Tag Archives: Monument to Transformation

The Watchmen, the Liars, the Dreams (Paris)

THE WATCHMEN, THE LIARS, THE DREAMERS  / LES VIGILES, LES MENTEURS, LES REVEURS
(Concrete Erudition 3)

curated by Guillaume Désanges

Works by Agence, Mathieu K. Abonnenc, Jean Amblard, Éric Baudelaire, Luis Camnitzer, Julius Eastman, Mario Garcia Torres, Jean-Luc Godard, Les Groupes Medvedkine, Tamar Guimaraes, Chris Moukarbel, Boris Taslitzky, Walid Raad & Monument to Transformation (Vit Havránek, Zbynek Baladrán + Vyacheslav Akhunov, Babi Badalov, Chto Delat, Hafiz, Lise Harlev, Ivan Moudov, Boris Ondreicka, Anatoly Osmolovsky, Haegue Yang)

This exhibition will take place at Le Plateau Art Center in Paris from september 16 to november 14 2010

opening : 15 September 2010

The Watchmen, the Liars, the Dreamers is the third part of the “Concrete Erudition” programme devised by curator Guillaume Désanges, who has been invited to come up with a cycle of exhibitions at Le Plateau. As part and parcel of the continuity created by “The Planet of Signs” and “Prisoners of the Sun”, this exhibition in its turn questions the way in which certain contemporary artists are renewing the relationship between art and knowledge, by showing, this time around, the work of artists who are observers— watchmen of the present and of the past. Even if their activities are, on the face of it, very diversified, they all appear to derive from a documentary principle, in the broad sense of the term. While the classic relationship between the document and reality must generally be gauged by criteria of objectivity, exhaustiveness, caution and rigour, these artists shatter these references. They thus develop alternative methods of reproduction which may use the paths of translation, reconstruction, transfer and fiction. It is not a matter of playing with and deceiving, but of affecting the other by sharing awareness and knowledge and accepting, if this is necessary, to contradict the ethical and formal rules of the scientist, the historian, and the chronicler. Be they artists, researchers, middlemen, or jurists, their forms are subject to the necessity and urgency of a message to be got across rather than any stylistic determination. Nor is it a matter of denying the effectiveness of the form ; what is involved on the contrary is the assertion of “functions” not to say missions. Echoing the idea of profound erudition, turning into hybrid forms, the exhibition thus unfolds different strategies for writing facts, which, based on practical reason and a political and militant will, sometimes end up tending towards the poetic and the lyrical. All these artists, who are extremely diverse in terms of subjects broached, share the outcome of their research, not shrinking from creating their own documents when this is necessary, and sometimes playing on ambiguities between fiction and reality, historical objectivity and creation, archive and personal collection. These artists, who are subject to obligatory means rather than results, operate in the end of the day like inventors and middlemen, contesting the stance of the author as demiurge. By using information sharing, inventories and intelligence as weapons, these watchmen propose indirect ways of criticizing specific situations, which they have elected to investigate. A moveable knowledge, to do with surfaces and connections, which contrasts the quality of the relationship between facts with blind expertise.


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Monument to Transformation (Montehermoso)

Babi Badalov
Schizopoetry, 2007
Courtesy of the artist

Centro Cultural
Montehermoso Kulturunea
Fray Zacarias Martinez, 2
01001 Vitoria-Gasteiz (SPAIN)
info@montehermoso.net

http://www.montehermoso.net

February 12 – May 2, 2010

MONUMENT TO TRANSFORMATION
Vyacheslav Akhunov, Ayreen Anastas+René Gabri, Babi Badalov, Chto Delat, Cristina David, Patricia Esquivias, Pedro G. Romero/Archivo F.X., Nicoline van Harskamp, Sharon Hayes, Sanja Ivekovic, Peggy Meinfelder, Ivan Moudov, Ciprian Muresan, Anatoly Osmolovsky, Dan Perjovschi, Lia Perjovschi, María Ruido, SASA[44]+MeeNa Park, Wisnu Suryapratama, Taller Popular de Serigrafía, Vangelis Vlahos, Haegue Yang

“Monument to Transformation” is a series of exhibitions, projections, publications, debates and lectures which have taken place over more than two years, in an interdisciplinary environment (art, humanities, economics and natural science theories).

The exhibition at Montehermoso is conceived as an imaginative and analytical space that – with a certain distance – enables the visitor to see and reflect upon the processes of change that started with the fall of the Iron Curtain (1989) in Eastern Europe, the student demonstrations in Indonesia in 1998 or the Revolution in South Korea (1987) and which have, to a certain extent, continued until today. The way this topic is approached is influenced by a feeling of affiliation to these changes, which are in a way co-formed by us and whose impact affects and influences us. It is therefore an attempt to look at “transformation” as a “lived out” and gradually receding process.

This way of thinking about transformation is conceived as structured in tension between various methods from the fields of the social sciences and artistic practice. The experience of transformation in “Eastern Europe” is an independent theoretical field. In the context of transformation studies, the so-called Eastern European region has its own specific elements, which originated in the geo-political division of the world, irrevocably decided at the Jalta Conference as a consequence of the Second World War. The power division of the world into East and West can no longer be mechanically adopted without reservation – it cannot be used when trying to understand the processes of cultural signifying, cultural production and representation in that region. If one automatically accepts such a division, one assumes that those geo-political power polarities are recognizable in the “cultural material” – which means that cultural production is not viewed a priori, as creation, as a polluting semiosis, but as a mere representative of the recognizability of the East-West power polarity.

Curated by Vít Havránek and Zbynek Baladrán.

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