile değildir. Böyle miraslardan yararlanmasını bilmiyor, onları küçümsüyoruz. Oysa o zamanlar kullanılmış öyle yöntemler var ki, oradan hareketle yepyeni modern bir tiyatro kurulabilir.

Bizimkiler batının dümen suyuna gittikleri için bir bakıyorsunuz, Bertolt Brecht modası çıkıyor. Bu bir furya oluyor. Üstelik Bertolt Brecht'i de iyi Almanca bilmeyen birileri -onun iyi bir sair olduğunu unutarak- tutup çeviriyor. Çevirenlerin çoğuca Fransızcadan filan çalakalem çeviriyor. Bertolt Brecht'in sadece sosyalist biri olduğu öne çıkarılıp, onun çok iyi bir tiyatro adamı, çok iyi bir sair oluşu ikinci plana atılıyor. Bu bakımdan bizde daha çok taklitçilik hâkim. Taklitçilikle de hiç bir yere varılamaz... Ne içerde, ne dışarda yerimizi alabiliriz.

Bilmiyorum, tiyatroya niye gitmediğimi anlatabildim mi? SIKILIYORUM...

O koltukta bir ömür geçirdim ben. Artık uykum geliyor o koltukta, çünkü sahnede bana heyecan verecek hiçbir şey göremiyorum.

Tuesday, October 7, 2008

putin'den judo öğrenelim!

bu video kaçmaz

henri chopin-three minutes

Henri Chopin

Henri Chopin

Three Minutes

Friday 10 October to Sunday 9 November 2008

Private View: Friday 10 October 2008, 7:00PM to 9:00PM

Curated by Bart van der Heide, Caterina Riva and Tris Vonna-Michell

The avant-garde poet and publisher Henri Chopin (Paris, 1922 - Norfolk, 2008) is widely considered to be a pioneer in the recognition and distribution of sound-poetry. Since the 1950's his prolific independent production has featured collaborations with avant-garde notables such as Raoul Hausmann and William S. Burroughs, whilst establishing an audience for an artistic practice that was yet to find one. His personal production — consisting of typewriter-poems and sound performances — is an inspired attempt to open the medium of poetry into a form described by Chopin as 'a poetry of spaces': demonstrating 'the sensory superiority of sound as opposed to normal speech, and […] free man from the straightjacket of words and letters and from his obedience to didactics.'

As part of the exhibition 'Three Minutes', Cubitt Gallery is proud to be host to the private archive of Henri Chopin (from October 10 through November 9 2008 only), which includes a large selection of his printed matter, typewriting-poems and records. The conceptual function of this exhibition is to represent the first three minutes of a proposed documentary production on Chopin by British artist Tris Vonna-Michell. During his lifetime Henri Chopin has been an important part of Vonna-Michell's production, featuring as one of the protagonists in the installation he conceived for Cubitt in October 2007. Exactly one year later, Cubitt and Tris Vonna-Michell join hands again to shed light on the extraordinary Henri Chopin and extend his unlimited drive and curiosity into the realm of a contemporary production. The exhibition takes two parts: Vonna-Michell's gallery installation which combines his own work with Chopin's and the archive, fully accessible and readable for the first time in a public space.

The archive on Chopin will include a complete collection of his magazines Cinquième Saison and OU, which feature unique collaborations with Dadaists (such as Raoul Hausmann), Surrealists (such as Ladislav Novak and Brion Gysin), Lettrists (François Dufrêne), Fluxus and Concrete Poets (such as William S. Burroughs and Bob Cobbing). In retrospect these magazines can be seen as unique 'hard drives' of early modernism which continue to influence and inspire the making of writing, performance and poetry. The individual publications are exhibitions in themselves, comparable to Marcel Duchamp's 'Boîte-en-valise': housing an entire oeuvre in small models of different format, medium and style. They consist of posters, prints, drawings, objects and phonetic records by all the aforementioned collaborators and many more.

This emphasis on the re-presentation of artistic production is addressed through the Cubitt installation by means of material relating to events long past: posters advertising performances and silk screen prints depicting Chopin's typewriter-poems, in such a way linking his practice with Vonna-Michell's. This will be combined with a large format image documenting Tris Vonna-Michell's installation at Bozar Center for Fine Arts, Brussels (October, 2006). This work, largely based on Chopin, was stolen in its entirety from the gallery.

Archive open for consultation from October 11, 12:00PM. The archive will be available on demand during exhibition opening hours (for insurance purposes we must ask that you bring ID if you wish to view the archive).

The exhibition is organised in association with London based curator Caterina Riva. Special thanks go out to Frédéric Acquaviva, Gianni Morghen and Brigitte Morton.

Henri Chopin 'Three Minutes' is supported by the Elephant Trust.

Cubitt's exhibition programme (October 2007 - March 2009) is supported by: Outset Contemporary Art Fund, 176/Zabludowicz Collection, the Free Rein Foundation and others.

Monday, October 6, 2008

g+s at 28th sao paulo biennial

28th Bienal de São Paulo: "in living contact"

The 28th Bienal de São Paulo proposes a different format from its previous editions, offering a platform for observation and reflection upon the culture and system of biennials, taking its own experience as a case study. It considers the changes that have taken place in the cultural context in which it is set, as well as those occurring in the world at large, due to the globalization of economic and cultural relationships, and the popularization of contemporary art through exhibitions in museums, fairs and biennials. Instead of trying to produce an all-encompassing vision of the phenomenon of Art today, its seems to be more important to sketch out specificities, and produce structural cartographies, setting in motion a process of investigative and critical work that will keep pace with changes perceived within a given artistic circuit and its practices. In this sense, the 28th Bienal proposes a range of exhibition and dissemination apparatuses to mediate contact between the audience and the production of knowledge in a collective event of such scope.

Square: The transformation of the ground floor of the Bienal Pavilion into a public square proposes a new relationship between the Institution and its surroundings. This space will have an intense interdisciplinary schedule for the duration of the event, always based upon proposals that will activate the "square" as a space for social interaction.

Open Plan: Unlike earlier editions of the Bienal, which turned the inner space of the modernist pavilion into exhibition rooms, the second floor will be completely open, revealing its structure and offering visitors a physical architectural experience.Plan of ReadingsTaking as a starting point the Wanda Svevo Historical Archive – the greatest heritage of the Institution, its memory –, the occupation of the third floor seeks to activate this history, allowing each one of its constituting elements to reveal its transforming potential in the present. It is constituted of three main strategies.

The exhibition: artists working on the borderline between reality and fiction, creation of documents and instituted truths, personal memory and collective history, were invited to develop and/or present projects that bring to light some aspects of the history of the Bienal, from different perspectives.

The library: the 28th Bienal has been collecting catalogs from the greatest possible number of biennials and periodical exhibitions around the world, to be presented in the exhibition space. The conferences are intended to feed the Historical Archive with a systematic reflection upon issues that concern the h istory and role of the Bienal de São Paulo today, as well as its exhibition model. The four main themes are: 1) The Bienal de São Paulo and the Brazilian artistic milieu: memory and projection; 2) Backstage; 3) Biennials, biennials, biennials…; 4) History as a flexible matter: artistic practices and new systems of reading. A series of talks with artists related somehow to the history of the Bienal de São Paulo is also part of this platform.PublicationsThe newspaper 28b, freely distributed for nine weeks around the city of São Paulo, brings together texts about, and images of, the exhibition's program, as well as critical reviews, interdisciplinary articles, and artist interventions; the nine issues collected will constitute the exhibition's catalog. Other publications will systematize the research, conferences and talks.

Artists:Marina Abramovic, Eija-Liisa Ahtila, Vasco Araújo, Micol Assaël, avaf, Dora Longo Bahia, Sarnath Banerjee, Erick Beltrán, Mabe Bethônico, Leya Mira Brander, Fernando Bryce, Rodrigo Bueno, Sophie Calle, Mircea Cantor, Iran do Espírito Santo, Ângela Ferreira, Fischerspooner, Peter Friedl, Israel Galván, Goldin + Senneby, O Grivo, Carsten Höller, Maurício Ianês, Joan Jonas, Paul Ramírez Jonas, Armin Linke, Cristina Lucas, Rubens Mano, Allan McCollum, João Modé, Matt Mullican, Carlos Navarrete, Rivane Neuenschwander, Javier Peñafiel, Alexander Pilis, Nicolás Robbio, Joe Sheehan, Gabriel Sierra, Valeska Soares, Los Super Elegantes, Vibeke Tandberg, Carla Zaccagnini

back again!

Free movement and residency rights for everyone!
Exhibition and solidarity event

opening 09.10.2008, 7 p.m.exhibition 10.10.2008 - 12.10.2008
venue studio house at the Academy of Fine Arts Vienna, Lehárgasse 8, 1060 Vienna, room M1, 1st floor, hours 10 a.m. to 6 p.m.

On the occasion of the day of decentralised action for “open borders for everyone!” on October 10th 2008 the department for (post)conceptual art at the Academy of Fine Arts Vienna invites to an exhibition and/as solidarity event on illegalisation and the right to stay”.
Who has access to Austrian universities? Who is enabled to be “creative” and “mobile” in an academic context? To what extent is international exchange of knowledge possible and allowed?

The Austrian "alien's law package", which is in force since 1st of January 2006, illegalizes people who do not possess an EU/EEA-Passport and drastically confines their (residency) rights. For those entering Austria through so-called "third countries", it is extremely difficult to obtain visas. The Settlement and Residence Law allows only temporary residence for artists and scientists without EU/EWR passports. Only those who can prove "special achievements" (which are not clearly defined) are excepted from this restrictive regulations.
This involves not only tremendous stress throughout the restrictive application procedure, but applicants are constantly exposed to the "every-day racism" that structures the life of non-Austrian citizens. This means that they are constantly exposed to disqualification and in many cases they are under extreme, sometimes lethal, (police) violence.

At the Academy of Fine Arts in Vienna, several students were or are affected by the so-called "alien's law package".

- racist "alien´s police laws" (Fremdenrechtspaket)!
- regulations and restrictions for citizens of so-called "third countries"!

Asylum rights
Residency rights - not, only, but also for artists and scientists!
Residency rights for (married) partners of Austrian citizens!
Rights to stay and reside in Austria, for everyone!
Rights for everyone to freely decide where to live!

The Department for (post)conceptual art at the Academy of Fine Arts Vienna is announcing the opening of an exhibition through a solidarity statement AGAINST Illegalization and FOR free movement and residency rights!

Opening on the 9th October 2008, 19:00 h Room M1 (1st floor), Lehargasse 8, 1060 Wien in the framework of the central action day for free movement and residency rights on the 10th October 2008 Duration of the exhibition: from 10th October until 12th October 2008

Lisa Bolyos/Annegang, Manuela Bojadžijev/Serhat Karakayalı, Annalisa Cannito, Emanuel Danesch, Petja Dimitrova, Lina Dokuzović, Marina Gržinić/Aina Šmid, Driton Hajredini, Muzaffer Hasaltay, Ana Hoffner, Christoph Kolar, Lisbeth Kovačič, Petja Dimitrova/ Daniela Koweindl/ Eva Votava, Maria Krisper, Lisa Lnenicka, Mara, Sinan Mollahasanov, Patrick Schabus, Ronja Vogl, Tilman Otto Wagner, Katarina Zdjelar.
Participants of the workshop "Schengen (z)erstellen".

Participants of the project "No! Against racism, exploitation and colonization!" (Pavelhaus, Jun-September 2008): Araba Evelyn Johnston-Arthur/Belinda Kazeem and The Black Research Group on Austrian Presence and History, Oliver Ressler, Kanak Attack, Petra Gerschner, Rana Bishara, Siniša Ilić, Staš Kleindienst/Sebastjan Leban,, Evren Uzer/Otto von Busch.

Participants of the project "comments on racism" (KKP at the University of Applied Arts Vienna in coooperation with Martin Krenn): Lukas Karl Richard Frankenberger, Jasmina Hirschl, Eva-Maria Lausegger/Petra Mallek, Elisabeth Panholzer, Georg Philipp Leopold Sturmlechner/Robert Zimmermann, Daniela Tagger, Stéphanie Ternes.

further information: day of decentralised action, Friday 10th October 2008