Saturday, August 30, 2008
We are very sad to inform you that the protest march and the performance against the phenomenon of have been canceled.
We have had some very crazy days: a few days ago media got hold of our project and produced false reports, and since then it has been excessively reported about. Van Abbe, we (Petra and Annette) and our collaborators Doorbraak and Untold have received both nasty comments and threats from people in Society. All kind of things have escalated and therefore Van Abbe has taken the decision to cancel the event the 30th of August.
Annette and I think that the type of reactions the project has received just proves the sensitivity of the topic, which makes us even more convinced that the phenomenon of the Zwarte Piet and its underlaying structures have to be discussed. We see the reactions as symptoms of these very structures.
We think it is very problematic that Van Abbe was impelled to cancel the protest march. The protest march would have been a platform for those voices that have not been heard and listened to neither in the past nor in the last days. What kind of society are we living in where artists cannot express themselves freely and where there is no public space left to voice critique and to disagree with each other? This is, what we all have to reflect upon and to fight for.
Therefore we see the urgency to reopen a discussion on a broader scale and we will continue working on that together with Doorbraak, Untold, Van Abbe and everyone else who wants to join in on a non-violent debate on the significance of Zwarte Piet in present society.
We will get back to you with a longer statement and explanation when we have had the time to reflect on what is happening and has happened on these days.
All the best to you
Petra and Annette
Friday, August 29, 2008
The raid on the printer’s workshop was connected to an earlier incident, when a Petersburg activist was arrested by Petersburg militia at the gates of the Kirov Factory for handing out a flyer to workers. The flyer aroused suspicion because it contained material critical of the Russian-Georgian conflict, and the militia raided the printer’s workshop at which the flyer had been produced, where they discovered the most recent edition of Chto Delat. They confiscated the entire edition of 3,000 newspapers and detained Chto Delat editor Dmitry Vilensky for questioning.
“The situation really did look pretty absurd,” says Vilensky. “We produced this issue for the U-Turn Quadriennial in Copenhagen, and it’s one of the most artsy issues we’ve made so far; it contains almost no references to the current political situation.” Instead, the issue is dedicated to the problematic of perestroika, whose hopes and outcome the authors subject to critical enquiry. The security officials’ suspicion was aroused by the “political look” of the paper and, in particular, by the libretto of a film-opera by the Chto Delat work group, to be premiered at U-Turn later next week, in which a nationalist, a democrat, a revolutionary, and a businessman debate the fate of the Soviet Union and its present outcome. The full text of the screenplay can be found here.
Yesterday, Vilensky was informed by the Petersburg militia that the case had been handed over to the Kirov district attorney’s office to investigate whether the newspaper is in violation of the Russian constitution, which contains paragraphs against extremism and the incitement of ethnic and religious hatred. “The militia - who told me that they ‘didn’t want blood’ - were quite surprised by this move,” Vilensky says. “They told me that the signal came from the FSB official who was coordinating the raid on the printers.” The entire edition is still in custody, and will not be distributed at U-Turn, where it was meant to be part of a video-installation.
The printer’s workshop Polyarnaya Zvezda [Pole Star] has since been cordoned off as a crime scene, and all its employees questioned. It was one of the only remaining places in Petersburg to print opposition leaflets of a wide range, including the Petersburg issue of National Bolshevik organ Limonka. Its closure - and the seizure of what is perhaps Chto Delat’s most politically innocent issue - is symptomatic of the new atmosphere of suspicion and fear to arise in Russia.
After a successful launch of the movement, Medinat Weimar the Movement for a Jewish state in Thuringia is busy thinking and planning the next stages we have to take to achieve our goals.
We received hundreds of responses and Media outlets worldwide wrote about the project (Press here for a selected list of internet links of many of the articles, Blog posts and discussion that can be found on the internet). However we still have a lot of work to do, and invite all who support Medinat Weimar, to join us in these next stages help spread our vision. Friends from Montreal , Canada to Pancevo , Serbia contacted us and showed interest in presenting the movement in their cities. We were only happy to send them material and think with them together the best way it should be present. As well, we would be happy to send material, or even come in person, and present and explain our vision and solutions to many problems facing the world to anyone else interested*.
* Clearly we are most interested in presenting the movement in Germany but we are opened to anywhere
The Website has also been updated and is full of great material:
See the Pictures from the Rally & conference that took place in Weimar on the 22nd of June.
Listen online or Download the Medinat Weimar Music Mix,All your favorites from the Rally and the after party,
Watch Psoy Korolenko and Danik Redlick of the The Unternationale who sent their greeting for the establishing events!
And dive and post your remarks to all the texts written referring to the thirteen principles.
Secretary of Medinat Weimar
Thursday, August 28, 2008
KuenstlerInnen / Artists
Doa Aly (Cairo), Gilles Aubry (Berlin), Nermine El Ansari (Cairo), Sherif El Azma (Cairo), Hala Elkoussy (Cairo/Amsterdam), Rana El Nemr (Cairo), Shady El Noshokaty (Cairo), Maia Gusberti (Vienna/Bern), Khaled Hafez (Cairo), Hermann Huber (Vienna), Iman Issa (Cairo/New York), Ahmed Khaled (Cairo), Susanne Kriemann (Rotterdam/Berlin), Maha Maamoun (Cairo), Christoph Oertli (Basel/Brussels), Hany Rashed (Cairo), Katarina Šević (Budapest), Randa Shaath (Cairo)
Off site Projekte / ProjectsHassan Khan (Cairo), Lust, solo exhibition at uqbar projectspace, Berlin, 26/08 – 18/10/2008, Opening 26/08/2008, 19:00.
Opening Hours Fr.-Sa. 14:00-19:00 and by appointment: http://projectspace.uqbar-ev.de
eps51 (Berlin) & Ganzeer (Cairo), Poster projects in public space, Dresdnerstr. 8, 10997 Berlin (gegenüber /in front of Möbel Olfe); Micamoca, Lindower Str. 22, 13347 Berlin, 29/08–12/10/2008
Ausstellungsort / Exhibition Venue Kunstraum Kreuzberg/Bethanien Mariannenplatz 2, 10997 Berlin0049 (0)30 90298-1455U1/U8 Kottbusser Tor
Öffnungszeiten / Opening hours
Täglich / daily: 12:00 – 19:00
Donnerstags / Thursdays: 12:00 – 22:00
Führung auf Anfrage/ Guided tours on request
Wednesday, August 27, 2008
Çalışma ve Sosyal Güvenlik Bakanı Faruk Çelik, kebapçı açılışında "Tuzla'da bakanlığımı ilgilendiren bir durum yok" dedi.
Çalışma ve Sosyal Güvenlik Bakanlığı. Görev tanımı, resmi olarak çalışma yaşamını düzenlemek, çalışma barışını korumak, çalışma yaşamındaki sorunlara çözüm bulmak, çalışanların yaşam düzeyini yükseltmek gibi maddelerden oluşan bir bakanlığmız. İşçi sağlığı ve iş güvenliğini sağlamak, çalışma yaşamını denetlemek gibi konular da, bakanlığın bu resmi görev tanımının içinde yer alıyor.
Ama Çalışma ve Sosyal Güvenlik Bakanı, onca ihmalden, onca göstere göstere gelen ölümden sonra bile “Tuzla’da bakanlığımı ilgilendiren bir durum yok” diyebiliyor. Böylece sayın bakanın, Tuzla’yı işçilerin çalıştığı bir yer değil de dev bir lunaparkın korku tüneli zannettiğini anlamış bulunuyoruz.
Birilerinin sayın bakana, gerekirse her gün ve gerekirse yüzlerce kez görevinin ne olduğunu hatırlatması gerekiyor anlaşılan. Bugüne dek onlarca işçinin hayatını kaybettiği, son ölümlerde işçilerin kum torbası olarak kullanıldığının ortaya çıktığı Tuzla tersanelerinde Çalışma ve Sosyal Güvenlik Bakanlığını ilgilendiren bir durum olmadığını bir daha ileri sürmesin diye.
Tuesday, August 26, 2008
If you happen to be in The Netherlands it would be great if you joined us for a demonstration against the Dutch phenomenon of on the at the .
The demonstration is a a part of an art project whit the titel:
READ THE MASKS. TRADITION IS NOT GIVEN
which is about the political and social implications of the Dutch phenomenon of the Zwarte Pieten on Dutch society. The project is initiated by me, Petra Bauer, and Annette Krauss in collaboration with Doorbraak and Untold.
Last spring, we (Petra Bauer and Annette Krauss) were invited by the Van Abbemuseum to participate in the exhibition, Be(com)ing Dutch. We decided to use the occasion of the invitation to further develop a project that addresses the Dutch phenomenon, Zwarte Piet and its implication on Dutch society. In the folklore and legends of the Netherlands and Flanders, Zwarte Piet (meaning Black Pete) is a companion of Saint Nicholas (Dutch: ) who appear in the Netherlands every year at the end of November. Zwarte Piet appeared the firs time around 1850. Zwarte Piet is blackfaced, googly-eyed and red-lipped. Zwarte Piet dolls, Zwarte Piet sweets and Zwarte Piet images can be seen in store windows alongside brightly packaged and displayed, holiday merchandise.
The past 50 years have seen moments of protest against Zwarte Piet arise now and then, the colonial past and racist structure of the tradition being brought periodically to the surface. While there have been some changes in the way this tradition is played out, we think it remains problematic. We wonder if it is possible to re-open the discussion about a cultural tradition that has been depoliticized, neutralized and incorporated into collective memory and contemporary consciousness? What would this involve? Who has the right and the means to initiate such a discussion?
On , as a moment of the broader project, we will organize a demonstration and performance (with the actor Anne Stam) that aim to voice a public critique of the Zwarte Piet phenomenon.
The demonstration and the performance stem from collaboration between Petra Bauer, Annette Krauss, Doorbraak and Untold. Doorbraak is an activist group that deals with issues of racism and (post)colonialism in Dutch society; Untold is an organization that works with the history and the present situation of black people in The Netherlands, their main target group are the young. Together with these groups we have decided to address the issue of Zwarte Piet all through autumn. We will create several events that open spaces of critical discussion around the phenomenon and it’s underlying history and structure. There will be debates, actions, screenings, etc., and the event on 30th marks the launch of the broader project. The project is an umbrella under which other organizations, events, artists, platforms, etc. are welcome to gather and contribute to an initiative that aims to reopen the discussion around Zwarte Piet.
The structure of the Day is as follows – everybody is welcome to join:
11.00 Workshop in the Van Abbemuseum. We will prepare more banners and
slogans that we will use in the demonstration.
14.00 Performance and Demonstration. We will gather in the Museum.
During the march there will be music performances and speeches.
15.30 A public picnic for the participants will be held in a park close to the
Please, join us in critiquing the figure of Zwarte Piet on in the Van Abbemuseum!
eski galata köprüsünde. ama eski galata köprüsüne değil üzerine kurulan 200 metrelik plakalara graffiti yapmış graffiticilerimiz. bu plakalar daha sonra parçalanıp istanbul'un başka yerlerinde sergilenecekmiş.
eminim exociti yüzünden iş nerelere geldi diyenler mutlaka olacak, burası istanbul.
ama demeden bir durup düşünsün.
exociti graffiti meselesini çerçevelemedi.
derdi sokak medyumlarını ortak alternatif bir üretim alanı olarak kullanmaktı.
eğer graffiticiler kendilerine legalize, stabilize alanlar edinmek istiyorlarsa kendilerinin bileceği iştir tabii. ama böyle anonim bir dilin kendini beyaz küpler, beyaz plakalar üzerinden ifade etmek istemesine benim aklım ermiyor.
THE ORDER OF THINGS
This falls exhibition is based on the online image archive of the Canadian artist Roy Arden.
The image database is the central esthetic motive of the show, but it is also an artistic method and cultural strategy - archive, atlas, encyclopedia and inventory and so many ways to create order in the neverending flood of images that characterize our visual culture.
Participants: Roy Arden, Luis Jacob, Cameron Jamie, Arthur Lipsett, Tine Melzer, Marc Nagtzaam, Cady Noland, Peter Piller, Sigmar Polke, Richard Prince, Robert Rauschenberg, ROMA Publications [Mark Manders & Roger Willems], , Thomas Ruff, Joachim Schmid, Steven Shearer, Nancy Spero, Batia Suter, Els Vanden Meersch, Andy Warhol en Christopher Williams., Marjolijn Dijkman, Hans Eijkelboom, , Sanja Ivekovic,
curated by Dieter Roelstraete
Thursday, August 21, 2008
Wednesday, August 20, 2008
ortada bir sinopale vaziyeti var, biz yokmuş gibi davransak da. üstelik ikincisi gerçekleşiyor. bilgi mailini de sinopale'nin kendi adresinden değil 2010 üzerinden aldığım için zaten şüpheyle yaklaşıyordum, daha da şüpheci oldum.
hollandalı tasarım ekibi metahaven da davet edilmiş, daniel rotterdam'da tanıştığımızda söylemişti, ne alaka acaba olmuştum. metahaven'in üzerine gittiği konuları da severim. neyse uzun lafın kısası yukarıda metahaven'in sinopale projesi. muhtemelen gitmeyeceğiz, görmeyeceğiz. gitmesek de görmesek de o köy bizim köyümüzdür sahteciliğine de girmeyeceğiz, o yüzden bkz. (www.metahaven.net)
Tuesday, August 19, 2008
Monday, August 18, 2008
istek üzerine data recovery'den detaylar. ilki susanne kriemann.
12650000 data recovery için üretilen işlerden ilki (ikincisi goldin+senneby'nin), izleyici önüne ilk defa burada çıktı.
aynı projenin ilk ürünü bb5'de gösterildi.
Friday, August 8, 2008
Global Institute: Experiments in Transnational Education
The Global Institute as part of the 7th Gwangju Biennale Annual Report: A Year in Exhibitions is a two-part educational program with Session 1 (August 11~August 23, 2008) and Session 2 (September 24~September 27, 2008).
The Global Institute Session 1: Workshops in Seoul and Gwangju
(August 11~August 23, 2008)
The Session 1, held in collaboration with Korea National University of Arts, Seoul and Chonnam National University, Gwangju, is organized into a series of workshops and clinics within two programs, Open Studio and Arenas and Systems. In both programs, participants will work with a rich community of artists, curators, critics, and intellectuals, to examine the theoretical and historical questions currently being raised around contemporary art.
Open Studio begins with the interrogation of the current status of the artist studio and in so doing will raise questions about where a studio is located in the changing context of global art practice. At a time when the artist’s studio has shifted into a veritable factory floor, a kind of manufactory employing legions of skilled labor, considerations of artistic production could be seen as moving from the ethos of small scale production to one of hyper production, a condition exemplified by the practices of contemporary artists from Warhol to Murakami, Hirst, Koons, Matthew Barney, Olafur Eliasson, Ai Weiwei, Zhang Huang. In this series of seminars and colloqiuia, invited speakers, artists, architects will consider issues of conditions of production, examining how artists shift between multivalent platforms of thinking and making. The meetings will address scales, modes, contexts, models, and conditions of production, from art academies, artist residencies, workshops, travel grants, independent study programs as perhaps part of the global manufactory of itinerant trajectories. Open Studio considers the studio as a site of inquiry, experimentation, and elaboration, a space for meditation on various modes of production.
Arenas and Systems In a year when 11 international Biennials, Triennials, and the Olympic Quadrennial will open between June and September in the Asia Pacific region in 11 cities bidding for global cultural relevance with the Beijing Olympics sited at the core, it may be possible to suggest, that we may be witnessing the beginning of the Asian century. In the same way the 19th century was the European century and the 20th century was the American century, there is no doubt, that Asia today represents and incubates the same forces and energies of modernity of the last two centuries. Given this scenario, new situations and institutions are emerging in Asia that elaborate a new and unique deployment of the politics of spectacle. This emergence requires critical consideration and reflection. As with Open Studio, Arenas and Systems will involve various curators, critics, artists, and thinkers will be conducted in the form of a series of workshops, seminars, and colloquia to take place as the exhibition begins in early September.
Lecturers and workshop leaders include: this year’s Gwangju Biennale’s Artistic Director and curators (Okwui Enwezor, Ranjit Hoskote, Hyunjin Kim, Claire Tancons, Abdellah Karroum, Sun Hyen Park, Patrick Flores, Jang Un Kim), participating artists( Bingyi Huang, Juan Maidagan, Jin Won Lee, MYDADA, Tania Bruguera and Arte de Conducta, Karyn Olivier, Jewyo Rhii, etc.), and renowned professors of Korea National University of Arts and Chonnam National University (Sunjung Kim, Hyungmin Pai, Suk Won Jang, Soo Jong Yoon and so on).
The Global Institute Session 2: Pre-Seminars and International Symposium in Gwangju (September 24 to 27, 2008)
The Global Institute Session 2 is held in collaboration with Korea National University of Arts, Seoul; Chonnam National University, Gwangju; the San Francisco Art Institute; and the Royal College of Art, London. The Session 2 is composed of Pre-Seminars (where selected students from four universities discuss issues and theories developed in readings included in the course package) and International Symposium (where invited cultural theorists, intellectuals, art historians, critics, and curators present their papers to stimulate discussions).
Both Pre-Seminars and International Symposium aim to consider the notion of the Politics of Spectacle and the Global Exhibition in response to changes shaping the distribution of global culture. Two types of cultural convergence make this moment ripe for speculative review around the productivity of the exhibition form: first, this year marks the anniversaries of May 1968 student rebellion and workers strike in France, and the May 18, 1980 Gwangju civil uprising. The continuing examination of these two events in the recasting of the history of radical politics and the emergence in their wake of radical cultural practices provides a contemporary theoretical horizon around which to think forms of contemporary art and activism. Second, it is also the latest defining moment of a rapidly metastasizing system of art fairs, biennials, and mega exhibitions.
Anchored by the 2008 Beijing Olympics, the convergence of these events and the various national and regional agendas ? cultural, economic, political ? that define them, exemplify both the magnitude of the changes taking place in Asia, but also the scale and ambition within which they are occurring. Such scale and ambition, and the confidence with which they are pursued have led to the idea of this moment possibly being the Asian century. Clearly, it is no longer a question of whether or not biennials or similar formations are here to stay ? but rather, to see how they might become productive, to both fit and surpass the horizon of spectacular manifestations around which they are designed and also to articulate the various forms of cultural politics shaping their growth.
Thursday, August 7, 2008
Monday, August 4, 2008
Sunday, August 3, 2008
Saturday, August 2, 2008
Almost ten years after “Seattle” this film explores the impact this movement has had on contemporary politics. Seattle has been described as the birthplace for the “movement of movements” and marked a time when resistance to capitalist globalisation emerged in industrialised nations. In many senses it has been regarded as the time when a new
social subject – the multitude – entered the political landscape. Recently the counter-globalisation movement has gone through a certain malaise accentuated by the shifts in global politics in the post 911 context.
The protests in Heiligendamm seemed to re-assert the confidence, inventiveness and creativity of the counter-globalisation movement. In particular the five finger tactic – where protesters spread out across the fields of Rostock slipping around police lines – proved successful
in establishing blockades in all roads into Heiligendamm. Staff working for the G8 summit were forced to enter and leave the meeting by helicopter or boat thus providing a symbolic victory to the movement.
“What Would It Mean To Win?”, as the title implies, addresses this central question for the movement. During the Seattle demonstrations “we are winning” was a popular graffiti slogan that captured the sense of euphoria that came with the birth of a new movement. Since that time however this slogan has been regarded in a much more speculative manner.
This film aims to move beyond the question of whether we are “winning” or not by addressing what would it actually mean to win.
When addressing the question “what would it mean to win?” John Holloway quotes who once described “winning” as the ability to live an “infinite film program” where participants could re-invent themselves each day, each hour, each minute. The animated sequences take this as their starting point to explore how ideas of social agency,
struggle and winning are incorporated into our imagination of politics.
The film was recorded in English and German and exists also in a French subtitled version. “What Would It Mean To Win?” will be presented in screenings in a variety of contexts and will also be part of the upcoming installation “Jumps and Surprises” by Begg and Ressler, which
will present a broader perspective of different approaches to the counter-globalisation movement.
Concept, Interviews, Film Editing, Production: Zanny Begg & Oliver Ressler
Interviewees: Emma Dowling, John Holloway, Adam Idrissou, Tadzio
Mueller, Michal Osterweil, Sarah T.
Camera: Oliver Ressler
Animation: Zanny Begg
Sound: Kate Carr
Image Editing: Markus Koessl
Sound Editing: Rudi Gottsberger, Oliver Ressler
Special thanks to Turbulence, Holy Damn It, Conrad Barrett
Grants: Bundesministerium für Unterricht, Kunst und Kultur; College of
Fine Art Research Grants Scheme, Sydney