Tag Archives: Harun Farocki

Disobedience Archive (The Republic), Castello di Rivoli


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Disobedience Archive (The Republic), 2005–ongoing. Installation view, Céline Condorelli, “The Parliament,” 2012. Photo courtesy Bildmuseet, Umeå, and Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin.

Disobedience Archive (The Republic)
April 23–June 30, 2013

Press preview: Tuesday April 16, 2013, 11am
Frigoriferi Milanesi – Open Care
Via Piranesi 10
Milan

Castello di Rivoli Museum of Contemporary Art
Opening: April 22, 2013 at 7pm
Piazza Mafalda di Savoia
10098 Rivoli (Turin), Italy

www.castellodirivoli.org
www.castellodirivoli.tv

Curator: Marco Scotini

After Van Abbemuseum (Eindhoven), Nottingham Contemporary, Raven Row (London), the Massachusetts Institute of Technology (Boston) and Bildmuseet (Umeå), Disobedience Archive is presented at Castello di Rivoli Museo d’Arte Contemporanea within a format especially planned for the Museum.

The curatorial project dates from 2005, when Marco Scotini planned a travelling exhibition of videos, graphic materials and ephemera whilst in Berlin. The exhibition-archive explores the links between contemporary art practices, cinema, tactile media and political activism. Planned as a heterogeneous, evolving archive of video images, the project aims to be a ‘user’s guide’ to four decades of social disobedience seen through history and geography: from the revolt in Italy in 1977 to the global protests before and after Seattle and on to the current insurrections in the Middle East and Arab world. From the historic videotapes of Alberto Grifi to the films of Harun Farocki, from the performances of the American Critical Art Ensemble to those of the Russian collective Chto Delat, and from the investigations of Hito Steyerl to those of Eyal Sivan, the Disobedience archive has over the years gathered hundreds of documentary elements.

The exhibition, which will be hosted in the rooms of the third floor in the Castello di Rivoli, aims to offer a wide-ranging synthesis of the earlier editions. With the new title of Disobedience Archive (The Republic), the exhibition will include the production of a large Parliament-shaped structure and the publication of “La Costituzione” (The Constitution) as a concluding phase to the entire project. The archive takes place in The Parliament by Céline Condorelli (b. 1974), with a contribution by Martino Gamper (b. 1971), while the wall paintings accompanying it are by Mexican artist Erick Beltran (b. 1972). Aside from The Parliament, two rooms serve as thematic antechambers: the first, dedicated to the 1970s in Italy, amongst others, presents works by Joseph Beuys, Mario Merz, Gianfranco Baruchello, Laboratorio di Comunicazione Militante, Enzo Mari, Nanni Balestrini and Living Theatre beside documents by Carla Accardi, Carla Lonzi and Felix Guattari; the second, which considers the first decade of the 21st century, houses works by Nomeda & Gediminas Urbonas, Superflex, Chto Delat, Journal of Aesthetics & Protest, Oliver Ressler, Arseniy Zhilyaev, Critical Art Ensemble, Rene Gabri and Ayreen Anastas, among others. Technical instruments, props and published materials produced by the antagonist culture of those years are also displayed in these two rooms.

Disobedience Archive (The Republic) is a work in progress reflecting on the various events as they unfolded, in which form and content vary with each venue. In this sense, the exhibition constitutes a sort of atlas of the different contemporary antagonist tactics: from direct action to counter-information, from constituent practices to forms of bio-resistance, which emerged after the end of modernism, inaugurating new methods of being, saying and doing. The archive is divided into nine sections: “1977 The Italian Exit,” “Protesting Capitalist Globalization,” “Reclaim the Streets,” “Bioresistence and Society of Control,” “Argentina Fabrica Social,” “Disobedience East,” “Disobedience University,” “The Arab Dissent” and “Gender Politics,” which joins the other sections for the Castello di Rivoli exhibition.

The archive includes materials by 16 beaver, Atelier d’Architecture Autogérée (AAA), Mitra Azar, Gianfranco Baruchello, Petra Bauer, Pauline Boudry, Brigitta Kuster and Renate Korenz, Bernadette Corporation, Black Audio Film Collective, Ursula Biemann, Collettivo femminista di cinema, Copenhagen Free University, Critical Art Ensemble, Dodo Brothers, Marcelo Expósito, Harun Farocki and Andrei Ujica, Rene Gabri and Ayreen Anastas, Grupo de Arte Callejero, Etcétera, Alberto Grifi, Ashley Hunt, Kanal B, Khaled Jarrar, John Jordan and Isabelle Fremeaux, Laboratorio di Comunicazione Militante, Silvia Maglioni and Graeme Thomson, Angela Melitopoulos, Mosireen, Carlos Motta, Non Governamental Control Commission, Wael Noureddine, Margit Czencki/Park Fiction, R.E.P. Group, Oliver Ressler and Zanny Begg, Joanne Richardson, Roy Samaha, Eyal Sivan, Hito Steyerl, The Department of Space and Land Reclamation, Mariette Schiltz and Bert Theis, Ultra-red, Nomeda & Gediminas Urbonas, Trampolin House (Morten Goll and Tone O. Nielsen), Dmitry Vilensky and Chto Delat, James Wentzy.

The exhibition has been realised thanks to the collaboration of Open Care Servizi per l’Arte, Milan and NABA Nuova Accademia di Belle Arti, Milan together with the Biennio di Arti Visive e Studi Curatoriali.

Media Partner: La Stampa, Turin

Press Office – Castello di Rivoli Museo d’Arte Contemporanea
Silvano Bertalot – Manuela Vasco
T +39 011 9565209 – 211
C +39 33 87865367
press@castellodirivoli.orgs.bertalot@castellodirivoli.org

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1st Ural Industrial Biennial: Shockworkers of the Mobile Image (Ekaterinburg)

1st Ural Industrial Biennial

Collage by the employees of Ural Worker Printing Press, 1990s
Photo: Andrei Luft

1st Ural Industrial Biennial
Shockworkers of the Mobile Image
9 September – 10 October 2010

Opening days:
8-12 September 2010

Ekaterinburg, Russia

Curators: Cosmin Costinas, Ekaterina Degot, David Riff

The National Center for Contemporary Art (NCCA) and the Sverdlovsk Region Governor’s Office are pleased to announce the opening of the 1st Ural Industrial Biennial. The biennial will take place in the Ural Workers Printing Press (the main project) and in four large industrial plants (the special projects) in the city of Ekaterinburg. The Ural Industrial Biennial is a format initiated and developed by the director of the National Center for Contemporary Art, Ekaterinburg branch, Alisa Prudnikova.

Ekaterinburg, formerly Sverdlovsk, is the capital of the Soviet Union’s industrial heartland, the Ural. When the USSR collapsed, the city’s many heavy industries fell prey to economic malaise. But today, Ekaterinburg has become one of the hubs of Russia’s resource economy, a site of accumulation following an era of shock privatization, a place where people dream with BRICs and awaken to the harsh realities of economic crisis. How should we understand all this new investor architecture, empty as of yet, all these new service industries, all that new imaginary “symbolic capital” produced by “creative professionals” and their underlings? What role does and can contemporary art play in such a place, when it comes to the half-operational spaces of Soviet industry? Can it be more than a shot in the dark, a fastmoving consumer commodity, a medium for gentrification, a plaything of the superrich? Can it be more than a reproduction?

The biennial’s title is “Shockworkers of the Mobile Image,” and its main venue is the Ural Worker Printing Press, a constructivist building in the center of Ekaterinburg. Built in 1929-1930, this space prompts a dialogue with the most contradictory period of Soviet history, when the party sent shock brigades to build heavy industries in the middle of nowhere. Their superproductive labor was supposedly voluntary, heroic, based on enthusiasm and affect, but overseen by a growing security apparatus. Foreign experts and internationalists participated, reproducing and implanting mobile images of Fordist modernity. Their engagement was genuine, but remained blind to the harsh reality of intensifying exploitation. In many ways, Russia’s transition to global post-Fordist capitalism is no less drastic, and today’s global artists, filmmakers, and architects are shockworkers, too, and internationalists, no doubt, capable of an affective solidarity much like that of the pre-fascist 1930s. They come to distant cities, working nights to build temporary factories on the sites abandoned by industry, factories that reproduce images, affects, and social relations, factories where free time takes on form and becomes a commodity. In Ekaterinburg, this temporary factory taps into a vast reservoir of amateur creativity, harkening back to an age when it seemed like all the shockwork was over… We want to ask: who is really the worker in this new factory? The artist? The curator? The audience? What happens when these workers leave? And what happens when they return?

Curated by Cosmin Costinas (Amsterdam/Utrecht), Ekaterina Degot (Moscow), and David Riff (Moscow/Berlin), “Shockworkers of the Mobile Image” draws together the work of more than 40 artists and filmmakers in a dense curatorial narrative.The exhibition consists almost entirely of copies, reproductions, rips, reconstituted objects and long-distance works, including contributions by: Yuri Albert, Tarsila do Amaral, Pablo Baen Santos, Yael Bartana, Bela Balazs Studio, Guy Ben-Ner, Blue Noses, Christian von Börries, Serguej Bratkov, Alex Buldakov, Cao Fei, Olga Chernysheva, Chto Delat, Evgenia Demina, Jimmie Durham, Harun Farocki, Daniel Faust, M.M. Fontenelle, Joris Ivens, Christian Jankowsky, Ilya & Emilia Kabakov, Nikita Kadan & Alexander Burlaka, Kolumne Links, Naroa Lizar, Roman Minin, Andrei Monastyrski, Rabih Mroue, Ciprian Muresan, Deimantas Narkevicius, Amshei Nuerenberg, Johannes Paul Raether, Araya Rasdjarmrearnsook, Andreas Siekmann & Alice Creisher & Max Jorge Hinderer, Sean Snyder, Praneet Soi, Hito Steyerl, Mladen Stilinovic, Taller E.P.S. Huayco, Avdey Ter-Oganyan, David Ter-Oganyan, Florin Tudor & Mona Vatamanu, V.M.Volovich, Lin Yilin, Vadim Zakharov, among others.

The exhibition at the biennial’s main venue is accompanied by a program of special projects, curated by Alisa Prudnikova. It inhabits the operational or defunct premises of some of Ekaterinburg’s largest industrial plants. Artists from Ekaterinburg and elsewhere in Russia and from abroad will turn these production sites into a heterogeneous territory for experiments in the industrial environment. Factory spaces themselves become objects of artistic production that pursues a diversity of aims, be they critical, poetic, or social. The special projects program features contributions by artists from Russia, Great Britain, Spain, Germany, Mexico, the USA, France, Finland, and Sweden.

The biennial’s opening will be accompanied by an international symposium dedicated to discussing the industrial past and the post-industrial present.

On the occasion of the opening, the biennial will publish a catalogue in two volumes, one of them dedicated to the main venue, the other to the special projects program. Contributors include Oleg Aronson, Keti Chukhrov, Boris Groys, Hu Fang, Ben Seymour and Hito Steyerl.

Biennial venues:
Main venue: Ural Worker Printing Press (House of Print)
Special projects: Verkh Iset’ Metallurgical Factory, VIZ-Stal’, Ural Heavy Machines Plant, old Uralmash House of Culture, Colored Metals Factory (historical building), Sverdlovsk Worsted Factory

Commissar: Alisa Prudnikova
Intiator: National Center for Contemporary Art (NCCA)
Co-Initiators: Governor’s Office of the Sverdlovsk Region, the Sverdlovsk Regional Government with the official support of the Ministry of Culture of the Russian Federation
Organizer: National Center for Contemporary Art, Ekaterinburg branch
Co-organizers: City Administration of Ekaterinburg, “New Art” Regional Public Foundation in Support of Contemporary Art

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