Due to irreconcilable differences between the editorial staff of Chtodelat News and the Chto Delat work group, this blog is closed until further notice. Archival materials from the past five years will still be available here, but no new postings will be made from today.
Tag Archives: Chto Delat
Leningrad’s Perestroika: Crosscurrents in Photography, Video, and Music
April 20, 2013 – September 13, 2013
Dodge Wing Lower Level
Zimmerli Art Museum at Rutgers University
71 Hamilton Street
New Brunswick, NJ 08901-1248
This exhibition highlights the unique photographic, video, and musical innovations that shaped the Leningrad (now known as St. Petersburg) unofficial art culture during the period of glasnost and perestroika. It presents for the first time photographers, musicians, and video artists as active members of groups, rather than individual producers, to underscore their collective goals as part of a larger counter-cultural phenomenon in the city. The eclectic body of material produced over the span of a transformative decade shared a common goal: to stimulate the audience’s imagination in such a way as to disrupt everyday social interaction. Photography and video were considered unique media, able to cross the boundary between the present and the past, and thus became an important tool for fostering a reflective process. Their documentary character was exploited to reveal the city to its inhabitants, connecting individuals to the rapid transformations of Soviet society, while opening an anticipatory window into the future. Works by 20 artists are featured, the majority of which have never been exhibited before.
Organized by Corina L. Apostol, Dodge Fellow at the Zimmerli and Ph.D.candidate, Department of Art History
The exhibition is supported by the Avenir Foundation Endowment Fund.
Art After Hours: Russian Art, Rock, and Film / Wednesday, May 1, 2013
Political Narration in Contemporary Photography and Film / Thursday, May 2, 2013
Location: Plangere Writing Center in Murray Hall, Room 302, College Avenue Campus
Sponsored by the Developing Room with assistance from the Zimmerli Art Museum, Rutgers University
Image: Ludmila Fedorenko, Untitled, 1989. Silver gelatin print. Collection Zimmerli Art Museum at Rutgers, Norton and Nancy Dodge Collection of Nonconformist Art from the Soviet Union
Photography, Film & Political Narration
This event explores strategies of political narration in contemporary photography and film. Discussion will focus on the practices of Dmitry Vilensky and his collective Chto Delat?/What Is To Be Done? Operating at the intersection of political theory, art, and activism, the artists’ work deftly combines photography, film, and audio commentary. Its goal is to bring back into memory events of the past that hold emancipatory potential for the present. Vilensky will facilitate a discussion of his practices, which are featured in the exhibition Leningrad’s Perestroika: Crosscurrents in Photography, Video and Music, on view at the Jane Voorhees Zimmerli Art Museum from April 20 to September 13, 2013.
Nikolay Oleynikov, mural at the show Chto Delat, The Urgent Need to Struggle, ICA, London, 2010. Photo courtesy of Chto Delat
To Negate Negation
April 29–June 16, 2013
April 29, 2013 (Monday):
5 p.m. – Discussion (in English) with Chto Delat (Dmitry Vilensky, Olga Egorova, Nikolay Oleynikov), Jan Sowa, and Jakub Szreder
7 pm. – exhibition opening
Awangarda Gallery (Wita Stwosza Street, 32, Wrocław)
Curators: Alicja Klimczak-Dobrzaniecka and Patrycja Sikora
Download press materials here
Chto Delat, The Russian Woods. Installation at the show Lessons of Dis-Consent, Stadliche Kunsthalle Baden-Baden, 2011. Photo courtesy of Chto Delat
TO NEGATE NEGATION
Philosopher Georg Lukács once said that orthodox Marxists should not believe in this or that thesis, nor in the exegesis of a sacred book. On the contrary, orthodoxy refers exclusively to method. By method, Lukács meant dialectics as a means of analyzing and representing the whole of society as a totality of struggling contradictions.
To speak about dialectics makes particular sense at BWA Wrocław. Its architecture confronts the ruin of an old palace with a new modernist intervention, facing us with obvious conflicts between the classics and modernism, between the old functions of exclusive noble privacy and the modern public institution. The current exhibition responds to this living contradiction by presenting a survey of many old and newer Chto Delat projects in a specially developed dialectical display whose main point is to “negate the negation.”
All graduates of socialist schools and universities will remember this negation of negation as the third principle of dialectics, culled from Friedrich Engels’ Dialectics of Nature. What could this principle mean in art today? Confronted with a simple dumbly positive postulate of an artwork, the viewer reacts with a very basic question: why should I care? It looks like the artists are trying to brainwash me but for what reason? I won’t believe it, I’m not that simple; the characters are so conditional, it must be a Brechtian device. Why are they constructed in such a way? And why do they still give me aesthetic pleasure? Perhaps there is something beyond this simplicity? It is with such questions that the negation of negation begins.
We invite the visitor to a tour through a show where art works only communicate by calling one another into question, making complex things simple and simple things complex, as the work of negativity turns into the play of its own negation. But make no mistake. Art is never just a self-referential game. It always suggests further implementations and resolutions outside the gallery space in real life. As Mao once wittily remarked, “Theory (read also art) is the negation of practice while the opposite of practice is of course non-practice. In turn, only when theory is further negated in practical activity is a higher development of man’s knowledge of the world achieved.”
Dmitry Vilensky and David Riff (Chto Delat)
The Dialetical Play of Opposite: About Chto Delat in the Institutional Framework
Chto Delat have embarked on a quest for a currently attractive, emancipatory potential of leftist ideas. Chto Delat strongly criticize the reality of contemporary political and social life in Russia, art institutions, and Western capitalism. Chto Delat flourish in the international institutional art market, operating in the convenient framework of the capitalist system. Chto Delat embody the dream of engaged Russian art in the Putin era, dreamed of by curators from the West. At the same time they rarely show up in the official salons in Russia. Each of the above statements is true: this is a conclusion one can draw upon a close inspection of the exhibition in Wroclaw, reading the numerous descriptions, theoretical and polemical texts, or studying the performances and documentation of actions published on the collective’s website.
To Negate Negation is a unique exhibition, as it is the first presentation of contemporary Russian art in the Wrocław gallery Awangarda after the fall of the Berlin Wall and the collapse of the Soviet Union. It is also the first exhibition of the group Chto Delat in Poland, presenting the whole panorama of its activity. As part of the show, we will find all themes characteristic of the artistic practice of Chto Delat, including, in particular, references to the Hegelian and Marxist dialectical struggle of opposites, inevitably driving social change. The title To Negate Negation already contains direct references to the terminology originally borrowed from the idealist dialectic of classical German philosophy, and specifically to one of the three universal laws formulated by Hegel’s dialectic – negation of the negation. In turn, individual projects of the collective shown in the exhibition relate to the dialectical principle of testing the reality which involves the disclosure of its existing contradictions, the study of the clash of these contradictions and the resulting changes, that is, in short, to the principle underlying the methodology of Marxism.
At the core of the exhibition lie projects commenting on the current situation, social and political events in various countries (Russia, Serbia, the Netherlands), petrified by allegorical methods and visualized primarily in film productions, the so-called Songspiels. The actors embody various sections of the society, represent various (age, professional, political) groups and their aspirations, interests and visions, as well as the existing opposition between them, building tension and conflict. Both these projects and other documentary and para-documentary recordings reveal interest in “classic” leftist work – the epic theatre of Brecht and Godard’s New Wave cinema. Apart from film showings, the arsenal of devices employed by Chto Delat consists of a few simple methods. Institutional space, annexed by the group in various parts of the world, is usually organized in a similar manner – by means of simple elements of stage design, reminiscent of home-made banners or mock-ups, as well as prints, murals, flags, posters and publications. These elements are often accompanied by on-site actions, meetings and discussions. Each of these devices is invariably associated with the language of propaganda and agitation, a message addressed to the widest possible audience. In each case, an institution turns into such a propaganda mouthpiece, becoming at the same time the (knowing) object of the collective’s genuine contempt. Yet the collective declares the aim of protecting the institution against the “economization, and subordination to the populist logic of the culture industry,” only to say: “That is why we believe that right now it would be wrong to refuse to work in any way with cultural and academic institutions despite the fact that the majority of these institutions throughout the world are engaged in the flagrant propaganda of commodity fetishism and servile knowledge. The political propaganda of all other forms of human vocation either provokes the system’s harsh rejection or the system co-opts it into its spectacle. At the same time, however, the system is not homogeneous – it is greedy, stupid, and dependent. Today, this leaves us room to use these institutions to advance and promote our knowledge. We can bring this knowledge to a wide audience without succumbing to its distortion.” Institutions inviting Chto Delat decide to play this game. This is the case this time as well. In Wroclaw, the game with the institution takes on another dimension – the game with the potential inherent in the relationship with the audience and with the surrounding reality. Thanks to Chto Delat the monumental windows of the Awangarda Gallery, overlooking a busy street, become stands. The gallery turns into the audience, and the street turns into a performance. There is a clear reversal of the viewer-institution relationship, ascribed to the building by the very architectural device of unveiling and glazing the top coat of the facade of the historic palace ruined during WWII – and, in this way, opening up its institutional interior to constant public view. The metaphor of game and the play of opposing forces present inside and beyond the institutional framework does not merely serve the purpose of turning the set relationship between an art gallery and the external world inside out, but rather of evoking a critical reflection on the observed reality, seen as a potential that can be offered to the viewer.
CHTO DELAT (WHAT IS TO BE DONE)?
What is Chto Delat?
The Russian group Chto Delat is a platform that unites representatives of various areas of artistic and intellectual life: artists, philosophers, writers, activists, and social scientists. The group is guided by the principles of collectivism and self-realization. As described by its members, the core of the group is formed by a team of coordinators who cooperate closely with grassroots workgroups that share the principles of internationalism, feminism, and equality. Their activity represents the entire platform and provides a common context for interpreting their projects. Permanent activists of the collective include: Olga Egorova aka Tsaplya (artist, Petersburg), Artemy Magun (philosopher, Petersburg), Nikolay Oleynikov (artist, Moscow), Natalia Pershina aka Gluklya (artist, Petersburg), Alexei Penzin (philosopher, Moscow), David Riff (art critic, Moscow), Alexander Skidan (poet, critic, Petersburg), Oxana Timofeeva (philosopher, Moscow), Dmitri Vilensky (artist, Petersburg), and Nina Gasteva (choreographer).
Where did they come from?
Chto Delat was established on May 24, 2003, in the action “The Refoundation of Petersburg,” during which a group of artists, architects, and critics symbolically founded a new city centre on the city’s outskirts. Inspired by the pompous celebrations of the 300th anniversary of St. Petersburg, the event was seen by the police as a disruption of the ceremony. Shortly afterwards, still unnamed, the group began to publish the newspaper Chto Delat, targeting the international audience. The name of the newspaper, and later of the collective, was borrowed from Nikolai Chernyshevsky (1828–1889), a philosopher, journalist, writer, and socialist, who in 1863 published the novel Chto Delat, one of the creative harbingers of the Russian Revolution. In 1902, Vladimir Lenin referred to the novel in his pamphlet bearing the same title, in which he presented a new look on the problems of self-organization of work groups. In this context, the artists and intellectuals working in the collective see themselves, by way of analogy, as a self-organizing group of “cultural workers.”
What do they do?
Chto Delat actions integrate different fields of intellectual activity: visual arts, literature, journalism, film, theatre, philosophy, and political thought. Created with a variety of tools, their work is a collective action, which means that it has a common context and stems from a deep theoretical reflection. The group realises its principles issuing a newspaper, creating movies, theatre, plays, installations, prints, murals, performing actions.
Chto Delat are preoccupied with the issue of cultural autonomy, considered from the point of view of the artists who can’t perform in the post-Soviet Russia and create outside the mainstream, but also who are active in Europe. The group expresses its concern about art, today often perceived as a commodity or an element supposed to provide entertainment to the audience, a part of a system in which museums and galleries are instruments of power having monopolised presentation of art, while they should be institutions that help art search for truth about the world. The essence of art is to create the viewer’s awareness, to develop forms of critical perception of reality, and to be a tool for independent functioning in the world. This is a public activity, so that no authorities or institutions should have a monopoly over its “distribution.” In their projects Chto Delat discuss how culture functions in the machinery of western and post-Soviet capitalism, showing the culture’s dependence on the money, state, and ideology. Thus the emancipation of art guarantees human emancipation as such, and the role of artists and intellectuals is to expose the current situation and try to define the optimal conditions for the development of free creativity. For them a way to achieve these goals is to return to the original ideas of the Left and fulfil them in a fresh combination of actions from the sphere of art, radical thought and politics.
Where do they work?
Defying the Russian cultural establishment and politics in general, the group operates outside the mainstream of the art world at home, on its outskirts. At the same time, Chto Delat is a very active group, constantly present and performing in the countries of Western Europe, the USA, or Australia. However, the “activity” and “existence” of the group can and should also be seen in a non-material way. Theoretical work, publishing an online newspaper, online meetings and lectures are just as important as the institutional dimension of their activity. The group’s projects have been shown in numerous group and individual exhibitions, including Kiasma Museum of Contemporary Art in Helsinki (2004), Museum of the History of St. Petersburg (2004), Kunsthalle Fridericianum, Kassel (2005), Centre for Contemporary Art in Moscow (2006), the 3rd Prague Biennale (2007), 11th Istanbul Biennial (2009), the Institute of Contemporary Arts in London (2010), the Staatliche Kunsthalle Baden-Baden (2011), Smart Project Space, Amsterdam (2011), Gallery 21, St. Petersburg (2012). The collective’s works are exhibited in the Museum of Contemporary Art in Belgrade, National Museum Reina Sofia in Madrid, Van Abbemuseum in Eindhoven, KIASMA Museum of Contemporary Art in Helsinki, the Library of the Museum of Modern Art in New York. Chto Delat has participated in many conferences, seminars, open discussions, meetings, lectures, e.g., Documenta 12 in Kassel (2007), Working Title: Archives at the Lodz Museum of Art (2009), and Former West in Berlin (2010, 2012).
As an exercise in close reading, we’d like to see what you, our readers, can make of these two hyper-fresh dispatches from Petersburg, Russia’s so-called cultural capital.
Mosque Raid Causes Outrage
By Sergey Chernov
The St. Petersburg Times
Wednesday, February 13, 2013
Human rights organizations in Russia, Tajikistan and Georgia on Tuesday protested mass arrests and reported harassment and beatings of mostly Central Asian and North Caucasus migrant workers during Friday’s raid on a marketplace in central St. Petersburg.
They are demanding a thorough investigation by Russian and Tajik authorities into the actions of law-enforcement officers who raided Apraksin Dvor, the marketplace in downtown St. Petersburg, during a service at a mosque on the market’s territory.
The Investigative Committee put the number of those detained at 271, but Fontanka.ru reported that “no less than 700” had been arrested, while human rights activists say that the number of arrests could be as high as 1,000.
Officially, the raid was part of a criminal investigation into “public incitement to terrorist activities or public justification of terrorism” and “inciting hatred or hostility as well as humiliation of human dignity” and was conducted jointly by several law enforcement agencies, including the Federal Security Service (FSB) and counter-extremism Center E. Smaller raids were held elsewhere in the city.
But only one person of the hundreds who were arrested is a suspect in that case.
Mass beatings were reported to have taken place during the raid at Apraksin Dvor.
“People who were victims of the mosque raid there and their relatives keep approaching us since the raid took place,” said Anna Udyarova, a lawyer with the Memorial Anti-Discrimination Center, on Tuesday.
“For instance, one citizen of Uzbekistan said he had gone there with his sons, the youngest of whom was 10, and security service officers had used force against him, had beaten him as well as his adult sons, and all this had happened before the eyes of his 10-year-old son.
“Witnesses who work nearby in Apraksin Dvor said about 200 people were beaten, and some sustained injuries as serious as broken arms and legs, but they refuse to file official complaints or document their injuries because they’re afraid of how the authorities will respond. But in conversation with us, they say that all the men who were at the mosque during the service were beaten.”
The only person detained as a suspect within the investigation, according to the Investigative Committee, was Murat Sarbyshev, born in Kabardino-Balkaria (a republic in the south of the Russian Federation) in 1988. He is suspected of having uploaded “extremist literature and videos depicting terrorist attacks on the Internet in a period between October 2010 and April 2011,” the Investigative Committee said in a statement Saturday.
“We are trying to understand why such a large-scale special operation was held to detain just one person — who turned out to be a citizen of Russia — and with such a large number of people suffering as the result of harassment and beatings,” Udyarova said.
“It had an intimidating effect not only on those who were at the mosque at the time, but also on all the foreign citizens, mainly of Tajikistan and Uzbekistan, who are based in St. Petersburg and Russia, who learned about this incident and perceived it as a threat to themselves.”
According to Udyarova, up to 1,000 people may have been detained in the city on Friday.
“We were told that about 1,000 were detained, because this special operation took place not only in Apraksin Dvor, but in other places in the city simultaneously,” she said.
“Differences in numbers can be explained by the fact that not everybody who was detained was taken to a police precinct; only those who had problems regarding their immigration documents.
“Even if, as the Interior Ministry’s representative claimed, the objective of this campaign was not to expose illegal migrants and they were in fact looking for suspects in a criminal investigation, as usual, innocent people — foreigners — who were there are the ones who suffered.”
She said the Memorial Anti-Discrimination Center will provide legal support if at least one person who is not intimidated enough to file a complaint is found.
According to the Investigative Committee, those detained included citizens of Uzbekistan, Tajikistan, Azerbaijan and the regions of the North Caucasus, as well as one citizen of Egypt and one citizen of Afghanistan. Ten had personal documents showing signs of forgery, and twenty had no documents at all, the agency said in a statement Saturday.
Of those detained, seven were deported and one more was awaiting deportation in a detention center for foreigners, Interfax news agency reported Monday, citing a source in the police.
With the exception of them and the suspect Sarbyshev, all those detained during the raid were released with no charges pressed, it said.
Late on Tuesday, Interfax quoted a source with the FSB who claimed that the deported seven had links to an “international terrorist organization.”
The polarisation of Russian nightlife is undoubtedly tied to the polarisation of wealth in Russian society. Is the arrival of places like Dom Byta [in Petersburg] — that shun the glitzy veneer that has been the hallmark aesthetic of Russian affluence since the Nineties — evidence of the emergence of a new middle class? Burtsev certainly thinks so. “A new generation has arrived that can travel, that can do projects, and the people remaining from the old generation are also willing to give things a go. They’ve made it possible to create this sort of good community.” For Burtsev, this change is starting to have a real impact on city life. “This young generation has already created its own space online,” he says. “They work in jobs like design, in a space beyond the reach of the government. And now we’re seeing people moving gradually, very gradually, to doing projects in real, concrete spaces.”
The transformation of Russia’s entertainment scene is dependent on two factors: time and travel. During the Soviet period, isolation, centralisation and a certain puritanism pushed Russian food culture to the brink of extinction: as a result foreign imports, like the ubiquitous sushi, have dominated the restaurant scene for the past two decades. But open borders have also allowed young Russian chefs, barmen and entrepreneurs to pick up best practice in Europe and America. Frequent trips to Paris, Madrid and Rome have also educated their potential audience. Along with new infrastructure such as better farms, catering schools and supply networks, which all take time to bear fruit, it’s this cosmopolitanism that has laid the foundation for the current renaissance in Russian food and drink.
An avowed Anglophile — Dom Byta has English beer on tap — Burtsev, who is just shy of 40, exemplifies the impact of Russia’s new-found wanderlust. “When we opened Solyanka six or seven years ago we were really influenced by places in London, in Shoreditch,” he says. “We would look at the people, at little details, at the general atmosphere.” His establishments meet the needs of a more educated audience: “The more people travel the more they get used to things: in London or elsewhere in Europe you can just pop in somewhere nice and get a bite to eat, or sit down and work with your laptop and feel relaxed about it.”
How would you, dear readers, read these two stories together? Send us your answer (500 words or less) to our email address (chtodelatnews [at] googlemail [dot] com) or in the comments, below. We’ll post the most convincing entry on this blog as a separate, headlined posting. We’ll also mail the winner a complete set of the Chto Delat group’s popular, award-winning songspiel films on DVD. And, as if that weren’t enough, we’ll treat the winner to a night on the town in Russia’s stunning cultural capital, Petersburg, including dinner at a restaurant featuring the cuisine of one of the city’s beloved ethnic minorities, followed by all the English tap beer they can drink at Dom Byta. (If “face control” lets us in, that is, and provided, of course, that the winner makes their own way to Petersburg.) The deadline for entries is next Friday at midnight Petersburg time (GMT + 0400).
Where Has Communism Gone? Open Call for Learning Play
OPEN CALL FOR PARTICIPANTS
Where Has Communism Gone?, a Learning Play initiated by Chto Delat as part of FORMER WEST: Documents, Constellations, Prospects (Haus der Kulturen der Welt, Berlin).
The process takes place between March 16 and March 23, 2013. You are invited to participate in a four-day seminar led by the artist collective Chto Delat, and develop and perform the collective learning play Where Has Communism Gone? as part of the main program of FORMER WEST: Documents, Constellations, Prospects, at Haus der Kulturen der Welt, Berlin from 18–24 March 2013.
Using playwright and director Bertolt Brecht’s model of the learning play, Chto Delat invite 25 participants to collectively develop an educational didactic performance. Centered on the question “where has communism gone?” participants are asked to work on and articulate their own positions throughout the process of acquiring and advocating for their attitudes towards this theme. The seminar consists of four subsequent sessions of collective discussions-rehearsals, which culminate in the staging of a Brechtian learning play on Thursday, March 21, at 21:24.
Seminar: Saturday, March 16 & Sunday, March 17, 12:00–19:00
Tuesday, March 19, and Wednesday, March 20, 19:00–23:00
Rehearsal: Thursday, March 21, starting at 10:00
Learning Play: Thursday, March 21, 21:24
Involvement is limited to 25 participants. Participants must commit to full attendance for all five days’ activities, including seminar, rehearsal, and the staging of the learning play. Each participant receives an honorarium of 150 euros and a week-long pass for FORMER WEST: Documents, Constellations, Prospects.
In order to participate, please send a motivational statement to Dmitry Vilensky firstname.lastname@example.org and Annika Kuhlmann email@example.com. Annika can respond to all organizational questions, and can also be reached by phone at +49 30 39787 224.
*** The application deadline is Sunday, March 10, 2013 ***
Where Has Communism Gone?
Where has communism gone? This question refers, firstly, to Russian revolutionary writer Andrei Platonov. The hero of his novel Chevengur suddenly awakes in the middle of the night after a dream asking where socialism is, searching for it as if it were an object, a thing which supposedly belongs to him. Following the line of thought in this passage, socialism or communism is communicated as an object of desire, and this kind of desire, as Marxist political theorist Fredric Jameson says, has not yet found its Sigmund Freud or Jacques Lacan. By posing the question about communism, we aim to explore the nature of this political desire, which, in spite of the demise of what is called “real socialism” or “communist regimes,” is still persistent, at least in the field of contemporary theory and art.
We are used to the reality principle of one-dimensional liberal propaganda, according to which nothing can be better than the present state of things, which in fact means the neoliberal economy accompanied by the rhetoric of human rights and legal democracy. They say that communism was a utopian project that ended in disaster, with violence and totalitarianism, and the only thing we have left to do is to forget all hope for a better future for society and focus on our individual lives, to enjoy this eternal present, to use our possibilities and skills to succeed in working our way up a pyramid built of money, trampling the heads of others as we climb.
However, today, after decades of excessive ideological overproduction of the monstrosity of communism, a general anti-communist phobia has ended in a new disappointment. The liberal utopia, based on the notion of free individuals freely operating in a free market, was demolished by a global economic, political, and ecological crisis. From this perspective, all the debates about communism became valuable and actual again, not only with communism as a valuable experience from the past, but also as an alternative for the future.
The only problem is nobody really takes it seriously.
Neoliberal institutions easily give their money to any kind of creative and sophisticated critic of the present, taking for granted that all these debates are based on market exchange, and that all the ideas discussed have their own nominal values. The ghost of communism still wanders around, and to transform it into a commodity form seems a good way to finally get rid of it. Conferences and artistic events dedicated to the idea of communism go on one after another, speakers are paid or not paid, advertisement production machines function well, and the globe turns round as before.
But beyond this exhausting machinery of actualization and commodification, we still have as a potentiality this totally new desire of communism, the desire which cannot help but be shared, since it keeps in itself the “commons” of communism, the claim for togetherness, so ambiguous and problematic within the human species. This claim cannot be privatized, calculated, and capitalized since it exists not inside individuals, but between them, between us, and can be experienced in our attempts to construct this space between, to expose ourselves inside this “commons” and teach ourselves to produce it out of what we have as social beings.
We invite you to think, discuss, and live through these issues together at our seminar and try to find a form of representation for our debate.
During this seminar the platform is represented by Olga Egorova (Tsaplya), Nina Gasteva, Artemy Magun, Alexei Penzin, Natalya Pershina, David Riff, Oxana Timofeeva, Alexander Skidan, and Dmitry Vilensky.
About FORMER WEST: Documents, Constellations, Prospects
FORMER WEST: Documents, Constellations, Prospects consists of artworks, talks, discussions, rehearsals, and performances in various constellations of documents and prospects that offer a multitude of encounters with the public for negotiating the way of the world from 1989 to today, and thinking beyond. The seven-day period is guided by five currents that feature contemporary negotiations on Art Production, Infrastructure, and Insurgent Cosmopolitanism, with Dissident Knowledges contributions offering dynamic interventions into the ongoing program with artworks, performances, and statements. Finally, Learning Place operates alongside the full program involving students in workshops and inviting them to engage in the week of discussions.
Conceptualized by Maria Hlavajova and Kathrin Rhomberg in collaboration with Boris Buden, Boris Groys, Ranjit Hoskote, Katrin Klingan, and Irit Rogoff. FORMER WEST: Documents, Constellations, Prospects is a joint project by Haus der Kulturen der Welt, Berlin and BAK, basis voor actuele kunst, Utrecht.
For the full program, complete list of contributors, and live streaming, as well as full project archive, please visit the FORMER WEST Digital Platform at www.formerwest.org.
FORMER WEST (2008–2014) is a long-term research, education, exhibition, and publication project initiated by BAK, basis voor actuele kunst, Utrecht and aimed at a critical reinterpretation of post-1989, post-Cold War histories around an artistic imaginary of “formerness,” countering the persistent hegemonies of the so-called West within a global context.
Without Reality There Is No Utopia
February 15–June 2, 2013
Yerba Buena Center for the Arts
701 Mission Street
San Francisco CA 94103
Behind the phrase that lends this exhibition its title there are two thinkers: Jean Baudrillard and Andreas Huyssen. The former defined simulation as the creation of something that “has no relationship to any reality whatsoever,” and therefore predicted the replacement of “the real” by “the virtual.” Huyssen picks up where Baudrillard left off, positing that, since reality has been lost and replaced by its simulacrum, utopia cannot exist. Hence the title, “if there is no reality, there can be no utopia.” In other words, in the age of simulacra and virtual reality, the disappearance of the real also entails the end of the utopian.
In the age of information, actual reality has been supplanted by virtual reality, computer simulation and false narratives. Since the concept of utopia is based on the improvement of reality, the disappearance of the real also signals the end of utopia. Without Reality There Is No Utopia illustrates this premise by examining false narratives that masquerade as truth; the collapse of Communism in the 1980s; the recent financial crisis, which heralds the demise of capitalism; the contradictions inherent in geopolitics; and the explosion of democratic uprisings that rebounded around the world. The exhibition, organized into two asymmetrical sections, includes work by twenty-two international artists in photography, video, drawing, painting, collage and more.
The first is The Description of the Lie, a skeptical introduction to the systems, which fabricate the simulacra of the real. In this section, the artists focus on how truth has been replaced by media-constructed false narratives. Judi Werthein‘s work portrays life in a settlement in a region of Chile peopled entirely by Germans exiled from their country after World War II; and Dora García fictionalizes the paranoid state of surveillance generated by the Stasi in the former East Germany. Other artists in this section are Rirkrit Tiravanija and Lene Berg.
The second section bears the title Collapses and is divided into four sub-sections: communism, capitalism, geopolitics and democracy. As Huyssen aptly put it, “Utopia never dies alone. It takes its counter-utopia down with it.” Therefore, when communism falls it takes capitalism down, and as capitalism collapses it drags democracy along with it, since the latter decided to cast its lot in with the former. At the same time, the expansive system that characterizes capitalism also implies its geopolitical implosion. It therefore seems that we should seriously consider the demise of utopia as the great problem of our time.
Artists in The Collapse of Communism examine the conditions leading up to, and the aftermath of, the fall of Communism. The Russian collective Chto Delat (What is To Be Done?) encourages the viewer to critically engage with the events that lead to the demise of the Soviet system; paintings by Manolo Quejido were inspired by a trip to Cuba, where he asks, “What can we do right now with our desire for revolution?” and Ciprian Mureşan considers the paradoxes of history and memory from a post-Communist perspective.
The Collapse of Capitalism focuses on the effects of the 2008 world financial crisis, with the premise that this was the inevitable result of a system based on consumerism, waste and the depletion of the planet’s resources. SUPERFLEX Collective‘s humorous parody The Financial Crisis ironically suggests that the crisis is an illness that can be cured through hypnosis; and El Roto‘s cartoons, which mix irony, dark humor and sarcasm, create a stark portrait of the current situation in Spain. Other artists in this section are Daniel García Andujar, Jan Peter Hammer and Katya Sander.
The artists in The Geopolitical section examine the influences of colonialism and the West on recent geopolitical uprisings. Through a collection of posters, Zeina Maasri documents the civil war in Lebanon between 1975 and 1990; and in his drawings Fernando Bryce depicts colonial practices and their “civilizing” discourses. Other artists in this section are Ignasi Aballí, Zhou Xiaohu and Federico Guzmán.
The Democracy section traces the effects of technology on communications, privacy and public assembly and their impact on democracy. Ed Hall‘s banners depict the micro-history of recent social struggles in England; Artur Żmijewski‘s videos of intentional public gatherings in various cities—Belfast, Berlin, Strasbourg, the West Bank, and Warsaw—feature playful and celebratory events; Oliver Ressler interviews philosophers, politicians, activists and concerned citizens, asking What is Democracy?; and Carlos Motta‘s photographs feature political graffiti on the walls of various Latin American cities.
Without Reality There Is No Utopia is organized by the Centro Andaluz de Arte Conteporaneo in Seville, Spain, where it was originally presented in 2011. Curators are Alicia Murría, Mariano Navarro and Juan Antonio Álvarez Reyes.
For more information on Without Reality There Is No Utopia, artist bios, and visitor information, click here.
29 November 2012 – 10 February 2013
Museum of Contemporary Art Metelkova, Maistrova 3, Ljubljana
Press conference: Thursday, 29 November 2012 at 11 a.m.
Opening: Thursday, 29 November 2012 at 8 p.m
Mounira Al Solh & Bassam Ramlawi, Halil Altindere, Rossella Biscotti, Chto Delat, Every Man is a Curator / Jeder Mensch ist ein Kurator. An archive as a tool, Fokus grupa (Iva Kovač & Elvis Krstulović), Siniša Ilić, Sanja Iveković, Janez Janša, Janez Janša, Janez Janša, Lutz Krüger, Marina Naprushkina, Hila Peleg in collaboration with Tirdad Zolghadr & Anton Vidokle, Cesare Pietroiusti, Public Library (Luka Prinčič, Marcell Mars, Tomislav Medak, Vuk Ćosić), Greg Sholette, Mladen Stilinović, Wendelien Van Oldenborgh
Curated by What, How and for Whom/WHW
“Dear art,” Mladen Stilinović wrote in 1999, “I am writing you a love letter to cheer you up and encourage you to come and visit me some time”. Always acutely aware of his own complicity and involvement, in his address to art Stilinović intimates a set of troubled, poetic, enigmatic and modest observations on the standing of art in the contemporary world, its reception and distribution. But he also questions the value of art, which far too often is translated exclusively in monetary terms, or as he puts it: “quick manipulation, quick money, quick oblivion”.
As in several previous shows curated by WHW, “Dear Art” takes its title from a work by Mladen Stilinović, and once again its wager is set on the “classical” exhibition format. Amidst the disillusionment created by the persistent feeling of failure (coming from the fact that attempts for a radical reconfiguration of art and cultural production in general always become almost immediately spectacularized), “Dear Art” insists on the obstinate repetition of what has become the curatorial method. Obsessed with the interconnectedness of art and politics and plagued by the nature of art’s “inefficiency,” it attempts to ask necessary questions: Why do we still need art, and what is it that we expect to get from art today? What is its promise, and what do we promise it in return? And what happens when this promise is broken, betrayed, and just plain exhausted?
“Dear Art” approaches questions of the artist’s autonomy and art’s necessity through works that deliberately blur the relationship between engagement, self-referentiality and aesthetics. Engaged with a range of contradictory, heterogeneous methods that affirm endurance, endure indecisiveness, face misunderstandings and reassert allegiances, the works included address the ways in which misunderstanding, confusion, regret, possession, appreciation and devaluation, support and solidarity play out in contemporary art practice, and in defining one’s practice in relation to discussions on reconfiguring the field of art and its relationship to the political.
The exhibition is accompanied by a publication, with texts by Mladen Stilinović, WHW and Stephen Wright, which is available for download in the attachment bellow.
The project is supported by:
Ministry of Education, Science, Culture and Sport of Slovenia
City Office for Culture, Education and Sport – City of Zagreb
Ministry of Culture of Croatia
Russia: Was There a Ballot Box?
By Chto Delat (St. Petersburg, Russia)
March 12, 2012
It is no secret that an overwhelming amount of corruption pervades Russia’s civic and economic life. And this [past] winter’s parliamentary and presidential elections proved to be no exception. Anyone who has taken an active interest in the practice of so-called “free and democratic” Russian elections can attest to their being rigged or skewed, to a greater or lesser degree, since 1993. This was especially the case with post-Soviet Russia’s first president, Boris Yeltsin, and his “triumphant” re-election in 1996.
In light of this, it was widely anticipated that in the most recent elections, the ruling party, United Russia, and the campaign of presidential candidate Vladimir Putin—which were, in fact, one and the same entity—would engage in massive electoral fraud to secure vote majorities. Which is why the simple demand for “fair elections,” first made this past winter by a widespread grassroots election monitoring movement, was not just a radical call for change, but also one that proved capable—albeit temporarily and incompletely—of uniting opposition parties and ordinary citizens across the country’s political spectrum.
The grassroots movement turned this unprecedented opportunity to challenge the status quo into a palpable reality, with the main goal of impeding any attempts to manipulate and falsify election results, or, at the very least, documenting them.
No one, however, could have predicted this movement would become so popular among segments of the population that have previously been averse to politics. Young professionals—including lawyers, artists, economists, journalists and academics—suddenly enlisted as volunteer observers at polling stations. They drafted legal complaints and attended protest marches and rallies after monitors revealed the monstrous and despicable tricks the authorities employed to tip the elections in their favor.
This film, shot by the Mobile Observers Group for the Petrograd District of St. Petersburg on March 4, 2012, recounts what the group considers to be a run-of-the-mill instance of electoral fraud: a portable ballot box that should have been used by workers at a local market was stuffed, unbeknownst to the constituents, with ballots marked for Putin. It was impossible, however, to prove conclusively that the fraud had taken place because the “victims” themselves either could care less about what had happened or were too disempowered to do anything about it other than to wish the observers success in their mission.
The most dramatic result of the work done by the Mobile Observers Group was not the evidence it offered of electoral violations, but rather its exposure of the traditional division of Russia into two classes of people: those who recognize the need to act as free citizens and defend common civic interests, and those who remain indifferent. Only time will tell how this conflict, recurrent throughout Russian history, is resolved in its most recent incidence.
The Russian Woods
Script & Idea: Tsaplya and Dmitry Vilensky
Music: Mikhail Krutik
Choreography: Nina Gasteva
Set & graphics: Nikolay Oleynikov
Director of Photography: Artyom Ignatov
Stage Performers: Irina Pavlovskaya, Polina Popova, Elena Pasynkova, Sergey Krylov, Petr Pavlensky, Svetlana Erpyleva, Maxim Kulaev
Our work on the musical performance The Russian Woods was largely provoked by political developments in Russia this past winter. While participating in these important events that suddenly emerged from within Russian civil society, we were intrigued by the huge number of mythical images and mythological rhetoric used both by the authorities and the protesters. We decided that this phenomenon was not accidental, that it really reflects the level of political culture in our country. And we wanted to try and analyze it in the form of a fairytale story that would not only reflect the totality of our country’s sociopolitical structure, but also help us and our audience think about ways of overcoming and transforming it.
The film is based on footage from a theatrical performance that took place on May 2, 2012, in Saint Petersburg.
This film is a production of the Chto Delat collective and was produced with support from the Chto Delat Fund. It premiered at Arsenale 2012, The First Kyiv International Biennale of Contemporary Art.