Cannot do everything
Civil and social disobedience at the interface between art, radical politics, and technology
Creando, Coco Fusco, Andrea Geyer/Sharon Hayes, h.arta, Sandy Kaltenborn/
Pierre Maite, Nasan Tur
14. Juni bis 26. Juli 2008
Various posters, 2006-2008.
Prekarität, Arbeit und Alltag" ["Ego on Strike. Precarity,
Work, and Everyday Life"]-a slogan that both calls for and muses
about disobedient behavior. It was prominently displayed on a poster from
a series designed by Büro Bildwechsel [image-shift] for Mayday 2008,
the mobilization of the so-called precariat on May 1, in close collaboration
with the Mayday coalition.
a/k/a Mrs. George Gilbert, video, 2004.
Fusco's videos, multimedia performances, and numerous publications engage
racial and sexual discrimination. In a number of works, she has examined
the problematic situation at the Mexican-U.S. border with respect to illegal
immigration on the one hand and the exploitation of cheap labor on the
other hand. In collaboration with Ricardo Dominguez, a co-founder of the
Electronic Disturbance Theater, she has developed an online game where
players can choose between a Mexican and an American identity and gain
a "visceral" experience of how different it feels to live on
this and on that side of the border.
In Times Like This Only Criminals Remain Silent, poster project, 2005.
Geyer and Sharon Hayes's collaborative work examines the demonstration,
a seemingly timeless and ubiquitous form of protest. Just as the demonstrator's
silhouettes on front side of the posters urgently demand to be filled
in, they are densely inscribed on the back with questions, raising fundamental
issues ("Who do you speak for?") as well as questions that transcend
the bounds of the political ("Do I feel it at home?") The works
of both artists share an exploration of the spaces of the political as
well as a queer-feminist perspective.
NATO Meeting (d'après Ion Grigorescu), performance, 2008.
the NATO summit held in Bucharest on April 2-4, 2008, the three artists
walked through the city, which had for the occasion of this meeting been
cleansed of misery and deviancy. They were equipped with anti-NATO merchandise:
slogans on bags and T-shirts left no room for doubt about their antimilitarist
attitude. The photographs they took of each other during this tour of
the Romanian capital show plainclothes policemen standing nearby as though
by chance. That surveillance should be an everyday phenomenon is something
Romanians would associate with the communist regime: in 1975, the artist
Ion Grigorescu had photographed the secret policemen standing, as though
randomly, on the margins of a "spontaneous" assembly organized
by the Party. Through this art-historical reference, the artists simultaneously
address contemporary mechanisms of control and surveillance in Western
Various performances, 1996-2005, video.
Creando took to the streets in a variety of ways against the lasting effects
of the military dictatorship of Hugo Banzer, the Bolivian dictator from
1971 to 1978 and again its president between 1997 and 2002: during one
performance, quite a lot of blood is flowing across a square, in symbolic
terms the blood of the victims of forced disappearances and torture, until
the activist, in a dramatic scene accompanied by background music, is
led away by police. Mujeres Creando always anticipate and preempt the
scornful remarks from their audiences; the mocking bourgeois woman is
part of their standard ensemble.
Literature: Maria Galindo (2005): Öffentlichkeiten der Mujeres Creando. Wir besetzen das Fernsehen genauso wie die Straße, in: Gerald Raunig and Ulf Wuggenig (eds.): Publicum. Theorien der Öffentlichkeit, Wien (Verlag Turia + Kant), 204-211.
Backpacks, 2006, installation.
group of backpacks has been placed in a room. But these are no ordinary
traveler's utensils that sit here awaiting transportation. Nasan Tur has
assembled diverse variants of an equipment set to be used during demonstrations
by activists and other participants. The viewer is invited to borrow a
backpack adequate to a particular occasion. Nasan Tur thus not only takes
up the stereotypical notion of the "riot tourist." He also lends
a momentum of activation to his installation to go. The viewer must create
the performance that is expected here.
All texts translated from the German by Gerrit Jackson and cited from:
Kastner and Elisabeth Bettina Spörr (eds.): cannot do everything.
Civil and social disobedience at the interfaces between art, radical politics
and technology, Münster 2008 (Unrast Verlag), p. 196, German/English,
16. February - 27. March 2008
"Merz in February" is both an experiment and exhibition. Seven artists from Belgium, the Netherlands and Germany, have been asked to come together and develop a common exhibition in Berlin addressing the different ways they approach the production, manufacture and presentation process of art in their work. The exhibition is intended neither to join the works under a singular motto suggested by a curator, nor to create an exhibition where the works stand idly beside each other. "Merz in February" rather, should be taken as a collage as means to encourage the works, to reflect, comment and compliment each other. From its initial conception, the exhibition has been defined by an open dialogue and collaborative process. Processes of mutual appropriation, both in terms of form and material as well as quote and comment, have allowed unforeseen overlaps to surface between different notations and perceptions. As Joëlle Tuerlinckx said in respect to another exhibition, visitors of "Merz in February" should experience a process of `seeing and movement´ together, where each step or turn doesn't only offer new possibilities and interpretations on what was just seen, but also on our experience of space and time.
with: Steve van den
Bosch, Koenraad Dedobbeleer, Olivier Foulon, Alexander Lieck, Willem Oorebeeck,
Walter Swennen und Joelle Tuerlinckx, invited by Alexander Lieck and Susanne
8. January - 2. February 2008
A safety scaffold
offers a well-defined protection for an clearly definited activity. But
what safety scaffolds do we build when it comes to the whole, and how
are these scaffolds then designed? Through the experience of the international
terrorism and the changing living conditions in the western world, uncertainty
seems to be the new experiential base of society, on which we respond
to different in political, economic, but also in the private sector. Therefore,
it's clear that the practices we employ to hedge and secure ourselves
and world around us are as much instruments of power as the proceedings
of fear and insecurity are.
14. September bis 19. October 2007
Opening 14. September 2007, 19–22 Uhr
most distinguished task of art for Paul Klee was to render the invisible
visible. This bon mot has not only remained as a citation - art deals
with visualization up to today: there might be worlds between Paul Klee
and the artists invited for the exhibition #1,
between their artistic motivations possibly not.
In occasion of the exhibition #1 an Edition by Jana Müller und Wiebke Elzel is available.