Wednesday, September 29, 2010

Former West in Istanbul: Art and Political Imagination

Art and Political Imagination, the second in the series of FORMER WEST Research Congresses, takes place on 4–6 November 2010 at Istanbul Technical University, Istanbul. The Congress revolves around the theoretical notion of the “horizon” and its place within artistic production and political imagination today.

If, as it is commonly assumed, the global political and cultural changes of 1989 left the world bereft of a sense of politics as striving towards a future—a horizon as it were—then we are left with the perpetual caretaking of the existing state of things. Given this apparent endgame of liberal democracy, how can we insist that it is possible to imagine and to realize another world, to posit the horizon anew?

In this context, the project FORMER WEST is a proposition for speculating—in the field of contemporary art—about a possible horizon. For, can it not be argued that art works, exhibitions, and their discourses inherently set up a horizon, offering a proposal of what can and cannot be imagined? This horizon links aesthetics with politics, creates an image of possible futures, yet also marks a limit that cannot be surpassed as it recedes with each move toward it, offering a sense of both possibility and that which remains out of reach.

Venue: Istanbul Technical University, Taşkışla Campus, Room 109.

Language: English (simultaneous translation into Turkish is provided).

Admission: free (registration is required).

Deadline for registration: 3 October 2010 (Registration is closed, all available seats have been reserved).

Positing the Horizon in Art, Philosophy, and Politics

On its first day, the Congress explores the notion of the horizon in contemporary art and critical theory. Taking as our starting point the idea that the horizon is what frames our sense of direction of possibility and impossibility, the contributors speculate along two lines of orientation. On the one hand, the question of how and where the horizon must be situated in order to be effectual is considered. On the other, the issue of the horizon as an image is explored, in order to connect political imaginaries and artistic production. In this sense, the horizon is produced in the intersection between aesthetics and politics.

Boris Buden (cultural critic and writer, Berlin)

Welcome by Maria Hlavajova (artistic director, BAK, Utrecht and FORMER WEST) and Fulya Erdemci (director, SKOR, Amsterdam)

Opening Remarks by Maria Hlavajova

Introduction to the day by Boris Buden

Expecting the Unexpected: Once more on the “Horizon of Expectations”
Lecture by Peter Osborne (philosopher and writer, London)

14.40–14.50 Questions

14.50–15.15 Coffee Break

Projects in the Absence of Signposts
Lecture by Çağlar Keyder (sociologist, Istanbul/Binghamton, NY)

15.55–16.05 Questions

Rear view Vision: History Enthusiasm and History Anxiety
Lecture by Julie Ault (artist and writer, New York)

16.45–16.55 Questions

16.55–17.15 Coffee Break

Vectors of the Possible: Art between Spaces of Experience and Horizons of Expectation
Lecture by Simon Sheikh (curator and critic, Copenhagen/Berlin)

17.55–18.05 Questions

Discussion with Julie Ault, Çağlar Keyder, Peter Osborne, and Simon Sheikh

Reviewer: Erden Kosova (art critic, Istanbul)

Horizontality Enacted

Whereas the metaphor of a horizon suggests an expansive outlook and a field of possibilities, the notion of horizontality is associated with being on a single plane with little sense of orientation. Is horizontality a form of spatial production driven by the principle of radical equality? How might this shift our understanding of the public and the commons? Contributors examine how various geographies of horizontality, both conceptually and in practice, are played out in urban forms, exhibition making, institutions and social organization. The enactment of horizontality is seen as the link between the “space of experience” and the “horizon of expectation.”

Vivian Rehberg (art historian and critic, FORMER WEST research curator, Paris/Utrecht)

Introduction to the day by Fulya Erdemci (director SKOR, Amsterdam)

The Exhibition as an Archive
Lecture by Beatriz Colomina (architecture historian and theorist, New York)


Practicing Art. Imagining Politics
Lecture by Shuddhabrata Sengupta (artist and writer, member of Raqs Media Collective, Delhi)


Coffee Break

The Communist Horizon
Lecture by Jodi Dean (political theorist and writer, Geneva, NY)


Discussion with Beatriz Colomina, Jodi Dean, and Shuddhabrata Sengupta

Lunch Break

Conversation between Bülent Diken (social theorist, Lancaster) and Wouter Vanstiphout (architectural historian, Rotterdam)

Conversation between Vasif Kortun (curator and writer, director of Platform Garanti Contemporary Art Center, Istanbul) and Lisette Lagnado (curator and writer, São Paulo)

Reviewer: Övül Durmuşoğlu (curator and writer, Istanbul/Berlin)

Reclaiming a Horizon—Art as Political Imagination

How are new horizons imagined, speculated upon, visualized, and materialized through contemporary art? This question concerns not just the historical and conceptual connections (and divisions) that have long existed between aesthetics and politics, but also the political tendencies that can be found in artistic production after 1989. How is a particular kind of politics of representation and representation of politics articulated in contemporary artistic production, art theory, curatorial work, and through the production and dissemination of cultural discourses more generally? And how does this connect to the aesthetic dimension of contemporary politics? The task is not only to look at the relationship between art and politics, but to see art as political imagination.

TJ Demos (art historian and critic, London)

Introduction to the day by TJ Demos

In Free Fall: A Thought Experiment
Lecture by Hito Steyerl (filmmaker and writer, Berlin)


Aesthetic Horizons
Lecture by Gerald Raunig (philosopher and art theorist, Zürich)

11.45– 11.55

Coffee Break

On Horizons and Discourse
Lecture by Ernesto Laclau (political theorist, Buenos Aires/London)


Discussion with Ernesto Laclau, Gerald Raunig, and Hito Steyerl

Lunch Break

Conversation between Ultra-red, New York">Robert Sember (artist and activist, member of Ultra-red, New York) and Dmitry Vilensky (artist and activist, member of Chto Delat?/What is to be done?, St. Petersburg)

Wrap up and Conclusions by Maria Hlavajova and Simon Sheikh

Closing Reception

Congress concludes

Reviewer: Pelin Tan (sociologist and art historian, Istanbul)


The 2nd FORMER WEST Research Congress is developed by BAK, basis voor actuele kunst, Utrecht and SKOR, Foundation Art and Public Space, Amsterdam, and is co-curated by Simon Sheikh, FORMER WEST Researcher. The Research Congress is realized in collaboration with İKSV, Istanbul Foundation for Culture and Arts, Istanbul and is hosted by Istanbul Technical University.

Sunday, September 26, 2010

the potosi principle, coming soon @ hkw berlin

08.10.-02.01.2011 | Opening 07.10.2010 19:00h
WED - MON and on holidays 11:00 - 19:00h, TUE closed
Guided tours 10.10. - 19.12. SAT + SUN 15:00h
During the Workshop days on October 8 + 9
the exhibition will be opened until 22:00h
At the beginning of the 17th Century, Potosí was one of the largest cities in the world - comparable to London or Paris. During the Spanish colonial rule, enormous quantities of silver were shipped from Potosí to Europe, thus giving the early capitalist system a tremendous push, and initiating the start of the modern era.

During the Counter-Reformation, this dynamic triggered a mass production of images, not only in Spain, but also in the Viceroyalty of Peru.
The exhibition “The Potosí Principle” traces the circulation of money and art, which developed during that period. A selection of images from the “Andean Baroque”, seen for the first time in Germany, enters into dialogue with contemporary works of art which make reference to the present: whether it is the migrant workers in China who made the economic miracle there possible, or the economic power Dubai, which - with the help of cultural managers from Europe - seeks to reinvent itself as an art metropolis.The tour of the exhibition projects a kaleidoscope of a globalized society in which the principle of exploitation is still as prevalent as it was in the early days of modernity.

Curators: Alice Creischer (Berlin), Max Jorge Hinderer (Berlin / Santa Cruz de la Sierra), Andreas Siekmann (Berlin)

With works and contributions by:
Sonia Abián (Barcelona/Posadas)
Anna Artaker (Vienna)
Monika Baer (Berlin)
Quirin Bäumler (Berlin)
Christian von Borries (Berlin)
Matthijs de Bruijne (Amsterdam/Beijing)
Chto delat (Moscow/St. Petersburg)
Culture and Arts Museum of Migrant Workers (Beijing)
CVA/TIPPA (London)
Stephan Dillemuth (München)/Konstanze Schmitt (Berlin)
Ines Doujak (Vienna)
Elvira Espejo (La Paz)
Marcelo Expósito (Barcelona/Buenos Aires)
Harun Farocki (Berlin)
León Ferrari (Buenos Aires)
María Galindo/Mujeres Creando (La Paz)
Isaías Griñolo (Huelva)
Luis Guaraní (La Paz)
Sally Gutiérrez Dewar (Madrid)
Zhao Liang (Beijing)
Rogelio López Cuenca (Barcelona)
Eduardo Molinari (Buenos Aires)
PRPC (Plataforma de Reflexión sobre Políticas Culturales, Sevilla)
David Riff/Dmitry Gutov (Moscow)
Territorio Doméstico (Madrid)
The Long Memory of Cocaine research group (La Paz/London/Berlin)

Artur Żmijewski appointed as bb7 curator

7th Berlin Biennale for Contemporary Art, 2012

Artur Żmijewski appointed curator

KW Institute for Contemporary Art in Berlin is pleased to announce that Artur Żmijewski has been appointed curator of the 7th Berlin Biennale for Contemporary Art.
The 7th Berlin Biennale will take place in early 2012.

Visual artist Artur Żmijewski, born in 1966 in Warsaw (Poland), works almost exclusively with the media of photography and film. He is particularly interested in the power of art and its relation to politics. From an almost anthropological viewpoint he investigates social norms, morality and representations of power in today’s society and the effects that art have on it. Żmijewski studied in the sculpture class of Professor Grzegorz Kowalski at the Warsaw Art Academy from 1990 to 1995 as well as at the Gerrit Rietveld Academie in Amsterdam in 1999. His work has been internationally shown in numerous solo and group exhibitions. In 2005 he represented Poland at the 51st Art Biennale in Venice. He is member of the Polish political movement "Krytyka Polityczna" and the art director of the magazine of the same name. Żmijewski lives and works in Warsaw.

The selection committee for the curatorship of the 7th Berlin Biennale consisted of Jacob Fabricius, Malmö Konsthall; Bartomeu Mari, MACBA – Museu d’Art Contemporani de Barcelona; Matthias Mühling, Städtische Galerie im Lenbachhaus und Kunstbau München, Munich; Joanna Mytkowska, The Museum of Modern Art in Warsaw; and Hoor Al Qasimi, Sharjah Biennial.

sense and sense- emily roysdon @ konsthall c


Emily Roysdon with MPA

15.9—24.10 2010

The New York based artist Emily Roysdon will present her first solo exhibition at Konsthall C in Stockholm. Sense and Sense is a project developed on site in Stockholm over the last six weeks. Emily Roysdon invited performance artist MPA (New York) to collaborate on a series of photographs and a video for the exhibition. For Sense and Sense Roysdon has worked with the relationship between use and regulation of public space.

–Through the years I have been exploring how political movements are represented, and it is because of this that I was attracted by Sergels torg as a place. In recent projects I have been connecting that to a wider understanding of choreography – choreography as organized movement in an aesthetic and political sense.

–What is so fascinating for me with Sergels torg is that it is a planned site for political protest. At the same time; when you approach the actual place and look down on it from the railing above, Sergels Torg turns into a panoptic place and an abstraction.

A second part of the exhibition is a wallpaper project installed in a number of different places in Stockholm, for instance the City Library.

This is Emily Roysdon’s first exhibition project in Sweden. In 2008 she was a resident at the International Artists Studio Program in Sweden (IASPIS), when she also presented the performance Work, Why, Why not at Weld, Stockholm.

Emily Roysdon (1977) is a New York and Stockholm based artist and writer. Her working method is interdisciplinary and recent projects take the form of choreography, photographic installations, printmaking, text, video, curating and collaborating. Roysdon recently developed the concept “ecstatic resistance” to talk about the impossible and imaginary in politics. The concept debuted with simultaneous shows at Grand Arts in Kansas City, and X Initiative in New York.

She is editor and co-founder of the queer feminist journal and artist collective, LTTR and she is a contributing member with the band MEN. In 2010 Roysdon’s work has been shown at the 2010 Whitney Biennial, Greater NY at PS1, Mixed Use: Manhattan at the Reina Sofia in Madrid and Bucharest Biennial 4. She is participating in Manifesta 8 and in December she will have her first solo show in the USA at Matrix, Berkeley Art Museum.

Read more about Emily Roysdon:

the jerusalem show

The Jerusalem Show (‘Ala Abwab Al Janna) is a novel and socially significant visual art event that is headed and organized by Al-Mamal Foundation for Contemporary Art and this year is featuring its fourth edition. The Show encompasses an exhibition of contemporary art works for Palestinian and international artists. Art projects and interventions are presented in indoor and outdoor venues and reflect on the spiritual, political, historical and cultural import of the city of Jerusalem. The Show is a unique action, promoting a re-reading of the city in creatively open, accessible and interactive manner.

The theme for the Jerusalem Show IV-2010 is Exhaustion. It is inspired by the prevailing state of apathy which is fuelled by Exhaustion, anger, helplessness, docility and alienation in one’s own town. Exhaustion describes best the widespread feeling amongst the majority of the inhabitants of the city. Be it the closure, the lack of any viable solution or even a political horizon, the crumbling economic conditions, the closing in of Palestinian residents through an orchestrated policy of confiscation, demolition, fines and taxation, all contribute to a state of insecurity and fear of the future. Nothing is offered, given or provided hence people revert to snatch, grab, jump the line, and most importantly break the atrocious laws, any laws even those that govern human relations. All this calls for some investigation, some probing and possibly uncovering and betrayal.

For the Jerusalem Show IV, 18 Palestinian and international artists were invited by Al-Mamal Foundation to think through the theme of Exhaustion in the context of the city and its environment, and to produce works that explore issues involved in the condition and feeling of Exhaustion which afflicts the whole of Palestinian society and is palpable in Jerusalem particularly. In addition, 11 young Palestinian artists were commissioned by al Hoash to produce new artworks to be presented in the framework of the Jerusalem Show.

Jerusalem Show Participating artists: Anonymous, Karim Abu Shakra, Moayed Amleh, Asad Azi, Mirna Bamieh, Taysir Batniji, Bahar Behbahani, Youmna Chlala and Jeannette Gaussi, Mohamad Fadel, Sarah Faruki, Issa Freij, Mohamad Hawajiri, Dima Hourani, Khaled Jarrar, Yazan Khalili, Martin Lebioda, Randa Madah, F. Zahir Mibineh, Ariane Michel, Nissrin Najjar, Michael Rakowitz, Rigo 23, Raeda Saadeh, Salama Safadi, Inass Yassin

Jerusalem Show performance events: Uriel Barthélémi, Vlatka Horvat, and Sabreen band (a Michael Rakowitz project).

Wednesday, September 22, 2010



Dün akşam Tophane sanat galerilerinin ortak açılışı sırasında düzenlenen örgütlü saldırıda, sergi açılışına katılan sanat izleyicileri 40-50 kişilik bir grup tarafından tartaklandı, yaralandı, galeriler tahrip edildi. Aralarında sanatçılar, akademisyenler, öğrenciler, yazarlar, Türkiye ve yurtdışından gazeteciler, yabancı ülkelerin kültür ataşeleri olan sanatseverler üzerinde tam bir terör ortamı yaratıldı. Saldırıda, gaz spreyi, bıçak, kırık şişeler, demir sopalar ve coplar kullanıldı. Polonya, Hollanda, Alman, İngiliz uyruklu sanatseverler de hastanelere kaldırıldı. Saldırının daha vahim sonuçlar yaratmaması büyük şanstı.

Bir süreden beri, Tophane’de bir grubun sanat galerilerinin açılışını ve calışmalarını engellemeye yönelik şiddet unsuru içeren eylemlerine şahit olduk. Çesitli defalar galerilerimiz, sanatçılar, ve izleyiciler taciz ve tehdit edildi. Bu eylemlerin, internet üzerinden ve mahalledeki mekanları kullanarak örgütlenen bir grup tarafından gerçekleştirildiğini biliyoruz.

Taşındığımız ilk günden beri, komşularımızla, çocuklarla, anne ve babalarla, esnafla iletişim içerisinde olduk, beraber projeler gerçekleştirdik. Biz Tophane’deki kültürel çeşitliliğin ve dokunun kalıcı bir parçası olduğumuza inanıyoruz. Bu örgütlü saldırılar, Tophane ahalisine mal edilemez. Bu saldırganlar, mahallemizin güvenliği açısından ciddi bir tehdit oluşturmaktadır.

İstanbul’un merkezinde, bir kültür başkentinde yaşanması hiçbir şekilde kabul edilemez bu örgütlü saldırı, aynı zamanda tüm sanat kurumları için de ciddi bir uyarıdır. Bu eylemin nasıl örgütlendiğiyle ilgili ciddi bir soruşturma yapılması ve sorumluların bulunması kentimizin güvenliği açısından zorunludur.

Daha önce Tophane’de İMF protestolarına katılanlara karşı yaşanan linç girişimi de bu oranda bir şiddet gösterisi olmuş ve basına yansımıştı. Ancak bu olaylar sonrasında saldırganların cezasız kalması, bu tür şiddet eylemleri yapan gruplar için cesaretlendirici bir örnek olmuştur.

Valilik, emniyet ve siyasi partiler bu konuya gereken duyarlılıkla yaklaşırlarsa, bu gibi saldırıların önünün kesileceğine inanıyoruz. Aksi takdirde bu tür eylemler, daha vahim boyutlar kazanabilir ve kentimizin sosyal ve kültürel hayatı için bir tehdit haline gelebilir.

Olayın tekrar etmesine fırsat vermemek üzere dün gece yaşananlara tanık tüm dostlarımızı Beyoğlu Karakolu’na ifade vermeye çağırıyoruz.

Tophane galerileri, sanatçılar ve sanatseverler



In an organized attack on art galleries in the Tophane neighbourhood of Istanbul, guests attending exhibition openings were physically assaulted in a lynch attempt by a gang of 40-50 people. The audience subjected to this atmosphere of total terror featured artists, academicians, students, writers, local and international journalists and cultural attaches from consulates. The attackers used knives, batons, broken bottles and pepper spray. The injured include Polish, Dutch, German and English guests.

We have witnessed for a time now the actions of a certain group to disrupt the openings, exhibitions and events of art galleries in Tophane and to create an atmosphere of intimidation. Galleries, artists and guests have been harassed and threatened numerous times. We know that these actions are carried out by a group organized via certain web sites and around certain localities in the neighbourhood.

We have always had a strong bond of communication with all our neighbours, with children, parents and other commercial enterprises in the neighbourhood, and carried out community projects. We believe we are a part of the cultural and social scene in Tophane. These organized attacks cannot be attributed to the Tophane community. These assailants constitute a serious threat to the security of our neighbourhood.

This organized attack in the centre of Istanbul, a cultural capital, is in no manner acceptable. This attack spells a clear and genuine warning to all art institutions. A serious investigation into the organizers and perpetrators of this attack is necessary for the safety of our neighbourhood and city.

Participants in protests against the IMF had previously been attacked in a similar manner in what can only be described as a lynching attempt. However, this attack remained uninvestigated, providing an instance of encouragement for the groups carrying out such violent attacks.

We believe these attacks can be prevented if the governor’s office, the police forces and political parties treat this incident with appropriate sensitivity. Failing that, such incidents will take on more perilous proportions and form a grave threat for the social and cultural life of our city.

Tophane galleries, artists and art audience

dun gece orada olanlara gecmis olsun

elmas'in blogundan:

"Bu gün malüm açılışlara gitmek için evden çıkıldı. Ama bu gün diğerlerinden farklıymış meğer...

Outlet'de Jacob Ferry sergisi vardı, vidoların yanında pek çok resim ve çizimin sergilendiği insanca pek kalabalık bir sergiydi. Arkasından hemen aşağıda Non galeri'de Extrastruggle sergisine geçildi. Sergi pek sert, evet kemalistlerin kanını donduracak sertlikteydi, ama iyiydi, bir derdi vardı.

Sergide bir işin başında bir arkadaşla konuşurken aniden sesler duyduk, camlara vuruluyordu. Birden gözlerimiz yanmaya başladı biber gazı, panikle arkadaş çıkalım " madımak" dedi, dışarı kaçalım içerde kalmayalım.

Ben dışarı çıkamadım içerde bulmam gereken bir arkadaşım vardi. Onu buldum, biber gazından gözleri yaş içinde dolanan... kalabalık galeri içinde yukarıya doğru yöneldi. Camları ilk etapta açamadık, bekledik. Madımak kafamda, ben aslında baya korktum hatta çok korktum... Derya ile Haldun konuşuyordu sakin ol diyordu Haldun geçecek, sen üstesinden gelirsin. Aşağıdan temkinsiz sesler geliyordu.

Neyse kapi açılabildi dışarı çıktım. O anda orada durmanın daha problemli olacağını düşünüp anayola indim biraz yürüdükten sonra ilk taksiye aynı yoldan galeri Non önünden yukarı çıkamadık. Yol tam savaş alanına dönüşmüştü. O an korkum katlandı birilerine bir zarar gelmesinden çok korktum.

Birileri daha gelir diye Urban'a geçtim. Merak ettim mesele, extramücadele mi? Ne? Dert nedir?
Zaten ağır şok devam ediyor. Arada sırada uyanarak "ya bize saldırdılar ya" deme hali,,,

Sonra haberler geldi, Urbana gitmek iyi fikirmiş, eve gitsem başka düşünecektim. Meğer Outlet'e de saldırmışlar, orda da içerde mahsur kalınmış. Inci Furni kaşındaki yarayı gösterdi adamlar saldirmişlar resmen, Nazım' ın kafası yarılmış. Taksim ilkyardımda başkaları da var dediler.

Meğer biz içerideyken Non galeride kilitliyken dışarıda kalanlara şişe fırlatmişlar Maria cihangire kadar koşturmuş.

Ben Harfiyattaki olayı hatırlıyorum, bir iki yıl önce Polisin de ağır taraf tuttuğu bir olaydı.

Ama bu gün hepimiz için ağırşok oldu. Ağır bir şok.

Fikirlerin yer edinemediği bir ülke insanlara nasıl vatan olsundu.

Fikir sahibi olmanın ölüm sebebi olduğu bir ülke nasıkl yaşanılası olsundu?

Madımak olmadı belki ama Madımak hatırlandı bu gün hatırlatıldı.


Thursday, September 16, 2010

discoveries in berlin: pop'africana

ming wong kontakthope opening at nbk soon

4: Ming Wong

28. September – 5. November 2010
Showroom (1. Stock)

Eröffnung: Freitag, 24. September, 19 Uhr

Kuratorinnen: Kathrin Becker, Sophie Goltz

Gruppenbild ist eine fünfteilige Ausstellungsserie im Showroom des Neuen Berliner Kunstvereins. Die beteiligten KünstlerInnen arbeiten mit Performance und Rauminstallation und gestalten über die Dauer eines Jahres das als Experiment angelegte Projekt. Mit jeder künstlerischen Intervention werden bestehende Installationen variiert und neue Elemente hinzugefügt. Aus den einzelnen Beiträgen entsteht so ein kollektives Denkbild. Den Anfang bildete
die Videoinstallation Timing and Consistency (2010) von Karolin Meunier, ein performativer Monolog über die Möglichkeiten und Grenzen der Selbstauskunft. Im zweiten Teil folgte Discoteca Flaming Star mit der Videoarbeit El valor del gallo negro (Buthe – Turm – Börse)(2010), einer Performance für die Kamera, die sich mit der An- und Abwesenheit des Körpers im Abstraktionsprozess befasst. Azin Feizabadi nahm die gemeinsamen Gespräche von Gruppenbild zum Ausgang seiner Installation Felix, what will remain after all this? (2010), um diese mit Beispielen kollektiven Widerstands zu verknüpfen. Ausgehend von dem gemeinsamen Prozess bei Gruppenbild lud Ming Wong internationale KünstlerInnen und KuratorInnen, die in Berlin leben und mit denen er zusammenarbeitet, zu einem Tanzworkshop mit Verena Krajewski ein. Die daraus resultierende neue Videoarbeit Kontakthope (2010) untersucht Alltagsgesten in der Begegnung zwischen KünstlerInnen und KuratorInnen, um allgemeiner zu fragen: Was geht in uns vor, wenn wir einander begegnen; auf welche Geschichte beziehen wir uns? Gleichzeitig greift er mit den entlehnten Gesten aus dem Tanzstück Kontakthof (1978) von Pina Bausch deutsche Kultur- und Tanzgeschichte auf. Die Musik wurde in den 1930er Jahren von dem emigrierten russisch-jüdischen Musikstar Leo Monosson auf Deutsch gesungen, der im späteren US-amerikanischen Exil nie eine musikalische Heimat finden sollte. Während die Tanzsprache Bauschs universell lesbar ist, filmt Wong das Spezifische in den Mikrobegegnungen, um sie in der Postproduktion mit dem visuellen Diskurs um kulturelle Globalität zu Beginn des 21. Jahrhunderts zu verschränken.

Ming Wong (*1971 in Singapur) lebt und arbeitet in Berlin. Er studierte Chinese Art an der Nanyang Academy of Fine Arts, Singapur und Fine Art Media an der Slade School of Art, University College London. In Wongs künstlerischer Praxis fügen sich Sprache und Identität zu einem eigenen „World Cinema“. In seinen Performance-Videos wird dieses Kino des Alltags zu einer Bühne queerer Politik der Repräsentation und verbindet sich mit der Geschichte des Melodramas eines Rainer Werner Fassbinders oder P. Ramlees wie des modernen Tanzes.
Einzelausstellungen (Auswahl): Singapore Art Museum (2010); Singapur Pavillon, 53. Venedig Biennale (2009); Künstlerhaus Bethanien, Berlin (2008).
Gruppenausstellungen (Auswahl): Gwangju Biennale, Sydney Biennale, Tokyo Metropolitan Museum of Photography (alle 2010); Centro Cultural Montehermoso, Vitoria-Gasteiz (2009); ZKM|Zentrum für Kunst- und Medientechnologie, Karlsruhe (2008).

running in berlin now. check out!