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Artists arrested during exhibition opening (Belgrade, Serbia)

October 21, 2017

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After an artistic performance in front of the Museum of Contemporary Art in Belgrade in the frame of The Salon of the Unbribable, Vladan Jeremić, member of ArtLeaks, was arrested.

Right now, the Salon of the Unbribables is organizing a series of events that aim to break with the habit of public silence about the state of culture and art in Serbia.

The first action was staged on October 20, on the occasion of the re-opening of Belgrade’s Museum of Contemporary art that has been closed to the public for the last ten years, due to unsuccessful reconstruction.

The visitors were invited to put on a paper mask resembling the portrait of Serbia’s president and to share flyers with sandwiches printed on them to the museum guests. The action reflects the current situation in Serbia, where, although almost everybody is unsatisfied with financing, party pressures, amateurism of the leading cadres and (self)censorship, only a few speak about this is public. Media control and political surveillance have led to a situation, where most of cultural workers, out of personal interests and fear to loose their job or financial support, are silent about the economic and mental repression they are exposed to.

After the performance ended, at the entrance of the museum, security checked the identity of one of the visitors, who still had some props of the performance in her hands. Vladan Jeremić, one of the organizers of the Salon, asked the police what happened. He was checked as well, flyers with the announcement of the Salon of the Unbribables and other props of the performance were confiscated and he was arrested and brought to the police station for interrogation.

Half an hour later, another artist, Uroš Jovanović, was arrested in front of the museum, after he tried to enter the Museum with a big framed photograph of the Serbian president with the statement: Vučić – the best artist.

Vladan Jeremić was released from the station after two hours.

Uroš Jovanović is still arrested.

No repression against artists!

No sellout of art and culture!

Stop corruption!

No fear!

“We don’t want a culture of clones.”

Publishing Against the Grain

October 19, 2017

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ArtLeaks is extremely pleased to announce our participation in the exhibition Publishing Against the Grain, organized by Independent Curators International (ICI)! The exhibition is a survey of experimental and pertinent forms of publishing from across the world that asks audiences to slow down and discover new perspectives while connecting differing and analogous spheres of contemporary art and thought. The materials presented respond to important intersecting subjects such as contemporary aesthetics, neoliberalism and late capitalism, diaspora, biopolitics, sex and gender, gentrification, race, language, and art history.

The exhibition will make its debut this November 4th in Cape Town at Zeitz Museum of Contemporary Art Africa (MoCAA), followed by  a presentation at Pitzer College Art Galleries in Claremont, California from January 19 – March 29, 2019.More venues TBA. Gambier, Ohio; Toronto; Hong Kong; and London, Ontario.

You can find out more information about the exhibition here: http://curatorsintl.org/exhibitions/publishing-against-the-grain

Special thanks to  Curatorial Dictionary (Hungary) for nominating us!

Launch of ArtLeaks Gazette #4 in Belgrade

October 16, 2017

Cover_page_ALG#4_w

We are very happy to share the news about the official launch of the latest issue of the ArtLeaks Gazette at The Salon of the Unbribables in Belgrade. You are invited to join our launch event that will be held at Polet on Saturday, October 21st 2017 from 4-6 PM.

Speakers: Maja Ćirić, Saša Perić, Rena Redle & Vladan Jeremić
21.10.2017, 16-18h
Polet, Cetinjska 15, Beograd
https://www.facebook.com/polet.art.district/

With a focus on social rights this issue comprises contributions that reflect on the transversale of art and labor (Trondheim Seminar/ Rena Raedle & Vladan Jeremić) and tackle the question of class and conditions of production in the artworld, something that is often avoided by artists and academics coming from the middle class (Mike Watson). While working class artist Damian Hirst is celebrated as a proof and model for social mobility in the artworld, political topics rather tend to serve the critical consciousness of the middle class than to speak out about the real conditions of value production in the arts that is shouldered by an anonymous crowd of cultural and art workers, volunteering in the institutions of the artworld (Joshua Schwebel & Catarina Pires). The staggering commercialization and social stratification in the arts have created the need to create new models of cultural production that are autonomous from the neoliberal logic (Dark Matter Games / Gregory Sholette, Kuba Szreder, Noah Fischer & Marco Baravalle) and for that, contributors looked into the history and contemporaneity of art workers’s social struggles (Corina L. Apostol, Sokol Haim). In times of the aggressive rise of the right in many countries in the world, this issue of ArtLeaks Gazette became a contemporary document of the urgency of organization and political engagement of art workers beyond the art field in the Republic of Macedonia (Tihomir Topuzovski) and the U.S. (#J20 Art Strike).

ArtLeaks members in collaboration with The Salon of the Unbribables would like to initiate an open discussion around social justice in the artworld, by highlighting topics of ArtLeaks Gazette#4 and relating them to burning issues of art and culture in Belgrade and Serbia.

ArtLeaks was founded in 2011 as an international platform for cultural workers where instances of abuse, corruption and exploitation are exposed and submitted for public inquiry.
The ArtLeaks Gazette is a regular on-line publication as a tool for empowerment, reflection and solidarity and meant to contribute to the critical debates around censorship, exploitation and abuse highlighted on our online archive since 2011. We hope many of you will use it in your own self-organized schools, seminars, workshops, protest meetings, and join our community to push these issues even further.

The gazette includes texts by: Mike Watson, Joshua Schwebel & Catarina Pires, Rena Rädle & Vladan Jeremić, Tihomir Topuzovski, Haim Sokol, Corina L. Apostol, and Dark Matter Games (Gregory Sholette, Kuba Szreder, Noah Fischer & Marco Baravalle).

Campaigns by the Art Handlers Alliance of New York and #J20 Art Strike

Visual works reproduced in the gazette are by: Anastasia Vepreva & Roman Osminkin, Haim Sokol, Gil Mualem Doron and Claudiu Cobilanschi

Editors: Corina L. Apostol, Rena Rädle & Vladan Jeremić

Cover page by the editors, image credit: Haim Sokol

https://issuu.com/artleaks/docs/algazette4_2017_150dpi
https://art-leaks.org/
https://theunbribables.wordpress.com/

ArtLeaks Gazette No.4 : Demanding Justice: Social Rights and Radical Art Practices, now online!

October 1, 2017

Cover_page_ALG#4_w

We are very happy to announce the release of our latest issue of the ArtLeaks Gazette, entitled: Demanding Justice: Social Rights and Radical Art Practices

In addition to analyzing concrete practices and campaigns, this issue engages with relevant topics related to social rights, jurisdictions, legislatures and competences, in order to develop a critique of the neoliberal formats that have been for decades perpetuating across the globe. We decided to bring together those contributions which are able to question neoliberal realities, virulent nationalisms, and austerity regimes, considering not only overall conditions in the artworld but also local specificities.

The gazette is freely available to read here:

As a learning tool, this gazette is meant to contribute to the critical debates around censorship, exploitation and abuse highlighted on our online archive since 2011. We hope many of you will use it in your own self-organized schools, seminars, workshops, protest meetings, and join our community to push these issues even further.

Limited printed copies will be available soon. We are calling on those of you who regularly print as a part of your work to help us get the ALG by committing to small print runs of 50-100 copies. We will make several PDF formats of the ALG to meet various digital needs, as well as an epub edition. We encourage our readers to be an active part of spreading the ALG by hosting it on their site and forwarding it on to their networks.

The gazette includes texts by: Mike Watson, Joshua Schwebel & Catarina Pires, Rena Rädle & Vladan Jeremić, Tihomir Topuzovski,  Haim Sokol, Corina L. Apostol, and Dark Matter Games (Gregory Sholette, Kuba Szreder, Noah Fischer & Marco Baravalle).

Campaigns by the Art Handlers Alliance of New York and #J20 Art Strike

Visual works reproduced in the gazette are by: Anastasia Vepreva & Roman Osminkin, Haim Sokol, Gil Mualem Doron and Claudiu Cobilanschi

Editors: Corina L. Apostol, Rena Rädle & Vladan Jeremić

Cover page by the editors, image credit: Haim Sokol 

More discussions and workshops will be announced in the near future. If you would like to host one please send us an email.

ArtLeaks contact information: artsleaks@gmail.com // www.art-leaks.org

 

documenta 14 team speaks out about value production of the arts (Kassel, Germany)

September 16, 2017

Statement from the Artistic Director and Team of documenta 14

We read with astonishment the articles (here and here) that were published on September 12 in the HNA newspaper in Kassel. Presenting their opinions as objective facts, reiterating speculations and half-truths, the authors portrayed Adam Szymczyk, the Artistic Director of documenta 14, and Annette Kulenkampff, the CEO of documenta gGmbH, as responsible for what they described as the imminent bankruptcy of documenta. According to them, this was caused by a lack of managerial capacity and a failure of financial oversight on the part of the team of documenta gGmbH. None of the journalists took their responsibility to check their facts with the two protagonists nor seek to gain a more complex picture of the situation.

We acknowledge the responsibility that comes with organizing an exhibition that is partly financed with public funds. Furthermore, documenta 14 is made public in a collective and transnational way, beyond the mechanisms of local, regional and national identities and the funding systems associated with them. The argument of responsibility and accountability has to be understood in these terms. With this in mind, we wish to correct the misleading impressions given by this misguided journalism. The dimensions and planned content of the documenta 14 project were proposed by Adam Szymczyk in late 2013. His concept of two venues, in Athens and Kassel, was clearly communicated to all responsible parties at the time, namely all the stakeholders, the Supervisory Board of documenta gGmbH, and the international selection committee. Since the moment of his appointment, all these stakeholders have continually expressed their support for the project and stood behind all steps taken in the process of this two-venue documenta 14. Indeed, it is exactly this concept, with its inherent and predictable challenges, that convinced the independent selection committee to propose Adam Szymczyk as Artistic Director of documenta 14 in November 2013. The stakeholders of documenta 14 welcomed and authorized this nomination and committed themselves to its fulfillment. They understood at that time that this great arts event could no longer rely on bringing the world to Kassel, but had to displace itself and become the embodiment of change—in order to rediscover its rationale and legitimacy—as some of the past editions of documenta did.

Given the events of the last few days, however, we must conclude that this approval was much more contingent and limited than we were led to believe. The fact is that the budget and structural funding has not substantially changed from 2012, despite the fact that this new project would necessarily have major and obvious implications on the financial side. Save for one budget adjustment, which was discussed in summer of 2016 and implemented in winter of the same year (the cost of which would be shared between the stakeholders and documenta 14 ticket sales) no additional funds were considered necessary to cover the costs of staging the exhibition in two cities over a total of 163 days of the exhibition—one entire city and 63 days more than any previous documenta.

In a spirit of collective reflection, we believe it is time to question the value production regime of mega-exhibitions such as documenta. We would like to denounce the exploitative model under which the stakeholders of documenta wish the “most important exhibition of the world” to be produced. The expectations of ever-increasing success and economic growth not only generate exploitative working conditions but also jeopardize the possibility of the exhibition remaining a site of critical action and artistic experimentation. How can the value production of documenta be measured?

The money flowing into the city through the making of documenta greatly exceeds the amount the city and region spend on the exhibition.

We have decided at this moment to speak out, and collectively take agency to protect the independence of documenta as a cultural and artistic public institution from political interests. Unfortunately, politicians have prompted the media upheaval by disseminating an image of imminent bankruptcy of documenta and at the same time presented themselves as the “saviors” of a crisis they themselves allowed to develop.

We take a stance as cultural workers who have accomplished the realization of this (certainly controversial) undertaking, documenta 14. We want to stand up in solidarity with the work of Annette Kulenkampff and the administration of documenta gGmbH.

Having no political power as such, we, as organizers of the event, wish to cherish the vivid reception and animated debate that has flowed from our efforts. We will not have them ignored by political expediency. We call upon documenta stakeholders for a moment of reflection. We are living in a moment where time and peace are in short supply. Freedom, artistic and other, is something that we all need to sustain. It seems to us more urgent than ever in today’s world. Therefore, we ask everyone, whether involved in this controversy or not, to show solidarity with us in defending the values of a free, critical, and experimental documenta.

We send this statement to German and international media in the hope of generating thoughtful discussion and a new awareness of what is at stake.

The Artistic Director and the team of documenta 14:

Adam Szymczyk, Artistic Director
Sepake Angiama, Head of Education
Pierre Bal-Blanc, Curator
Marina Fokidis, Curatorial Advisor
Hendrik Folkerts, Curator
Natasha Ginwala, Curatorial Advisor
Ayşe Güle, Community Liaison
Candice Hopkins, Curator
Salvatore Lacagnina, Studio 14
Quinn Latimer, Editor-in-Chief of Publications
Andrea Linnenkohl, Curatorial Advisor
Bonaventure Soh Bejeng Ndikung, Curator at Large
Hila Peleg, Curator
Paul B. Preciado, Curator of Public Programs
Dieter Roelstraete, Curator
Erzen Shkololli, Curatorial Advisor
Elena Sorokina, Curatorial Advisor
Monika Szewczyk, Curator
Paolo Thorsen-Nagel, Sound and Music Advisor
Katerina Tselou, Curatorial Advisor

 

_______________________________________________________________________

A statement by the artists of documenta 14

On the emancipatory possibility of decentered exhibitions

We the undersigned artists, writers, musicians, and researchers who participated in various chapters of the current documenta 14—Exhibition, Parliament of Bodies, South as a State of Mind, Listening Space, Keimena, Studio 14, An Education, EMST collection, and Every Time A Ear di Soun—wish to share some thoughts about the possibilities and potential of documenta. Firstly, we acknowledge those participants in documenta 14 whom we have not been able to reach at the time of writing, those with whom we could not get to consensus, those participants no longer living, and especially those who passed away while participating in documenta 14. We write this in the context of the invitation of “Learning from Athens,” and the idea of first unlearning the familiar. We also take note of documenta’s specific history as a response to the evil of the Second World War and the Holocaust. We see that initial, painful legacy evolving toward an imaginative and discursive space that can contribute toward challenging war capitalism, unjust borders, and ecological suicide.

 

The initial iterations of documenta rose in the shadow of rebuilding, after a World War that caused Adorno to disavow a future for poetry. From the 1990s, the exhibition joined a global turn toward decentering the Western art-historical canon, by beginning to emancipate institutions, venues, and universities. There was a welcome, and overdue, acceleration of the presence of artists, theorists, and thinkers from the Global South, starting from documenta 10 (Catherine David), continuing through documenta 11 (Okwui Enwezor), documenta 12 (Roger Buergel / Ruth Noack), and documenta 13 (Carolyn Christov-Bakargiev). documenta also began a spatial decentering, initiated by documenta 11 with platforms in Berlin, Vienna, New Delhi, St. Lucia, and Lagos. This was followed by documenta 12 magazine, a network of 100 magazines world-wide, and documenta 13, with satellite projects in Kabul, Alexandria, and Banff. It is in line with documenta’s long heritage of decentering, and decolonizing, that we welcomed the decision to launch documenta 14 as a dialogue between Athens and Kassel.

 

documenta 14’s Athens chapter began a full two years before the official opening, with the launch of the South as a State of Mind journal in 2015, the weekly public program Parliament of Bodies in 2016, and finally, the opening of documenta 14 | Athens in April 2017, two months before Kassel. documenta 14’s curatorial team worked to encourage autonomous spaces, free of authoritative statements or frameworks. However, criticism appeared immediately, focusing on budget and infrastructure, with far less attention paid to the artworks, journal, radio, public TV, live music, education, and public programs. A few critics did raise some points that were also being debated among the artists and curators. One of those centered on the challenges of working with local communities in an environment of equality and partnership, while working within large exhibition infrastructures. Another question was whether large exhibitions are the best venue for breaking down discursive hegemonies. documenta 14 had a shared commitment to preserving the autonomy of local spaces and communities, and conducting conversations around culture within a dynamic of mutual exchange, respect, and curiosity.

 

Recently, criticisms of documenta 14 have been expanded to suggest that a deficit in the operating budget is primarily due to the Athenian chapter of documenta. We are concerned about this urge to put ticket sales above art, and we believe that Arnold Bode would have rejected this as distorting the purpose for which he gifted documenta to Kassel. We applaud the decision by documenta 14 to not charge ticket prices in Athens. We should also consider the responsibility to address the economic war fought by European institutions against the Greek population, during the recent debt crisis. We feel that casting a false shadow of criticism and scandal over documenta 14 does a disservice to the work that the artistic director and his team have put into this exhibition. Shaming through debt is an ancient financial warfare technique; these terms of assessment have nothing to do with what the curators have made possible, and what the artists have actually done within this exhibition.

 

What should be highlighted are the positive impacts of exchanges within documenta, including the decentering that occurred through the exhibition.This has caused a creative friction that is an active dialogue between citizens, communities, and institutions of Athens, Kassel, and the rest of the world. This is only a first step, and conversation must continue in coming years. In fact, more such moves of dislocation from comfort zones, and inclusion of multiplicity of voices, many standing outside of western hegemony, should be the future. What we do not need is a neoliberal logic, as well as its institutional critique, that does not allow the possibility of alternative methods, stories, and experiences.

 

One aspect that makes documenta remarkable is its support of large numbers of artists who are not represented by commercial galleries, and in fact work in non-material, ephemeral, and social practices. Many come from regions and countries still underrepresented in major art events. Naturally, many of the works produced here very consciously suggested proposals for equality and solidarity. We understood this exhibition to be a listening documenta. The curatorial team took care to listen closely and carefully to artists, rather than imposing a top-down curatorial will. The exhibition tried to be inclusive, as well as specific, emphasizing people and stories from the so-called periphery, and voices belonging to those who have faced, and overcome, hardship. Whether in crisis or inflection point, enquiry was encouraged, challenging the more frequent move of wanting to own other peoples’ understanding. The curatorial innovation was to create the space for such an encounter, in Athens and Kassel.

 

There are many interventions, by the artistic director and curatorial team, which brought together new configurations and dialogue between generations of artists, much of which is invisible to the critics. Also crucial has been the displaying of rare historic material, some of it centuries old and from all parts of the world, some of which has never been displayed in a museum. By commissioning new work in dialogue with centuries-old heritage, new alliances were created across territories and times. The juxtaposition of stories from all over the globe can be disorienting, but that is precisely the point of the structure of this exhibition. Large gestures have to be measured alongside hundreds of small ones to make a complex whole, all going towards globalizing the art historical canon. The challenge for all of us—artists, critics, and audiences—has been to experience that complexity, while subjected to practical economic constraints. We need to think of more economically egalitarian ways of viewing a large exhibition, while resisting the dominant narrative that is singularity (“the Athens model”) over complexity (what actually happened in Athens and Kassel).

 

documenta was founded as a brave response to a dark history. The 1933 Nazi regime received support from Nuremberg and Kassel, because of the presence of the arms industries. On February 11, 1933, eleven days after taking power, Hitler spoke at the Friedrichsplatz in Kassel. On November 7, 1938, two days before Kristallnacht in other German cities began, Kassel and surrounding villages saw anti-Jewish pogroms. In archival footage of trains carrying people to concentration camps, the insignia “Deutsche Reichsbahn Kassel” is visible on some carriages. After 1945, in order to erase this Nazi legacy, Nuremberg hosted war crimes trials, and, ten years later, Kassel hosted the first documenta. Kassel’s central Friedrichsplatz was bifurcated, so that no spatial trace of the 1933 rally remains. In light of this unique founding history, documenta’s unique mission has always been, and must continue to be, encouraging conversations in the contemporary arts that can oppose the spectres of nationalism, neo-nazism, and fascism that are still haunting the planet.

 

The world has transformed many times over since 1955. Western Europe is no longer the center of contemporary exhibition making. It is being challenged to take its place as one among equals, as Asia, Latin America, Africa, Middle East, Southern and Eastern Europe come forward to claim their presence. The current documenta continues the arc of the previous four documentas, by highlighting the edges of Europe, the voices of Global South realities, and the presences that press against heteronormativity. Receiving the world, as equals, contrary to anxieties, also contributes to radiance. The contemporary arts no longer looks toward a European exhibition to lead the way in ideas about what art can do, and what it should do. However, Kassel does exercise influence in contemporary art discussions that are emerging from many locations (Bamako, Beirut, Bucharest, Cairo, Dakar, Gwangju, Havana, Istanbul, Jakarta, Johannesburg, Kochi, Ljubljana, Mexico City, Moscow, New Orleans, Sao Paulo, Shanghai, Sharjah, Warsaw, Zagreb, and numerous others). We ask the documenta supervisory board to vigorously defend the curatorial team’s vision of documenta 14, and future curatorial teams to continue to make exhibitions that are accessible to all, and that decenter art history, challenge war and nationalism, and fight against the poisoning of the planet.

Contact: documenta14.artists@gmail.com

 

Signed,

1) Aboubakar Fofana
2) Achim Lengerer
3) Agnes Denes
4) Ahlam Shibli
5) Aki Onda
6) Akio Suzuki
7) Akinbode Akinbiyi
8) Alessandra Pomarico
9) Alexandra Bachzetsis
10) Alvin Lucier
11) Amar Kanwar
12) Amelia Jones
13) Anca Daučíková
14) Andreas Angelidakis
15) Andreas Kasapis
16) Andrew Feinstein
17) Andrius Arutiunian
18) Angela Dimitrakaki
19) Angela Melitopoulos
20) Angelo Plessas
21) Angela Ricci Lucchi
22) Anna Papaeti
23) Anna Sorokovaya
24) Annie Vigier
25) Annie Sprinkle
26) Anthony Burr
27) Anton Lars
28) Antonio Negri
29) Antonio Vega Macotela
30) Apostolos Georgiou
31) Arin Rungjang
32) Artur Zmijewski
33) Ashley Hans Scheirl
34) Athena Katsanevaki
35) Banu Cennetoglu
36) Ben Russell
37) Beth Stephens
38) Bonita Ely
39) Boris Baltschun
40) Boris Buden
41) Bouchra Khalili
42) Brett Neilson
43) Cana Bilir-Meier
44) Cecilia Vicuna
45) Christina Kubisch
46) Christos Chondropoulos
47) Click Ngwere
48) Colin Dayan
49) Conrad Steinmann
50) Constantinos Hadzinikolaou
51) Dan Peterman
52) Daniel Garcia Andújar
53) Daniel Knorr
54) David Harding
55) David Lamelas
56) David Schutter
57) David Scott
58) Debbie Valencia
59) Denise Ferreira da Silva
60) Dimitris Papanikolaou
61) Dimitris Parsanoglou
62) Dmitry Vilensky (Chto Delat)
63) Edi Hila
64) EJ McKeon
65) Elisabeth Lebovici
66) Elle Marja Eira
67) Emanuele Braga
68) Emeka Ogboh
69) Emily Jacir
70) Eric Alliez
71) Eva Stefani
72) Evelyn Wangui Gichuhi
73) Feben Amara
74) Franck Apertet
75) Franco “Bifo” Berardi
76) Ganesh Haloi
77) Gauri Gill
78) Geeta Kapur
79) Gert Platner
80) Geta Bratescu
81) Gordon Hookey
82) Guillermo Galindo
83) Guillermo Gomez-Pena
84) Hans D) Christ
85) Hans Eijkelboom
86) Hans Haacke
87) Hiwa K
88) Ibrahim Mahama
89) Ibrahim Quraishi
90) Irena Haiduk
91) Iris Dressler
92) Itziar González Virós
93) Jack Halberstam
94) Jan St) Werner
95) Jakob Ullmann
96) Jess Ballinger-Gómez
97) Joana Hadjithomas
98) Joar Nango
99) Johan Grimonprez
100) Jonas Broberg
101) Jonas Mekas
102) Josef Schreiner
103) Joulia Strauss
104) Katalin Ladik
105) Kettly Noël
106) Lala Meredith-Vula
107) Lassana Igo Diarra
108) Lenio Kaklea
109) Lois Weinberger
110) Lucien Castaing-Taylor
111) Lukas Rickli (Kukuruz Quartet)
112) Macarena Gomez-Barris
113) Magali Arriola
114) Manthia Diawara
115) Maret Anne
116) Maria Eichhorn
117) Maria Hassabi
118) Maria Iorio
119) Marianna Maruyama
120) Marie Cool and Fabio Balducci
121) Marina Gioti
122) Marta Minujin
123) Mary Zygouri
124) Mata Aho Collective
125) Mattin
126) Michel Auder
127) Mike Crane
128) Miriam Cahn
129) Molly McDolan
130) Mounira Al Solh
131) Moyra Davey
132) Naeem Mohaiemen
133) Nairy Baghramian
134) Narimane Mari
135) Nathan Pohio
136) Neil Leonard
137) Nelli Kambouri
138) Neni Panourgiá
139) Nevin Aladag
140) Niels Coppens
141) Nikhil Chopra
142) Niklas Goldbach
143) Nikolay Oleynikov (Chto Delat)
144) Nilima Sheikh
145) Nomin bold
146) Olaf Holzapfel
147) Olga Tsaplya Egorova (Chto Delat)
148) Otobong Nkanga
149) Oxana Timofeeva (Chto Delat)
150) Panos Alexiadis
151) Peaches Nisker
152) Piotr Uklanski
153) Panos Charalambous
154) Pavel Braila
155) Pélagie Gbaguidi
156) Peter Friedl
157) Philip Bartels
158) Philipp Gropper
159) Prinz Gholam
160) Prodromos Tsinikoris
161) Ralf Homann
162) Raphaël Cuomo
163) Rasha Salti
164) Rasheed Araeen
165) Raven Chacon
166) Rebecca Belmore
167) Regina José Galindo
168) R) H) Quaytman
169) Rick Lowe
170) Roee Rosen
171) Roger Bernat
172) Rosalind Nashashibi
173) Ross Birrell
174) Samia Zennadi
175) Samnang Khvay
176) Sanchayan Ghosh
177) Sandro Mezzadra
178) Sanja Ivekovic
179) Sarah Washington
180) Serdar Kazak
181) Serge Baghdassarians
182) Sergio Zevallos
183) Shu Lea Cheang
184) Simon(e) Jaikriuma Paetau
185) Simone Keller
186) Sokol Beqiri
187) Stanley Whitney
188) Stathis Gourgouris
189) Stratos Bichakis
190) Suely Rolnik
191) Susan Hiller
192) Synnøve Persen
193) Taras Kovach
194) Thais Guisasola
195) Tracey Rose
196) Theo Eshetu
197) Ulrich Schneider
198) Ulrich Wüst
199) Valentin Roma
200) Vasyl Cherepanyn
201) Verena Paravel
202) Vijay Prashad
203) Virginie Despentes
204) Vivian Suter
205) Wang Bing
206) What How and for Whom (WHW)
207) William pope)l
208) Yael Davids
209) Yervant Gianikian
210) Zafos Xagoraris
211) Zoe Mavroudi
212) Zonayed Saki

 

Statement on our dismissal from the WIENER FESTWOCHEN (Vienna, Austria)

July 18, 2017

Eleven days after the end of the FESTWOCHEN festival, and one day before the start of our vacation, director Wolfgang Wais ordered us, the co-curators of the WIENER FESTWOCHEN under the artistic directorship of Tomas Zierhofer-Kin, on short notice into his office. Two work-councils were sitting at the table; two letters of termination were placed on our seats. “Please hand over the keys and your mobile phones and clear your office. From now on you are exempted.” One recognizes these kinds of scenes from films about investment bankers, who leave the office after an unexpected termination conversation, with a cardboard box under their arm, like beaten dogs. We were stunned to find that termination behavior characteristic of neoliberal economies is practiced at the WIENER FESTWOCHEN.

We joined the team of Tomas Zierhofer-Kin in 2015 with the task of supporting him in the content and structural adjustment of the WIENER FESTWOCHEN. Our goal was to generate a new and younger audience without losing the “old” audiences. Change is a process that can not be completed after one festival. And it was clear to all of us that a fundamental renewal of such a prestigious festival would be accompanied by critical voices – both from the audience and from the media.

To shape this transition process, we came together and tried to work with the city and the festival team by inspiring them with our program. With astonishment, we read that “on the basis of the experiences and insights” of our first festival edition consequences are drawn. An evaluation or a joint reflection of the festival a few days after the FESTWOCHEN had not yet taken place, at least not with us. We have planned our first edition at the curator’s round table, just as Tomas Zierhofer-Kin wished for the next issue. We were dismissed by the throne of the longtime CEO Wolfgang Wais. A personal conversation with Zierhofer-Kin, which we should mention at this point, has not taken place since then. A few days after the dismissal, he expressed his regret by email. Too bad: we were just about to analyze the past festival, and we reflected on critical voices from the traditional audience and from the media. But there are a lot of things, many of which have received good responses, that we are proud of, such as the “Academy of Unlearning” or the Performeum.

After our dismissal, we again looked at the open letter from Frie Leysen, in which she explained in detail why she did not want to continue working for the festivals despite her successful curation [Leysen left due her criticism that the most of the festival budget was spent on administration rather than on artists and artistic projects]. We could sign this letter today, three years later, or at any time. However, we were convinced that we could develop a vision for the FESTWOCHEN that we could implement in the long term.

We obviously counted our chicken before they were hatched.

The festival’s established power structures have made any renewal impossible. The dramaturgy’s round table, in which Tomas Zierhofer-Kin wants to sit with his new team this autumn, will not produce any dialogue at the eye-level. The newcomers should memorize exactly where the CEO sits, before getting into the WIENER FESTWOCHEN adventure. We wish you all the best. We, on the other hand, are looking forward to work again in the future, in a space where artistic visions are actually wanted and also implemented in a long-term, common learning process.

Nadine Jessen and Johannes Maile

June 29, 2017 

Censorship at the Collegium Hungaricum Vienna

July 12, 2017

On 27 June 2017, our work entitled [See no evil, hear no evil, speak no evil] was removed from the Real Hungary exhibition, arranged in the building of the Collegium Hungaricum Vienna, before it opened. The triptych in question was the latest element of our series entitled Flags. Three Hungarian flags are represented so that each has one colour of the tricolour painted over with black enamel paint. Our first flag in the series was displayed in 2010 at the exhibition of Esterházy Prize recipients also arranged at the Collegium Hungaricum Vienna. For the current occasion, according to our agreement with the curator, and alongside other works, we produced new flags. With our works, our objective was to offer a critical response to the concept of the exhibition*, and not to incite a political scandal. With our selection, to present formally abstract works at a show engaged in Realist traditions, we wanted to reflect upon the problematics of categorization.

*Abstract Hungary (Künstlerhaus, Graz, 2017) / Real Hungary (Collegium Hungaricum, Vienna, 2017).

The facts, in brief:

  1. The exhibition of Esterházy Prize winners, entitled Real Hungary, was arranged in the Hungarian Institute on the invitation of the director of the Collegium Hungaricum Vienna, i.e., Mária Molnár
  2. The curator of the exhibition was Vitus Weh, contemporary art advisor to the Esterházy private foundation, and the works on view appeared with his approval, the ominous work in question, among others.
  3. While our work was meant to be installed on the wall on the day before the opening, we were in fact unable to arrive to the Institute during opening hours due to reasons outside our control. We notified the staff of the Institute, who did not indicate any problems in connection with this, and they arranged for our installation to take place the following day (the day of the opening); the staff was very helpful. Mária Molnár did not make any contact with us personally, nor did she advise either the artists or the curator that she would like to inspect the displayed works before the opening, nor did she ask for any further information about the new pictures, though we would have been more than happy to oblige. The place for the triptych was waiting empty on the wall when we arrived.
  4. The week before the opening, we had provided the information about the new work upon the request of the staff at the Institute, so that it could be included in the list of works and on the list for insurance, and no photos were requested beforehand.
  5. As we found out that day, when we installed the pictures, Mária Molnár was not even in Vienna; thus, she most likely was informed by telephone that the pictures had been installed, and that they were flags.
  6. The triptych was installed on the wall 6 hours before the opening, in the knowledge that (since this was what we had agreed upon) this would not be a problem. Nevertheless, during lunch, the staff member of the foundation and the curator received the directive from Mária Molnár to remove the work from the exhibition immediately. All of this likewise occurred by telephone, as Mária Molnár was still not in the building; i.e., she decided without seeing it, in an insupportable tone, referring to the fact that political work could not be shown in the Hungarian Institute, especially not when it concerned the desecration of national symbols. There was no mention of any sort of bureaucratic reasons or rules.
  7. For our part, after this, the best solution seemed to be to retract all of our works, but in consultation with the curator, and in consideration of the foundation, the exhibition, and all the other artists, we made a compromise and we accepted the removal of the triptych. By the time we returned to the exhibition space, the pictures had already been removed, but we insisted on documenting the event, and so we re-installed and then removed the pictures once again. Five minutes later, the place for the nails was already filled.
  8. After the opening, we were finally able to speak with the director of the Institute in person, who continued to refer to the desecration of national symbols as her reason, as well as mentioning its tastelessness. She did say, however, that now she would be willing to look at the work with her own eyes. This, however, has still not happened yet.
  9. The exhibition is now closed because of technical reasons. According to the contract between the Esterhazy Foundation and The Collegium Hungaricum Vienna it should be on view until the 10th of October.

 

Lőrinc Borsos

(Lilla Lőrinc, János Borsos)

Budapest, 07.05.2017

jano.borsos@gmail.com

borsoslorinc.com

 

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Lőrinc Borsos

See No Evil, Hear No Evil, Speak No Evil

2017, triptychon, acrilyc, enamel on wood, 20x30x5 cm each

about flag series: http://borsoslorinc.com/index.php/works/flags/

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