Monday, March 31, 2008
edited by Marina Grzinic and Rosa Reitsamer, published by Löcker
Verlag, , 2008.
The presentation of the book will consist of statements by the writers
MAIZ (Rubia Salgado) and Klub Zwei (Jo Schmeiser) /
Eva Egermann and Kati Morawek /
Lisa Rosenblatt /
Marty Huber /
Katherina Miko and Karin Sardadvar
the editors Marina Grzinic and Rosa Reitsamer
Moderation: Eva Blimlinger
The book with 41 contributions by 60 theoreticians, artists,
activists (474 pages) is an anthology that presents and constructs a
configuration of acting and fighting for New Feminism by feminists,
lesbians and queers. New Feminism opens the discussion on the most
internal changes of feminism today, asking what are the conditions
within global capitalism that inform and reshape its concepts,
paradigms and statements in relation to labor, migration, capital
and democracy. Claiming that a territory wider than just first world
capitalism exists, we ask in the book for an urgent introduction
into feminist theory and practice of questions, topics and agendas
that react against wo/men trafficking, the forces of migration and
bare lives, and reflect on possible new mode(l)s of their
representation and articulation. New Feminism is a term that tries,
firstly, to break the simple continuity in the feminist movement
and, secondly, to re-engage new agencies and topics within the
If we are to establish a new genealogy, it has to be done outside
the known pattern of translation from unknown territories to the
well-known international arena, from unknown spaces into a known
vocabulary. We decided to get rid of such a process, asking
precisely those who already engage in their own spaces to formulate
and reflect on this engagement, and to speak out. Even more, we
asked them not to describe the state of things inside to those
outside, giving just a "picture" of the territory, but rather to
propose a politically engaged break with the one and only history
and present of feminism. We asked them to question the already
established mainstream history, vocabulary and signifying processes
of feminism. The idea was to present a "declaration" of very
important signatures and positions, which should no longer be
perceived as a geographical extravaganza, but instead as a clear re-
politicization of the movement of feminism. (Marina Grzinic / Rosa
WUK Kunsthalle Exnergasse
Währingerstraße 59, 2. Stiege, erster Stock, 1090 Wien
The event was co-organized by Post-conceptual Art Practices / IBK at
Academy of Fine Arts, .
Sunday, March 30, 2008
beni boğaziçi'nden tanıyan arkadaşlarım bilir güney kampüsün eski aktif "kulüpçü"lerindenim. üniversite hayatımın çoğu kulüp odalarının 40 yıldır ikamet ettiği 1. Erkek Yurdu'ndaki "study hall" dediğimiz karma çalışma alanında toplantı, faaliyet, dergi, ıvır zıvır yaparak geçti.
duyduğuma göre boğaziçi üniversitesi'nde okul yönetiminin öğrenci kulüplerine karşı tavrı giderek sertleşiyormuş. yeni yapılan binalarda söz verilen yerler verilmiyor, haklarında alınan kararlarda kulüplere söz hakkı tanınmıyormuş. iş kulüpleri 1. Erkek Yurdu'ndaki odalarından çıkarmaya kadar varmış. meselenin yabancısı olanlar için şöyle diyeyim, bu kulüp faaliyetlerini kısıtlamanın türkçesi. sonrası da kapatma. kulüpler de haklı olarak okul yönetiminin bu anti-demokratik tavrına karşı protesto düzenlemeye karar vermişler.
boğaziçi'ni boğaziçi yapan kulüpleri. öğrenciler de hocalarıyla eşit derecede okulun, kampüsün sahipleri. bizim zamanımızda da kulüpler böyle tehlikeler atlattı. o zamanki okul yönetimine derdimizi çok anlattık. ama şu an durum daha vahim gözüküyor. yukarıdaki fotoğraf perşembe günü gerçekleşmiş protesto gösterisinden.
alttaki imza linki şu anda sadece boğaziçi öğrencileri ve mezunları için. umarım yakın zamanda listeyi isteyen herkesin ulaşımına açarlar. şimdilik blogu okuyan boğaziçilileri bu protestoya destek vermeye çağırıyorum.
Saturday, March 29, 2008
Simon Goldin & Jakob Senneby
Friday, March 28, 2008
eyes wide open 2nd curatorial workshop on the occasion of the 5th berlin biennial for contemporary art
Natasa Petresin-Bachelez and Ana Janevski
Monday, March 24, 2008
In 1968, fury at the Vietnam war sparked protests and uprisings across the world: from Paris and Prague to Mexico. Tariq Ali considers the legacy 40 years on
A decade before the French Revolution, Voltaire remarked that "History is the lies we agree on". Afterwards there was little agreement on anything. The debate on 1968 was recently revived by Nicolas Sarkozy, who boasted that his victory in last year's presidential elections was the final nail in the '68 coffin. The philosopher Alain Badiou's tart response was to compare the new president of the republic to the Bourbons of 1815 and Marshal Pétain during the war. They, too, had talked about nails and coffins.
"May 1968 imposed intellectual and moral relaivism on us all," Sarkozy declared. "The heirs of May '68 imposed the idea that there was no longer any difference between good and evil, truth and falsehood, beauty and ugliness. The heritage of May 1968 introduced cynicism into society and politics."
He even blamed the legacy of May '68 for greedy and seedy business practices. The May '68 attack on ethical standards helped to "weaken the morality of capitalism, to prepare the ground for the unscrupulous capitalism of golden parachutes for rogue bosses". So the 60s generation is held responsible for Enron, Conrad Black, the subprime mortgage crisis, Northern Rock, corrupt politicians, deregulation, the dictatorship of the "free market", a culture strangled by brazen opportunism.
The struggle against the Vietnam war lasted 10 years. In 2003 people came out again in Europe and America, in even larger numbers, to try to stop the Iraq war. The pre-emptive strike failed. The movement lacked the stamina and the resonance of its predecessors. Within 48 hours it had virtually disappeared, highlighting the changed times.
Were the dreams and hopes of 1968 all idle fantasies? Or did cruel history abort something new that was about to be born? Revolutionaries - utopian anarchists, Fidelistas, Trotskyist allsorts, Maoists of every stripe - wanted the whole forest. Liberals and social democrats were fixated on individual trees. The forest, they warned us, was a distraction, far too vast and impossible to define, whereas a tree was a piece of wood that could be identified, improved and crafted into a chair or a table. Now the tree, too, has gone.
Poortgebouw, Rotterdam, NL
NAi, Rotterdam, NL
- Marjolijn Dijkman
- Andreas Mueller/An Architektur
- Anthony Iles
- Mark Saunders
- Claire Fontaine
- Maria Eichhorn
- Haegue Yang
- Maria Theodorou
- Iain Boal
- Pier Vittorio Aureli
- Merijn Oudenampsen
- Will Bradley
- Neil Gray
- Loïc Wacquant
- Michael Shapcott
- Damon Rich / CUP (the Centre for Urban Pedagogy)
- Sabine Bitter / Jeff Derksen/ Helmut Weber (Urban Subjects US)
- Menno Janssen / Federatie Bewonerscomités Nieuw Crooswijk
- Peter Blakeney, Christine Schöffler / Werkgroep Toekomst Poortgebouw
- Anja Kirschner
- Alessandra Chila
- Anna Romani and Lidewij Tummers / Tussen Ruimte
- Miguel Robles-Duran
- Daniela Swarovsky
- Lukasz Jan Stanek
- Daniela Wullers
- 26/27 March 2008
- Activity Type
- Workshops, Walks, Exhibition, Debate exploring capital and culture in urban redevelopment
Sunday, March 23, 2008
Saturday, March 22, 2008
biraz akademiler tartışmasına referans olarak koydum rietveld akademisi fotoğrafını. bir de mimari bir güzellik tabii
bak için akademilerde bir araştırma yapıyorum, bu yüzden de seçtiğim okullara gidiyorum, araştırmama katılmak isteyen genç sanatçılarla tanışmaya.
amsterdam deyince aklımıza rijksakademie geliyor. rijks statüsü post grad seviyesinde olan bir okul. peki ya öncesi, bir de bunun yüksek okul seviyesindeki akademileri var: rietveld hollanda'da en bilinen, en uluslararası profilli akademilerden. geçen gün servet koçyiğit rietveld'in öğrencilerini güncel sanat ortamına ne kadar hazır yetiştirdiğinden bahsetti; işini anlatabilmek, prezantasyon yapabilmek, küratörlerle diyalog kurabilmek.
rietveld'in son sınıflarına özel dış ilişkiler bölümü var, isteyen öğrencileri profesyonel sanat alemine açan. servet'in rietveld'deki bitirme projesinden fotoğraflar gördüm, baya düşündüm.
dönüp kendi akademilerimize baktığımızda altmış sonrasını anlatmayan, günceli duyunca kulaklarını tıkayan, öğrencilere bildiğini vermeyip önünün kesmek için yüz takla atan, güncelle ilgilenmek isteyen öğrencilerine kök söktüren hocalar duyuyoruz. şimdi de ulusalcı hassasiyet grubu belirdi akademilerde, bienal için seçilen uluslararası küratörleri artık utanmasalar mossad'la cia'yle işbirliği yapmakla suçlayacak derecede kör bir hassasiyet grubu. görünmez bir savaş.
belgrad kontekst galerija'da sırp milliyetçileri tarafından kapattırılan kosovalı sanatçılar sergisini duydunuz mu bilmiyorum. sanatçılar korkudan sergilerine gelememişler. youtube'da viyana akademisi'nde okutman edi'nin çektiği-benim de bloga koyduğum- görüntüler var. açılışta galeyanı ilk başlatan ben akademik bir ressamım ve bunların sanat olmadığını size söylüyorum diyor ve avazı çıktığı kadar ulusal sanatçılar birliği adına bu serginin kapatılmasını istiyorum diye bağırıyor. söylemler tanıdık geldi mi?
kimilerine göre bu serginin zamanlaması yanlış, marina griznic'e göre de yirmi yıllık zehirli bir patalojiyi kırmaya çalışan böyle bir serginin doğru zamanı zaten yok. beni burada en çok endişelendiren kullanılan dilin benzerliği. özellikle de Hanru'nun ardından WHW'ye yapılmış yersiz suçlamaları hatırlayalım. akademiler ve hocaları esas nelerle ilgileniyorlar, diye endişelenmeden edemiyor insan.
buyrun rietveld'in kendi sanat eğitimi politikası hakkında söylediği şeyler:
The Rietveld Academie’s teaching methods are aimed at the individual student.
A large appeal is made to the student’s own contribution and responsibility. The student is coached in his search for personal possibilities and interests.
Reflection on the theoretical and social aspects of Fine arts and Design are important aspects of the course. In the search for quality, investigation and the experiment play a major part, thereby stimulating new developments within and between the different disciplines.
The student is coached in his development by professional artists and designers. Professional guest lecturers give their own vision on their own artistic field.
The Rietveld Academy seeks to develop the capacities and creativity of the individual student to its utmost.We respect the individual and respect his/her liberty to develop a personal approach and this way to decide on his/her own future. We have chosen for the aspects of investigation, the experiment and authorship. Next to this we value an open attitude towards the environment and we are keen advocates of the involvement with others and with society.
The Gerrit Rietveld Academie seeks to educate artistically talented young people in such a way that they are able to work independently and professionally in the field of Fine arts and design. The Academie aims at graduates being able to sustain the production of their work independently and to grow into artistic inspirators in their field.
Friday, March 21, 2008
Thursday, March 20, 2008
Wednesday, March 19, 2008
The Chinese government has said that the protesters who have not yet surrendered "will be punished". Its leaders are right now considering a crucial choice between escalating brutality or dialogue that could determine the future of Tibet, and .
China's economy is totally dependent on "Made in China" exports that we all buy, and the government is keen to make the in this summer a celebration of a new , respected as a leading world power. is also a very diverse country with a brutal past and has reason to be concerned about its stability -- some of Tibet's rioters killed innocent people. But President Hu must recognize that the greatest danger to Chinese stability and development comes from hardliners who advocate escalating repression, not from Tibetans who seek dialogue and reform.
The Tibetan and spiritual leader, the has called for restraint and dialogue: he needs the world's people to support him. Click below now to sign the petition--and tell absolutely everyone you can right away--our goal is 1 million voices united for Tibet:
we lost one of the sci-fi masterminds of 20th century,
sir arthur c. clarke - the big follower of h. g. wells, the creator of "space odyssey"s....
2005, dvd projection, 11'18"
Hüner's artist's book Bent 003 was published by BAS, , in 2007. He also took part in the exhibitions 'Video Invitational #2' (2006) at Via Farini and 'Con Altri Occhi' (2005) at the Palazzo della Ragione, both held in .
Tuesday, March 18, 2008
In collaboration with the 5th Berlin Biennial for Contemporary Art, A Prior Magazine has developed a two-fold project entitled On Paper.
‘Zuhandenheit’ [ready-to-hand] – a Heideggerian term used to explore the meaning and functionality of objects in relation to man / human beings – is activated throughout On Paper by making readable objects available to the visitors of the biennale; and by creating a tangible echo of the biennale works on paper. This ‘Zuhandenheit’ is not only grounded in the form of the project, but also in the content of the first part of On Paper: A Prior #17 with artists David Maljkovic, Daniel Knorr, Kristina Normann, Kateřina Šedá and Alexander Vaindorf.
The second part of On Paper consists of six separate publications and limited editions conceived by Ahmet Öğüt , Kristina Norman, Manon de Boer, Susanne Kriemann, Cezary Bodzianowski and Paulina Olowska. Each of these editions forms a unique ‘object’ that, as paper, is tied to the dematerialized realm of conceptual art, but that also cannot be thought of outside its object status. As such they may be the quintessential ‘things that cast no shadow’, thus sounding a tangible echo of certain works at the biennial.
Monday, March 17, 2008
Edited by Florence Derieux. Text by Harald Szeemann, Hal Foster, Jean-Marc Poinsot, Tobia Bezzola.
We owe our idea of the contemporary exhibition to Harald Szeemann--the first of the jet-setting international curators. From 1961 to 1969, he was Curator of the Kunsthalle Bern, where in 1968 he had the foresight to give Christo and Jeanne-Claude the opportunity to wrap the entire museum building. Szeemann’s groundbreaking 1969 exhibition When Attitudes Become Form, also at the Kunsthalle, introduced European audiences to artists like Joseph Beuys, Eva Hesse, Richard Serra and Lawrence Weiner. It also introduced the now-commonplace practice of curating an exhibition around a theme. Since Szeemann’s death in 2005, there has been research underway at his archive in Tessin, Switzerland. An invaluable resource, this volume provides access to previously unpublished plans, documents and photographs from the archive, along with important essays by Hal Foster and Jean-Marc Poinsot. There is also an informative interview with Tobia Bezzola--curator at the Kunsthauz Zurich and Szeemann’s collaborator for many years. Two of Szeemann’s most ambitious exhibitions are presented as case studies: Documenta V (1972) and L’Autre, the 4th Lyon Biennial (1997). A biography, an illustrated chronology of Szeemann’s exhibitions and a selection of his writings complete this exhaustive survey.
Sunday, March 16, 2008
şimdi adnan yazınca farz oldu bahsetmek, teorik altyapı vermek. saklıyordum malzememi. daha geç çıkaracaktım ortaya.
judith butler westernlerdeki eli maşalı ruth teyze, konuşurken büyüyen minik bir kadın.
universiteit van amsterdam'da verdiği konuşmada üniversitede eleştirelliğin ve özgür düşüncenin nasıl kısıtlı bir ortamda olduğundan başladı. temelini dissent ya da karşı karar üretiminin mühimliği, kant'i bugüne çevirirsek (yine kant'a göre) rasyonelin varolması için gerekli kısıtlı, denetli özel irrasyonel alan içinde felsefenin kendi disiplin sınırının dışına çıkarak otonom bir karşı karar üretme mekanizması olarak kullanılması gerektiği fikri üzerine gitti. kant'a karşı kant dedi. foucault'nun "what is critique" ve "what is enlightenment"larına değinmeden geçmedi. bikaç zayıf noktasına vurmadan hiç geçemedi. felsefe devlet yaptırımlarından, politikadan bağımsız düşünülemez dedi. karşı kararın birey pozisyonu üretirken bunun özel kamusal diye ayrılmadığını, sosyopolitik bir yaygın alandan bahsetmemiz gerektiğini anlattı. arendt'in sivil başkaldırıyı ahlaki bir sorumluluk olarak gördüğünü ekledi. neden israil gibi bir meselede amerika'da üniversitenin tavır geliştiremediğini bu açıdan okuyun dedi. yani kıskandırmak gibi olmasın çok lezzetliydi. bu arada üstüne gelen sorular parmak ısırtıcıydı, bizim üniversitelerde öyle günler görebilecek miyiz acaba?
akşam da de balie'de hollandacaya çevrilen yeni kitabı üzerine bir tartışma vardı. mesele ifade özgürlüğünden hollanda'nın durumuna geldi. işte orada gender kavgası benim bugün burada olmamı sağladı, sırtımı çevirmem ama feminist, gay, anti faşist hareketlerin birleşme zamanı artık, dedi. mesele daha büyüktür, mesele baskın söylemin dışında kalan ifade özgürlüğünü sağlama meselesidir, bunun için elbirliğiyle çalışmalıyız, buyurdu. tabii sürtüşme karşıtı hollandalılar yine birtakım saçma yorumlar yapıp, sonunda kadıncağızı ben nietzscheciyim, hayatımda hiçbir sisteme uyum sağlamadım bundan sonra da sağlamaya niyetim yok, diye çıldırttılar. neymiş efendim hollanda'da toplum düzeni varmış göçmen grupların yarattıkları gerginlik uyumla çözülürmüş.
son not: bugün aernout'a (mik) habermas'la butler'ı toplayıp anlattım. hollanda tartışma kültürü konusunda zayıf, insanlar çelişki gördüğü anda gereksiz duygusallaşıyor. van gogh cinayetinin travması geçmedi, dedi. ama hollandalıların - butler ve habermas konuşmalarını dinledikten sonra edindiğim- demokrasinin çelişki ve sürtüşmelerden oluştuğu, yani tepeden inme bir konsensus olmadığı konusuna pek hassas olmadıkları gözlemime hak verdi.
gün sonunda kıssadan bir sürü hisse. bugün için, kafa karışıklığımız için, bireyseli karşı karar üzerinden gündem hassasiyetiyle kurmak için...
then somebody asked (from tilburg university) "Can you give the same speech in Istanbul or Ankara?"
he replied "I'm invited to give a speech in Istanbul next June, I'll change my cultural references but it will be based on same ideas."
mind you these words are coming from a 76 year old enlightenment philosopher...
ps: in this context he underlined that multiculturalism won't work as a solution since it is the racism of anti-racism.
Remember, remember, the 5th of November ...The gunpowder, treason and plot ... I see no reason why gunpowder, treason should ever been forgot ...
Kapatılan partiler listesi, tabii ki:
-1954 Millet Partisi
-1960 Demokrat Parti
-1968 İşçi Çiftçi Partisi
-1971 Türkiye İleri Ülkü Partisi
-1971 Türkiye İşçi Partisi
-1971 Milli Nizam Partisi
- 1980 Diğer tüm partilerle birlikte Milli Selamet Partisi
-1980 Türkiye Emekçi Partisi
-1991 Türkiye Birleşik Komunist Partisi
-1992 Büyük Anadolu Partisi
-1992 Sosyalist Parti
- 1993 Halkın Emek Partisi
-1993 Sosyalist Türkiye Partisi
- 1993 Özgürlük ve Demokrasi Partisi ÖZDEP (kapatma davası sürerken fesh edildi)
- 1994 Yeşiller Partisi
-1994 Demokrasi Partisi
-1996 Demokrasi ve Değişim Partisi
-1996 Diriliş Partisi
-1997 Emek Partisi
-1998 Refah Partisi
-2001 Fazilet Partisi
-2000 Demokratik Kitle Partisi (AİHM'de davası sürüyor)
-2002 Hak ve Özgürlükler Partisi (davası devam ediyor)
-2003 Halkın Demokrasi Partisi
-2005 Demokratik Halk Partisi (kapatma davası sürerken fesh edildi)
ps: for non-turkish speaking blog followers: this is the list of abolished political parties in turkish democracy story...
Friday, March 14, 2008
mentioning post-secular, i just learned that the chief prosecutor of supreme court of appeals in turkey filed a lawsuit of party abolishment against AKP-after doing the same to DTP- listing 70 elected MPs and president gul to be banned from politics. we experienced that kind of top to bottom formulas never solve the problem. consistently erase and rewind.
Thursday, March 13, 2008
Borders, Nations, Translations
The Political Limits of Cultural Trans-Nationalism
14–15 March 2008
Kunsthalle Exnergasse / WUK, 1090 Vienna
Home is where I understand and where I am understood, wrote Karl Jaspers once. If this home today is our globalized world, then its mother tongue cannot be but a translation, both linguistically and culturally. And yet, what if we want this home to have a political meaning, to be the place of freedom, justice and equality for all of us? Should we form a nation of translation and claim its sovereignty in an independent state? Who translates betrays: mother tongues, borders and, above all, the old political dreams. The betrayers of all the nations will never form a nation of their own. It is time for a new challenge. Is it possible to articulate the emerging trans-national culture of translation in non-cultural terms or, in other words, are we able to translate a trans-national cultural space into a common trans-cultural political action?
(Link to audio-streaming will be available on this page.)
The conference will be held in English and in German (simultaneous translation).
Friday, 14 March
12.30 - 15.30 Panel 1
Moderation: Boris Buden
Encarnación Gutiérrez Rodriguez
Translating Transcultural and Dekolonising of Knowledge
16.00–19.00 Panel 2
Moderation: Stefan Nowotny
Simultaneous – New Paradigms of Productivity
Will the Form of Space Replace the Form of Wage Labour?
Saturday, 15 March
12.00–15.00 Panel 3
Moderation: Encarnación Gutiérrez Rodriguez
15.30–18.30 Panel 4
Moderation: Hito Steyerl
Gayatri Chakravorty Spivak
Varieties of Transculture
Monday, March 10, 2008
"Bana bak Başbakan
Sen yat kuluçkaya
Üç Türkçük doğurmaya!"
yıldırım türker'den kadın düşmanlığı:
Sunday, March 9, 2008
Next chapter in the ‘After Neurath' project. around the Austrian philosopher, sociologist and economist Otto Neurath (1882-1945), who lived in The Hague from 1934 until 1940. The exhibition focuses on Otto Neurath's relationship with architecture and his influence on urban development. Especially his ideas about the democratization of public space and how to reconcile the intimacy and tangibility of the ancient polis with the anonymity and diversity of the global metropolis have been very influential to protagonists like Paul Otlet, Cornelis van Eesteren, Margarete Schütte-Lihotzky and Le Corbusier and resound in mainstream architectural and urban thinking of today.
The exhibition ‘The Global Polis' shows the innovative ideas about the modern metropolis of Neurath -and his famous protagonists- based on the social-democratic ideals of the interbellum. Neurath was especially eager to promote participatory forms of democratic exchange (a 'global polis'), and this exhibition shows his attempts in disciplines as varied as architecture, urbanism, graphic design and planning.
The exhibition is structured in three 'acts'.
The first act, 'The Communal City,' examines Neurath's role in Vienna's extraordinary 'self-help' cooperative settlement movement, which inspired tremendous optimism in architects and planners.
The second act, 'The World City', examines Neurath's efforts to internationalize mass education and social enlightenment through collaborations with Paul Otlet, Le Corbusier and others.
The third act, 'The Functional City', looks at his work with the Congrès Internationaux d'Architecture Moderne (CIAM) and the planner and architect Cornelis van Eesteren specifically. This section explores Neurath's struggles with the mass media and modernist architecture on the eve of the rise of fascism in Europe. It also raises deeper questions about the links between culture and politics today.
The show includes a combination of graphic charts, brochures, posters, portfolios, films and models. One of the signature pieces in the exhibition is a 5-meter-long 'Historical Table' which shows the development of the city -from prehistoric cave to modern metropolis. The CIAM architects Rudolf Steiger and Wilhelm Hess made it in 1935 in collaboration with Georg Schmidt for an exhibition at the Stedelijk Museum in Amsterdam. It was shown for one day before it was taken down by exhibition organizers who feared political persecution. This is the first time it has been shown in Holland since.
Curator: Nader Vossoughian, Assistant Professor of Architecture at the New York Institute of Technology) and author of the soon to be released publication 'Otto Neurath. The Language of the Global Polis' (NAi Publishers, in collaboration with Stroom Den Haag, 2008).
February 10 thru April 6, 2008
opening: February 9, at 5 pm
location: Stroom, Hogewal 1-9, Den Haag
Friday, March 7, 2008
ne mutlu onlara genelkurmay günlerini de kutluyor artık!
ne mutlu onlara başları açık mı olsun kapalı mı erkekler tartışırken.
ne mutlu onlara hepsi birer potansiyel "şehit anası"
nu mutlu onlara 8 Mart'ta "üç çocuk doğurun" temennileri alırken
ps: köken de olmasa hemen haberimiz olmuyor böyle mutluluklardan
Monday, March 3, 2008
Colonial planning and after
29 August – 2 November 2008
Haus der Kulturen der Welt Berlin
With an exhibition, a variety of accompanying events and an international conference, the project IN THE DESERT OF MODERNITY will be presenting works of architecture and urban concepts that were developed in the 1950s and 1960s in North Africa and Western Europe against a background of anti-colonial struggles and trans-national migration. It tells the stories of the inhabitants, architects, colonial administrators and scientists who were involved in the controversy surrounding modernity and modernisation. IN THE DESERT OF MODERNITY examines the contradictions of colonial modernism and forms of resistance to it – a process of negotiation and appropriation that continues to this day.
The function of North Africa and the Mediterranean region as a catalyst and channel for ideas becomes apparent when one examines exemplary construction projects. And it is equally evident that European modernity would have been inconceivable without colonialism. Even the notion of ‘learning from’ those that were formerly colonised, which remains a feature of post-war modern architecture, is rooted in colonialism. For the plans realised in North Africa by the architects involved in the ATBAT Afrique office, for example, which were built in a laboratory-like situation – especially in Casablanca and Algiers – played an important role not only in colonial modernisation projects, but also subsequently provoked a post-modernist critique of architecture in Western Europe and the USA. The ambivalent interlinkage of the emancipatory promises of the modernists and of colonialism as a system of domination is a clear demonstration of this fact.
IN THE DESERT OF MODERNITY explores hitherto barely known reciprocal relationships. On the one hand, mass construction for the masses (during the period of decolonisation) migrated to the peripheries of cities in France, Italy and England, as well as to Switzerland and Germany. It was here that the suburbs so familiar to us today were developed for hundreds of thousands of people. On the other hand, however, the practice of living in North Africa in a period of anti-colonial liberation permanently challenged the certainties of technocratic planning held by Europe’s modernist architects. Colonial resettlement policies radically changed cities, modes of living and architectural discourse in North Africa and Europe.
The exhibition vividly illustrates this historical development with architectural models, photographs, graphic designs and plans by George Candilis, Le Corbusier, Michel Écochard, Jean Hentsch, Alexis Josic, Loik Prat, Willy Ronis, André Studer, Roland Simounet and Shadrach Woods, as well as with contemporary documents, interviews, and rarely seen footage from weekly newsreels and films. And new works have been produced for the exhibition by the film-maker Mogniss Abdallah from Paris, the labor k3000 Berlin/Zurich media collective, and students at the Casablanca School of Architecture, the Academy of Fine Arts Vienna and Delft University.