° The Bring In Take Out - Living Archive | 12 October - 10 November 2012
Opening: 11 October, 19:00 pm
Project curators: Red Min(e)d
Participating artists:
Andreja Kulunčić
Borjana Mrdja
Meta Grgurevič and Urša Vidic
Further presentations:
LA Perpetuum Mobile
LA Audio/Video Booth
LA ExhibitionLAB: 12 October 2012
15:00–17:00 pm
Interviews with participating artists and theoreticians
17:00-18:30 pm
Artist talk by Andreja Kulunčić, Borjana Mrdja, Meta Grgurevič und Urša Vidic
18:30-20:00 pm
re.act.feminism #2 - a performing archive, presentation by Bettina Knaup
Discursive intervention by Susanne Lummerding
Moderated final discussion
Location: Open Systems - Zentrum für Kunstprojekte
The Bring In Take Out - Living Archive (LA) continously takes and uses artistic, creative and research means to create an interactive space that consists of a contemporary art exhibition, laboratory and public archive.
The concept – referring to the (post)Yugoslav space and beyond – is motivated by the feminist strategies of creating and processing a public and transformative archive through art, theory and practice. All LA-editions are produced by an exhibition laboratory (with “work stations” such as Audio/Video booths, where live artist talks, discussions and interviews are documented and presented; Perpetuum Mobile – a continously growing video art compilation as well as documentation of works of other art media; Readingroom, where the LA-questionnaire on feminism and art is filled out and discussed) through an interactive contemporary art exhibition conceptualized around emerging societal subjects.
The Viennese edition now focuses on the ossified concept of the center and periphery and its questioning. The aim is to challenge the representational and actual politics of the “cultural difference(s)”, which through the colonizing scope of universalistic/particular binary values generates Othering: other languages, other nations, other cultures etc. produced and (ab)used by the neoliberal society. In a manner, not unlike the “Herr-Knecht” dialectics, such neoliberal scope constructs, defines and appropriates politically engaged art as a field of exoticism counterbalanced by the periphery and ‘empowered’ by an ethnology of the Other. In this way, social differences are transformed into cultural and anthropological values and further into marginalized, minor, homogenized and closed identities with potential to produce the politically engaged art – freely distributed and presented only in the major liberal centres (synonyms for an open and democratic society).
The artists of the LA exhibition and of the LA exhibitionLAB Vienna – Andreja Kulunčić (Zagreb), Borjana Mrdja (Banja Luka), Meta Grgurevič and Urša Vidic (Ljubljana) – employ in their works presented in the LA Vienna multi-faceted strategies of appropriation in order to expose various aspects of expropriation and to suspend them. Thus the exhibition uses the transfer capacity of ‘peripheral‘ art and ways of thinking as well as the ambiguous construction of ‘peripheral’ artists in the ‘centre’ – who in a way play a role of mimicry and stage a site of double articulation – in order to debunk the false universality maintaining the wire in-between the periphery and the centre.
Besides the exhibition and the LA-exhibition LAB in Open Systems, part of the Vienna edition (the work stations Readingroom, part of the Perpetuum Mobile) will take place in the VBKÖ as part of the programme Die vielen Archive.
http://bringintakeout.wordpress.com
Artist info:
Andreja Kulunčić
1 CHF=1 VOICE, September 2007–September 2008
Documentation of a political art intervention, Shedhalle Rote Fabrik, Zurich
With her political art intervention in the public space by the way of flyers, billboards and newspaper ads – all calling for donations by the “Sans-Papier” for the renovation of the Swiss Parliament, Andreja Kulunčić appropriates the medium of propaganda. All with an aim for more political participation as well as representation of the “Sans-Papier”, who have been (at best) stubbornly ignored but mostly excluded from the process of political representation and even criminalized by the state of Switzerland (and other European parliamentary democracies). Against the background of the lessons learned from the dead-end politics of identity and multiculturalism, the work debunks the believe that by representing singular interests and a singular agenda of minorities within a democratic arena, these will automatically gain political relevance and in this way lead to the political emancipation of minorities and their singular interests. The work 1 CHF = 1 Voice reminds thus of the universal right to recognition and “responsibility in the face of the other” (Emmanuel Levinas)
Austrians Only, 2005
Documentation of a project consisting of newspaper advertisements, posters, direct-mail items (Festival of Regions, Upper Austria)
With her project Austrians Only, Andreja Kulunčić intervenes once again by the means of commercial media as newspaper ads, posters and emailing into the ossified relation to the other. The project targets the exploitative system of labour and the consequent social injustice of the exploited ethicized subjects. Within the project, the system of dominance is reversed, by offering/projecting the socially inferior jobs to the so called “majority”, which is normally excluded from the extremely exploitative forms of illicit work as prostitution, construction work and as well as domestic work. Especially the latest – illicit domestic workers – are as a rule dismissed within the discourse of “equal opportunities” and figures resulting from “gender monitoring”. While figures might show a positive development within gender and distribution of power within labour system, they as a rule disregard moonlighting (mostly migrant) women, who are mobilized for domestic and so-called affective labour.
Borjana Mrdja
Blic Jackpot Paintings, 2011–12
Paintings: acrylic on paper, gobelin wooden frame
BLIC is a daily (tabloid) press made in Serbia (as a part of Ringier Axel Springer, a leading integrated multimedia company in Central and Eastern Europe), but distributed all over the postYugoslav space as well as widely within the posYugoslav diaspora in Europe. BLIC is notorious for its page 7, where texts on political issues are published alongside photographs of completely or partly nude anonymous women, tagged with commentaries addressing the content of the news or relating to political discourse. Not only women images, also the commentaries have mostly pornographic connotations. Next to the anesthetization of governmentality, we thus notice also it’s pornographization. How does body – and specially the female body, as a paradigm of controlled, dispossessed body – relate to governmentality and how does governmentality control bodies via the subordination of a paradigmatic body? In a series of works, Borjana Mrdja through different media explores the story of subordinated bodies by a collage adaptation of a powerful photographic and film method: blow-up. The supposedly “political” content of the newspaper/background is thus rendered subsidiary, completely or partly illegible and evacuated by blown-up female nudes. In a post-porn manner Borjana Mrdjas work thus exposes the intrinsic interconnection between governmentality and its (ab)use of regulation of desire. Another work from the series Blic Jackpot (Blic Jacpot Newspaper) will be put on display at the VBKÖ.
Meta Grgurevič and Urša Vidic
Marilyn Monroe (From cycle: Flowers Are Inherently Disgusting), 2010
Installation: stage tape, bicycle parts, lights, wood, electrical mechanism, 300x200x70
Time To Sing (From cycle: Flowers Are Inherently Disgusting), 2010
Video in loop
With the installation work Marilyn Monroe accompanied by the video Time To Sing the artists Meta Grgurevič and Urša Vidic create an uncanny ambient, in which the sensory experience of an almost mechanical reproduction of ossified images and identity concepts are put into a flux, which seems to have got rid of all of the interfaces enabling active intervention in this closed in-itself system of endless repetition. However, against the background of the conceptualizations of the relation original-copy, which pay attention to the topological, contextual distinction between the both, we are encouraged to (ab)use the deterritorialisation of the original and the reterritorialisation of the copy and so intervene in the paths of biopolitics. In the light of the understanding of the medium of installation and documentation as outlined by Boris Groys, the works from the cycle Flowers Are Inherently Disgusting by Meta Grgurević Urša Vidic offer an evidence of “strategies of resisting and inscription based on situation and context, which make it possible to transform the artificial into something living and the repetitive into something unique”.
LA Audio/Video Booth, 2011- 2012
Documentation of the artists‘ talks, presentations, discussions and interviews generated as part of the LA exhibitionLABs
Moving from the focus on the relational politics between feminism, contemporary art and the post/Yugoslav space (LA 1st edition at the REDacting: Trans-Yugoslav Feminism’s gathering in Zagreb, Oct. 2011), through feminist ways of creating an archive as a living knowledge of everyday life (LA 2nd edition at the “Feminist and Queer Festival Red Dawns” in Ljubljana, March 2012), to the social articulation of the self-sustaining public space within the commons (LA 3rd edition in Sarajevo, Sept. 2012); LA created a public archive of artists’ talks, presentations, discussions and interviews with the participating artists, theoreticians, activists and curators: Ana Čigon (Ljubljana), Nika Autor (Ljubljana/Vienna), Ana Vilenica (Belgrade), Vesna Leskošek (Ljubljana), Tea Hvala (Ljubljana), Mojca Dobnikar (Ljubljana), Madina Tlostanova (Moscow), Lina Dokuzović (Vienna), Ljiljana Raičević (Podgorica) Flaka Haliti (Prishtina/Frankfurt), Vesna Bukovec (Ljubljana), Vjollca Krasniqi (Prishtina), Selena Savić (Belgrade), Ida Hiršenfelder (Ljubljana), Vahida Ramujkić (Belgrade), Aviv Kruglansky (Barcelona), Karen Mirza (London), Tina Smrekar (Ljubljana), Biljana Kašić (Zagreb), Jelena Petrović (Belgrade/Ljubljana), Margareta Kern (London) , Tanja Marković (Belgrad). The LA Audio/Video Booth is continuously added by new material from LA editions in different cities.
Perpetuum Mobile, 2011–2012
Video compilation in loop
Perpetuum Mobile is a compilation of video works as well as some other digitized art projects (photos, comics, texts, web based projects), growing on the basis of a continuous open call.
The Perpetuum Mobile video compilation comprises at the moment video works by: Milica Tomić (Belgrade), Tina Smrekar (Ljubljana), Lana Čmajčanin (Sarajevo), Adela Jušić (Sarajevo), Flaka Haliti (Priština/Frankfurt), Nela Hasanbegović (Sarajevo), Nika Autor (Ljubljana/Vienna), Emina Kujundžić (Sarajevo), Ana Hušman (Zagreb), Vahida Ramujkić (Belgrade), Bojana Jelenić (Belgrade), Gordana Andjelić Galić (Mostar/Sarajevo), Renata Poljak (Zagreb) and an Internet browser video by Lina Dokuzović (Vienna), video documentation by Ana Hoffner (Belgrade/Vienna), Dina Rončević (Zagreb), Ana Čigon (Ljubljana), Nataša Teofilović (Pančevo), Marina Radulj (Banja Luka) and Monika Ponjavić (Banja Luka), Nataša Davis (London).
In Vienna, the Perpetuum Mobile presentation will include two locations: Open Systems and VBKÖ. While the video works will be presented in the Open Systems, the documentation of other digitalised art projects will be accessible through the LA exhibition_VBKÖ_edition at the VBKÖ including: text by Dunja Blažević (Sarajevo), text and photo documentation by Alenka Spacal (Ljubljana), books by Ivana Pantelić (Belgrade), Svetlana Slapšak (Ljubljana), Ana Vilenica (Belgrade), Damir Arsenijević (Tuzla), Jelena Petrović (Ljubljana/Belgrade), posters by Tanja Ostojić (Belgrade/Berlin), photo documentation by Nela Milić (London), Jelena Jureša (Novi Sad), Vanja Bučan (Amsteradam/Maribor), video stills by Marina Gržinić (Ljubljana/Vienna) and Aina Šmid (Ljubljana), Maja Bajević (Sarajevo), drawings by Jovana Komnenić (Pančevo/Berlin) and Vesna Bukovec (Ljubljana), comics by Nikoleta Marković (Rijeka), a film by Maja Prettner (Murska Sobota), collages by Dragana Mladenović (Belgrade/Pančevo) and a poem by Andreja Dugandžić. As it is an ongoing process, new materials and works are continuously being added.
The Bring In Take Out - Living Archive is a collaborative art project that is grounded on the principles of sharing, exchange, commons, and collective vs. individual knowledge. With different open calls we are looking for information, documentation of artworks and artworks of women and feminist artists from the (post)Yugoslav space and beyond: http://bringintakeout.wordpress.com/open-calls
Further contributors to the LA exhibitionLAB
re.act.feminism #2 - a performing archive, presentation by Bettina Knaup
re.act.feminism #2 - a performing archive presents feminist, gendercritical and queer performance art by over 120 artists and artist collectives from the 1960s to the beginning of the 1980s, as well as contemporary positions. The research focus is on Eastern and Western Europe, the Mediterranean and Middle East, the US and several countries in Latin America. On its route through Europe this temporary archive continues to expand through local research and cooperation with art academies and universities. The archive is also ‘animated’ through exhibitions, screenings, performances and discussions along the way, which continuously contribute to the archive. http://www.reactfeminism.org
Bettina Knaup (Berlin) is an artistic director (together with Beatrice Ellen Stammer) of the re.act.feminism #2 - a performing archive. She is a cultural producer and curator, interested in the interface of live arts, politics and knowledge production. She curated or produced many transnational projects (e.g. City of Women Festival, Ljubljana; Performing Proximities, Beursschouwburg, Brussels; collaborative on-line project GenderArtNet; Body Affects, Berlin; etc.) She directed the new European platform for cultural exchange LabforCulture during its launch phase.
Susanne Lummerding (Berlin/Vienna) teaches in Media Studies and Gender Studies at the University of Vienna. She is a certified Coach and Supervisor working in Berlin and Vienna. Her focuses of research include the analytical linkage of revised concepts of mediality and the political as well as anti-identitarian representational critique and agency. She is author of: agency@? Cyber-Diskurse, Subjektkonstituierung und Handlungsfähigkeit im Feld des Politischen. One of her recently published articles is: Signifying theory_politics/queer? In: Castro Varela/Dhawan/Engel (eds): Hegemony and Heteronormativity. Revisiting 'the political' in queer politics.
The initiator of The Bring In Take Out Living Archive is the feminist curatorial group Red Min(e)d: Danijela Dugandžić Živanović, Katja Kobolt, Dunja Kukovec and Jelena Petrović. Coming from different backgrounds (feminist theory, contemporary art, cultural production and activism) and from different places (Ljubljana, Sarajevo, Belgrade and Munich), they live and work at the crossroads of common understanding and methods of researching, (re)presenting, curating and mediating contemporary art.
supported by:
BM:UKK
ERSTE Foundation
MA 7 - Interkulturelle und Internationale Aktivitäten
Kulturkommission des 2. Bezirks ?
with the kind collaboration of:
Institut für Kunst und Gestaltung, TU Wien
cyberlab - Digitale Entwicklungen GmbH
The Austrian Association of Women Artists – VBKÖ
Wien Woche
CRVENA Association for Culture and Art, Sarajevo
MINA Institute for Socially Engaged Art and Theory, Ljubljana
About us:
Open Friday, Saturday 13.00 - 18.30 and open for the rest of the week days by appointment only.
Admission free
Open Systems
Zentrum für Kunstprojekte
Lassingleithnerplatz 2
A- 1020 Vienna
Austria
(+43) 699 115 286 32
for more info: office@openspace-zkp.org
http://www.openspace-zkp.org
Open Systems - Zentrum für Kunstprojekte aims to create the most vital facilities for art concerned with contributing a model strategy for cross-border and interregional projects on the basis of improving new approach.
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