Tag Archives: Société Réaliste

1st ArtLeaks Working Assembly 2012 (June 3, Berlin)


ArtLeaks invites you to a public working assembly around the issues that are at the core of the group’s mission – exposing instances of abuse, corruption and exploitation in the art world. This is the official public launch of our platform, which began to operate in September 2011, and will be followed by a series of debates and workshops in the near future. These present a unique opportunity to engage more directly with conditions of cultural work that affect not only artists but creative workers in general: those from the traditionally creative fields as well as those generally involved in cultural production.

Members of ArtLeaks will present on the problematic politics of sponsorship in contemporary culture, the intense exploitation of cultural labor, the marketization of public space dedicated to so-called independent initiatives, the appropriation of culture under the umbrella of disreputable corporation and last but not least, what possibilities we may envision for transversal alliances and activism against cases of abuse and corruption of cultural managers and institutions.

We invite to the discussion all those of you who have experienced abuses of your basic rights to be paid for your work, those who have struggled against subjugation under the dictates of galleries who cater to a wealthy minority, those who regularly take on other jobs to finance projects that may never be realized. Join us in forwarding the conversation from a critique of the status quo to formulating strategies on how to make real changes in the system – changes that would benefit the vast majority of creative workers, allowing them to unleash their full potential to bringing about a better world.

To this end, the evening will be divided between a first part dedicated to interventions by members of ArtLeaks, while in the second we would like to engage the public in a conversation and brainstorm on solutions, models and positions in response to concrete problems, concerns, urgencies.

Currently ArtLeaks is working on formulating a new regular publication entirely dedicated to issues of cultural workers’ rights and related struggles. This journal will be unique in focusing specifically on the challenges we face in the field today, related to wide-spread mistreatment, (self)exploitation and corruption and how these may be over-come through strategies of self-organization, solidarity and collective action. ArtLeaks will launch a call for papers at this public meeting.

ArtLeaks members that will facilitate this working assembly: Corina Apostol, Vlad Morariu, David Riff, Dmitry Vilensky, Raluca Voinea. We will have interventions via Skype from Vladan Jeremic and Société Réaliste.

Berlin, Sunday, June 3rd, 19:00h, Flutgraben

Am Flutgraben 3
12435 Berlin
+49 30 5321 9658

Directions to Flutgraben: http://www.kunstfabrik.org/Anfahrt_Kunstfabrik_engl.pdf

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January 19 Committee: Art Against Nazism (Call for Artworks)


Emory Douglas, one of the greatest political graphic artists of the twentieth century, minister of culture of the Black Panther Party (1967-1980), and illustrator of the party’s weekly newspaper, will take part in the graphic art marathon initiated by the January 19 Committee. Emory Douglas entered the annals of art history as an uncompromising leftist activist by fighting for the rights of African-Americans. Retrospectives of this living classic’s work took place in Los Angeles and Manchester in 2007–2009. The street art exhibition Art Against Nazism will mark the first showing of Douglas’s work in Russia. Douglas has officially confirmed that he will be participating and has given the January 19 Committee, the event’s organizers, the right to reprint his his famous poster Afro-American solidarity with the oppressed people of the world (1969).

Douglas will be joined by other internationally renowned artists who have sent the January 19 Committee their street art pieces with a clear antifascist message, which will be reproduced in the form of stickers and posters.

These stickers and posters will be appearing in the cars, passageways, and escalators of the Moscow metro right up until January 19, 2011. The goal of the exhibition is to show that artists are in solidarity with the antifascist agenda of the January 19 Committee, to show that they also feel the urgent necessity to fight neo-Nazism here and now. The Committee also hopes that the appearance of these works in the Moscow metro will provoke people who are not yet involved in this struggle to become active.

The artworks will be posted on the Committee’s official web site  www.19jan.ru, where they can be downloaded for further distribution. The Committee calls on artists and activists to join this action by producing their own artworks encouraging people to join the antifascist demonstration on January 19.

The January 19 Committee hopes that this exhibition will spur Muscovites to take part in a peaceful march against neo-Nazi terror and that other Russian cities will join in this protest action.

The following artists have confirmed that they will be participating in the street art exhibition:

Affinity Group (Russia)
Etcétera (Argentina)
Société Réaliste (France)
Rosella Biscotti (Italy; Netherlands)
Babi Badalov (Azerbaijan; USA; Great Britain; France)
Alexandra Galkina (Russia)
Zampa di Leone (Serbia)
Rigo 23 (Madeira; USA)
Nikolay Oleynikov (Russia)
Darinka Pop-Mitić (Serbia)
Nikita Kadan, R.E.P. Group (Ukraine)
Ivan Brazhkin (Russia)
David Ter-Oganyan (Russia)

The Committee calls on artists, activists, and concerned citizens to produce and distribute works on the struggle against neo-Nazism and to join the antifascist march in Moscow on January 19, 2011, at the Timiryazev Monument on Tverskaya Boulevard.

More information: 19jan.ru
Send your works in .jpeg format to the Committee’s e-mail address: collaboration@19jan.ru

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Filed under activism, art exhibitions, contemporary art, open letters, manifestos, appeals, protests, racism, nationalism, fascism, Russian society

Practicing Memory (Cittadellarte-Fondazione Pistoletto, Italy)

Practicing Memory graphic identity by Chiara Figone, after Watching over the Reichstag, 2010, by Société Réaliste.

On 25-26 June 2010, during the 13th edition of Arte al Centro (Art at the Centre), the annual international festival that focuses on the sphere of art in the ongoing transformation of society, Cittadellarte-Fondazione Pistoletto will be opening:

Practicing Memory – in a time of an all-encompassing present

25 June – 30 September 2010

Friday 25 June, from 3 pm onwards

Cittadellarte – Fondazione Pistoletto
via Serralunga 27, Biella

Practicing Memory – in a time of an all-encompassing present
group exhibition curated by Matteo Lucchetti

With: Francesco Arena, Rossella Biscotti, Beatrice Catanzaro, Chto Delat, Michelangelo Consani, Danilo Correale, Dora Garcia, André Guedes, Shilpa Gupta, Rabih Mroué, Nikolay Oleynikov, Wendelien Van Oldenborgh, Mirko Smerdel, Société Réaliste, Stefanos Tsivopoulos and Vangelis Vlahos

In a world in which national narratives and their links with the present have been replaced by the construction of a supposedly global memory made of collective media events, with all their emotional impact, what value can be given to work carried out by artists on the mechanisms that occur between oblivion and memory? How is it possible to create short circuits in contemporary flows of history, which are dominated by the detachment needed to ensure the blindness with which the present is understood? Practices linked to memory are part of a process that is under way. Here the value they acquire is that of “memory systems” – as Leonardo Sciascia, in his Teatro della Memoria, defines the way in which Giordano Bruno conceives his method of creating visual codes linked to memory. And it was again Sciascia who described how an age in which memory is no longer exercised is an age destined to become a “totalising and totalitarian” present.

The present time, to which the exhibition spaces are devoted, and its relationship with the past constitutes the initial moment of reflection on the concept of “practising memory”, around which the exhibition revolves. In a contemporary scenario in which present-day rhetoric takes up such a large part of the flow of communication, the construction of individual and collective memory is suggested as a necessary practice within the constant social and political process which takes place between memory and amnesia. Practicing Memory investigates the potential for interaction opened up by art with regard to this process, problematising some of the key concepts that form part of any disquisition on memory.

The shared backdrop against which most of the works on show project their own research are ascribable to a European context, which needs to be seen not just in geographic terms but also as regards the scenarios it involves. These include the postcolonial legacy, the post-soviet dimension, great national narratives and processes of a monumentalisation of memory towards what is referred to as the “planned loss of history”. The European continent and its historical, social, and cultural heritage is thus repeatedly quoted and brought into question within its own historiographical dimension. Running parallel to this there is another category of reflections which contrast with the circularity of the concatenations of macro and micro narratives. This takes place through the inclusion of analyses which reveal the critical aspects that emerge within the process of creating memory. This leads to the idea of accessibility and participation in drafting a public memory, directly linked to the antagonistic effect of counter-memories. The concept of repetition as a fundamental mechanism of the exercise of memory and, again, the individual stories of the multitude – of the masses who are never the subject of history, and who are as fragile as straws and never present in their own historical age, as Masanobu Fukuoka puts it.

The works chosen vary from videos to installations, to wall paintings and performances, all the way through to the work on the exhibition display by the French collective Société Réaliste.

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Communism’s Afterlives (Brussels/Paris)


The seminar will take place in Brussels and Paris, in both cases at The Public School.

Brussels, April 23rd, 3-6pm
Participants: Agency, Dessislava Dimova, Albert Heta, Olga Kisseleva
For more information: http://brussels.thepublicschool.org/class/2336

Paris, April 24th, 3-6pm
Participants: Pietro Bianchi, Renata Poljak, Société Réaliste, Oxana Timofeeva
For more information: http://paris.thepublicschool.org/class/1773

Organized by Elena Sorokina and Natasa Petresin-Bachelez

After the collapse of the Soviet bloc, communism as idea, image or problem has been regarded as “outmoded, absurd, deplorable or criminal, depending on the case.” Today, it is often presented by the mainstream media as a parenthesis of history, an aberration of the 20th century, as “a completely forgotten word, only to be identified with a lost experience.” Although the communist hypotheses of previous eras may no longer be valid, their histories, narratives and key notions have never ceased to spark attention and inform recent discussions such as the communal versus the common, and material versus immaterial property, to name just a few. Perceived from a greater distance today, communism has re-emerged as a topic for investigation in artistic and exhibition production, that reflects it in diverse ways, addressing the relevance of the term today or inviting provocative comparisons with the present.

This seminar aims at presenting various works that recast ideas related to communism and revisit it as a complex and diverse arena of political and aesthetic attitudes, which varied between nations, communities and historical periods. By no means does the seminar intend to take a nostalgic tour through the past decades, but rather seeks to address the topic through concrete art and exhibition projects realized recently. All of them are trying to deconstruct the idea of monolith, still very present in today’s reception, and to recuperate various episodes, stories and notably, the “communist apocrypha” – texts, music, visual production – which have never been part of the established ideological canon, and whose intellectual patterns shed new light on what the contemporary uses of the notion of communism might be. Instead of treating communism as pure political abstraction, the projects presented by the seminar deal with concepts, events and/or particular personalities related to communism and its history which have survived the Bildersturm of the recent past and can be artistically reactivated.

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