m1 (turm4)

15.12.09 - Work presentation: “Soul of Sustainability” by Irina Gheorghe, Alina Popa, Stefan Tiron (Bucharest)

ef — Mon, 07 Dec 2009 12:37:24 GMT

Tuesday, 15. 12. 2009 – Semperdepot, M1– open to general public

18:00 Work presentation: “Soul of Sustainability” byIrina Gheorghe, Alina Popa, Stefan Tiron (Bucharest)

Soul of SustainabilityWhile in Vienna as artists-in-residence we focused on the concept of sustainability, as part of the main discourse of KulturKontakt and other similar cultural organizations. The prevalence of this new term relies on the fact that art and culture are seen as indispensable though until recently disregarded instruments in the larger policy of sustainable development. But what does sustainable development actually sustain? The Bureau of Melodramatic Research has spotted how its very own object of study - emotion, sensitivity, pathos – is instrumentalized with the purpose of saving the soul of sustainability (“Sustainability also needs a soul”, Dr. Hildegard Kurt, from “Art as Seismograph”, KulturKontakt Magazine, Autumn, 2009).

Artists regarded as bearers of subjectivity are the main “agents of the soul”, the missing link in a self-contained chain of sustainability in search of a “heart”. Sustainability is identified as a new imposed standard for sustaining and maintaining the power of capital owners.

Irina Gheorghe & Alina Popa founded in 2009 an independent institution The Bureau of Melodramatic Research, in Bucharest, Romania. BMR is a non-profit organization with the general aim of cooperation with institutions from the cultural field in order to reveal the circuit of the sentimental capital which determines social, politic and ultimately economic relations. TheBureau conducts critical analysis by detecting melodramatized appropriations and reappropriations. Its melodramatic methodology is defined as melocritique. Currently they are artists-in-residence at the KulturKontakt Vienna.

Stefan Tiron lives and works in Bucharest, Romania as an independent curator. In 2005 artist in residence with monochrom in Vienna. He indulges in his recent hobby for the cultural and ideological ramification of apiculture, beehive metaphors, social insects and social engineering.

DECEMBER 2009 study program

ef — Sun, 29 Nov 2009 21:13:59 GMT

PCAP (POST CONCEPTUAL ART PRACTICES) STUDY PROGRAMProf. Marina GrzinicAcademy of Fine Arts, Viennam1.antville.org

DECEMBER 2009 study program

30.11-7.12.2009Check Instead: the Colonial Matrix of PowerWORKSHOP conceived and organized by Ana Hoffner and Ivana Marjanovic at VBKÖ

VBKÖADRESS: Maysedergasse 2 (4. Stock)1010 Wien

Workshop with exhibition supported by the Post Conceptual Art Practices, Academy of Fine Arts, Vienna.CONTACT DETAILS, FOR ANY ADDITIONAL INFORMATION:Ana Hoffner, Ivana Marjanovic: ivanamar@gmail.com

DETAILS WORKSHOP, days, time, spaceMONDAY30.11. VBKÖ, 3 pm – 8 pm workshop

TUESDAY1.12. VBKÖ, workshop, 3 pm – 8 pm workshop

WEDNESDAY2.12. VBKÖ, workshop, 3 pm – 8 pm workshop

THURSDAY3.12. VBKÖ, workshop, 3 pm – 8 pm workshop

FRIDAY4.12. VBKÖ, workshop, 3 pm – 8 pm workshop

SATURDAY

5.12. VBKÖ. Installing exhibition

SUNDAY

6.12. VBKÖ. Installing exhibition

MONDAY7.12. 2009Exhibition opening in VBKÖ, Vienna, 7 pmCheck Instead: the Colonial Matrix of Power!

EXHIBITION PARTICIPANTS:Sheri Avraham, Iris Borovčnik, Lina Dokuzović, Christian Gangl, Miltiadis Gerothanasis, Ana Hoffner, Tatiana Kai-Browne, Baris Kiziltoprak, Marissa Lobo, Nataša Mackuljak, Ivana Marjanović, Maria Muhar, Marion Oberhofer, Ervin Tahirović, Majda Turkić, Reinhard UttenthalerThe exhibition is open from 08.12.2009 till 19.12.2009, Tuesday - Saturday, 16 - 19h

The exhibition is the outcome of the workshop that took place at the VBKÖ as part of Squatting Teachers initiative within the context of the university protests. The workshop was organized by Ana Hoffner and Ivana Marjanović and supported by the Post Conceptual Art Practices Class, Academy of Fine Arts, Vienna. The workshop and exhibition are part of the VBKÖ 2009 program with a follow-up panel discussion on January 21st, 2010 at 8pm within the VBKÖ 100 year anniversary program on the topic Widerstand “leisten.” The project is supported by: Vienna – City of Culture.The “colonial matrix of power” is a concept that examines historical and contemporary coloniality and it was coined by Hanibal Quijano and re-proposed by Walter Mignolo. More: Marina Gržinić and Walter Mignolo, “De-linking Epistemology from Capital and Pluri-versality,” Reartikulacija, No. 4, 2008, www.reartikulacija.org

7.11 do 11.12.2009At M1, Semper depot, AkbildProf. Harun Farocki film seminar

8.12 to 11.12.2009Prague study travelPost-Conceptual Art Practices class, Akbild, Vienna visitingConceptual Class, AVU, Prague

8.12 to 11.12.2009

Travel project conceived by Ivan Jurica

PARTICIPANTS from Vienna:

Sheri AvrahamSarah BinderLisa BolyosIris BorovcnikIsa (Annalisa) CannitoCain Chui (Chui Yong Jian)Miltiadis GerothanassisMuzaffer HasaltayTatiana Kai-BrowneBaris KiziltoprakJohannes KlemenChristoph KolarMarissa LoboMaria MuharMarion OberhoferSaleh RozatiLukas TagwerkerErvin TahirovicMajda TurkicBarbara Wilding

Ivan JuricaPetja DimitrovaEduard FreudmannMarina Grzinic

Photo documentation of the travel will be taken by Saleh Rozati and SheriAvraham
Video film on/of the travel will be done by Sheri Avraham and Marion Oberhofer

PROGRAM OF THETRAVEL PROJECT: Concept, Politics, EU and the Wall at AVU Prague:

1. 2009 at AVU PRAGUE

PCAP class presentation, part 1:

Presentatation of RESTRUCTURING EDUCATION/SQUATTING KNOWLEDGE bySarah Binder, Iris Borovcnik, Isa (Annalisa) Cannito, Miltiadis Gerothanassis,Baris Kiziltoprak, Marissa Lobo, Maria Muhar, Ervin TahirovicMajda Turkic, Barbara Wilding, Petja Dimitrova, Eduard Freudmann

9.12.2009 at AVU PRAGUE

PCAP class presentation, part 2:

a) Presentation of the project: Check Instead: the Colonial Matrix of Power!by Sheri Avraham, Iris Borovcnik, Miltiadis Gerothanasis, Tatiana Kai-Browne, Baris Kiziltoprak, Marissa Lobo, Maria Muhar, Marion Oberhofer, Ervin Tahirovic

b) Presentation of the exhibition project by Barbara Wildingc) Presentation works by Muzaffer Hasaltay, Johannes Klemen, work done in collaboration with Natasa Maculjak and Adnan Popovic, Saleh Rozati

10.12.2009 at AVU PRAGUE

PCAP class presentation, part 3:

a)Lecture by Lisa Bolyosb)Presentation works by Christoph Kolar, Ivan Jurica, Cain Chui (Chui Yong Jian), Majda Turkic

TUESDAY, 15 .12.2009M1, Semperdepot

16:00 Meeting with Dimitrova and Freudmann, talk about open questions

18:00 Work presentation: “Soul of Sustainability” byIrina Gheorghe, Alina Popa, Stefan Tiron (Bucharest)

21.12.2009until 6.01.2010 HOLIDAYS

WORK STARTS in 2010 on the 11.01.2010 with seminar by Harun Farocki, m1, semper depot…

student presentation

ef — Sun, 22 Nov 2009 12:16:56 GMT

Erasmus student presentation

ef — Sun, 22 Nov 2009 12:15:53 GMT

Frantz Fanon reading and guest lecture Lina Dokuzovic

ef — Thu, 19 Nov 2009 23:35:19 GMT

Academy of Fine Arts Vienna, AULA, Schillerplatz 3

25.11.0914:00 - 17:00 Frantz Fanon reading17:00 - 19:00 Lecture by Lina Dokuzovic

in context of:

Project “SEMINAR Decolonizing Knowledge and Life through Theory and Art”In charge: Ivana Marjanovic, PhD candidate, Academy of Fine Arts Vienna

Format: reading group, discussions, conceiving art works based on art andtheory connection

Intro:

Based on Frantz Fanon analysis of historical colonialism and struggles fordecolonization we want to develop strategies to dismantle presentneoliberal colonial appropriation of knowledge, education and life, inorder to develop different knowledge and subjectivity productions that willconnect our present studies with students’ protest in Austria andinternationally.

14:00 - 17:00 Frantz Fanon reading

Reading and discussion:Frantz Fanon "The Wretched of the Earth", Grove Weidenfeld, New York, 1961DOWNLOAD TEXT:m1.antville.org

Chapter “Concerning Violence”Students presenting parts of the chapter: Aleksandra Aleksic, Sarah Binder,Miltiadis Gerothanasis, Majda Turkic

FRANTZ FANON (1925-1961)

Algerian political theorist Frantz Fanon analyzed the nature of racism andcolonialism and developed a theory of violent anti-colonial struggle. In hisfirst book, Black Skin, White Masks (1952), Fanon examined the social andpsychological processes by which the white colonizers alienated the blacknatives from any indigenous black culture; he showed that blacks were madeto feel inferior because of their color and thus strove to emulate whiteculture and society. Fanon hoped that the old myths of superiority would beabandoned so that a real equality and integration could be achieved.Alienated from the dominant French culture, (except of connection withSartre and some others), Fanon deeply identified with Algeria'srevolutionary struggle for independence. He had secretly aided the rebelsfrom 1954 to 1956, when he resigned from the hospital post to openly workfor the Algerian revolutionaries' National Liberation Front (FLN) in Tunis.He worked on the revolutionaries' newspaper, becoming one of the leadingideologists of the revolution, and developed a theory of anti-colonialstruggle in the "third world."

Using Marxist, psychoanalytic, and sociological analysis, Fanon summed uphis views in The Wretched of the Earth (1961), arguing that only a thorough,truly socialist revolution carried out by the oppressed peasantry (thewretched of the earth) could bring justice to the colonized. He believedthat the revolution could only be carried out by violent armed conflict;only revolutionary violence could completely break the psychological andphysical shackles of a racist colonialism. Violence would regenerate andunite the population by a "collective catharsis;" out of this violence anew, humane man would arise and create a new culture. Through all this Fanonstressed the need to reject Europe and its culture and accomplish therevolution alone.

17:00 - 19:00 Guest lecture by Lina Dokuzovic

“Art under re-construction? Reflecting half a century of educational reformsin the context of occupation”

This talk will reflect the previous research, presentation and discussion onthe educational reform processes over the last 50 years within the newcontext of the occupied university space(s). What originally reflected aprocess of development will now approach how this history can supportgrowing international resistance against it, in order to discuss how thesemodels of protest and occupation can make a lasting change not only relevantto education but a wider context of commodified modes of life.

Lina Dokuzovic is an artist and PhD student at the Academy of Fine ArtsVienna.

ABOUT PROJECT

The project “Seminar Decolonizing Knowledge and Life through Theory andArt” is conceptualized as a continuation of the theory reading group thatwas organized in the past summer semester in 2009 in the Post-conceptual ArtPractices class by Marina Gržinić and Ivana Marjanović. The theory readinggroup has proved that there is a growing interest by students for readingtheory and discussing it in the format of reading group and thus the idea oforganizing a special seminar appeared.

Schedule will be updated every month on m1.antville.org.Students are invited to join at any point.

Program November

ef — Tue, 10 Nov 2009 13:43:28 GMT

PCAP program NOVEMBER 2009, from 12.11.2009 until 27.11.2009PCAP, DE-CONCEPTUAL THEORY ART POLITICS STUDY PROGRAMBack in the classroom M1, Semper depot, and SQUATTING TEACHERS programAula, Schillerplatz

WORKSHOP with the DE-CONCEPTUAL THEORY ART POLITICS STUDY PROGRAM byAna Hoffner, artist, performer, writer and Ivana Marjanovic, theoretician,curator

TITLE: Check instead: Colonial Matrix of Power workshop with the class by

PART I

12.11. 4:30 pm, Workshop meeting at VBKÖ + 7 pm opening of "Gender Check"

13.11. MUMOK, "Gender Check" symposium, 10 am - 8 pm (ENTRANCE FREE)

14.11. MUMOK, "Gender Check" symposium, 10 am - 8 pm (ENTRANCE FREE)

15.11. resume of symposium, workshop meeting at VBKÖ, 3 pm - 8 pm (with

lunch break)

Where:

MUMOK, Museum of modern art, MUSEUM QUARTIER, Vienna

VBKÖ, Vienna

MONDAY 23.11.2009At 16.30 M1, Semper depot

Presentation diploma work

Majda Turkic

Branko Andric

MONDAY 23.11.2009At 20.00 M1, Semper depot

ERASMUS STUDENTS PRESENTATION:

Mickaël Gamio (Strasbourg)

Clemence Choquet (Strasbourg)

TUESDAY, 24.11.2009

From 10.00 to 12.00 individual meetings, office Grzinic

TUESDAY, 24.11.2009

M1, Semper depot

at 14.00

DISCUSSION, PCAP, DE-CONCEPTUAL THEORY ART POLITICS STUDY PROGRAM

Discussion where we stand in the Akbild, Rundgang, travel Prague (IvanJurica educo-art project to Prague with the class: title of the travelConcept, Politics, EU and the Wall. Travel in december 2009

TUESDAY, 24.11.2009

M1, Semper depot

At 16.30 until 19.30

NEW STUDENT PCAP PRESENTATION:

Iris Borovcnik

Christian Gangl

Sheri Avraham

Ervin Tahirovic

Maria Muhar

TUESDAY, 24.11.2009

M1, Semper depot

At 20.00

Discussion: IKL project part of the year exhibition: what and how;(Marissa and Miltiadis)

Watching a documentary on history of queer movement

WEDNESDAY, 25.11.2009

From 16.00 to 20.00

AULA Schillerplatz, Squatting teachers

Reading FRANTZ FANON, in charge Ivana Marjanovic, presentation and discussion

guest at the reading for discussion LINA DOKUZOVIC

WEDNESDAY, 25.11.2009

M1, Semper depot

At 20.00 until 24.00

Watching videos and films on history and theory:

What is life? Paris burning (queer revolutions), Sarajevo young art scene,feminists strike back!

Discussion!

THURSDAY, 26.11. 2009

At 17.00 a project within the year class exhibition, 2 floor, Semper depot

THURSDAY, 26.11. 2009

At 19.00 at MUMOK, Museum of modern art, MUSEUM QUARTIER, Vienna"GenderCheck" exhibition

Taking part in the talk between Marina Grľinić and Ivan Jurica with thetitle "THE NEW WALL AS HEGEMONICAL NARRATION; Comments On Museology,Current Art

Production And The Construction Of The Other" at the exhibition "GenderCheck".

PCAP, November 3, 4, 5, 2009

ef — Mon, 02 Nov 2009 10:25:56 GMT

PCAP, November 3, 4, 5, 2009

3.11.2009 at 19.00 in the aula, Schillerplatz, Akbild and find one space(the staircase) there and talk about the plans January 2010 Rundgang. Weshould think about the Rundgang program and we should think fast. AlsoMarissa and Miltos if you have time and want to discuss the year exhibition(5.11.2009??? is going on or not) come to this meeting and we see what isgoing on.

4.11 from 12.00 to 15.00 M20, Schillerplatz we read FanonIt is a project conceived by Ivana Marjanovic. On the 4.11 from 12.00 to15.00, I hope Aleksandra, Sarah, Branko, Majda, Miltiadis will take part inthe process of leading us through the text!

5.11 it is open, as it has to be seen what and how is with the exhibition.

Presentations

ef — Mon, 12 Oct 2009 17:56:25 GMT

PCAP Program October 2009

ef — Thu, 01 Oct 2009 16:03:53 GMT

OCTOBER 2009 WORKING SCHEDULE

5 October 2009, MondaySEMPER DEPOT, M1

At 15.30 meeting in the classDiscussion on the projects year exhibition 2009, opening 5.11.2009Help to invited students from the classClass project with IKL in the exhibition

5 October 2009, MondaySEMPER DEPOT, M1

At 17.00 old and new students meetingIntroduction new studentsPresentation of the work 2009/2010Projects, seminars, discussion

5 October 2009, MondayAt 19.30 individual meetingsGrzinic OfficeContact me for appointmentMargrz@zrc-sazu.si

6 October 2009, Tuesday

8.30 individual meetings, Grzinic office10.00 Curricula NC

6 October 2009, TuesdaySEMPER DEPOT, M1At 15.30 until 18.00

Project “SEMINAR Decolonizing Knowledge and Life through Theory and Art”In charge: Ivana Marjanović, PhD candidate, Academy of Fine Arts ViennaFor whom: for all, mandatory for students PCAP, Akbild, ViennaFormat: reading group, discussions, conceiving art works based on art and theory connection

Reading and discussion:Frantz Fanon "The Wretched of the Earth", Grove Weidenfeld, New York, 1961

Chapter “Concerning Violence”Students presenting parts of the chapter: Aleksandra Aleksic, Sarah Binder, Miltiadis Gerothanasis, Majda Turkić

FRANTZ FANON (1925-1961)

Algerian political theorist Frantz Fanon analyzed the nature of racism and colonialism and developed a theory of violent anti-colonial struggle. In his first book, Black Skin, White Masks (1952), Fanon examined the social and psychological processes by which the white colonizers alienated the black natives from any indigenous black culture; he showed that blacks were made to feel inferior because of their color and thus strove to emulate white culture and society. Fanon hoped that the old myths of superiority would be abandoned so that a real equality and integration could be achieved. Alienated from the dominant French culture, (except of connection with Sartre and some others), Fanon deeply identified with Algeria's revolutionary struggle for independence. He had secretly aided the rebels from 1954 to 1956, when he resigned from the hospital post to openly work for the Algerian revolutionaries' National Liberation Front (FLN) in Tunis. He worked on the revolutionaries' newspaper, becoming one of the leading ideologists of the revolution, and developed a theory of anti-colonial struggle in the "third world."

Using Marxist, psychoanalytic, and sociological analysis, Fanon summed up his views in The Wretched of the Earth (1961), arguing that only a thorough, truly socialist revolution carried out by the oppressed peasantry (the wretched of the earth) could bring justice to the colonized. He believed that the revolution could only be carried out by violent armed conflict; only revolutionary violence could completely break the psychological and physical shackles of a racist colonialism. Violence would regenerate and unite the population by a "collective catharsis;" out of this violence a new, humane man would arise and create a new culture. Through all this Fanon stressed the need to reject Europe and its culture and accomplish the revolution alone.

The project “Seminar Decolonizing Knowledge and Life through Theory and Art” is conceptualized as a continuation of the theory reading group that was organized in the past summer semester in 2009 in the Post-conceptual Art Practices class by Marina Gržinić and Ivana Marjanović. The theory reading group has proved that there is a growing interest by students for reading theory and discussing it in the format of reading group and thus the idea of organizing a special seminar appeared.

Schedule will be updated every month on m1.antville.org.Students are invited to join at any point.

6 October 2009, TuesdayAt 19.00 meeting at OPEN SPACE, ViennaOr going together there, meeting in the class at 18.30, taking a U-Bahn

Visiting the exhibition “A step to the right”Participant Artists: Songül Boyraz, Petja Dimitrova, Alban MujaTalk with Songül Boyraz, Petja Dimitrova.

ADDRESS: OPEN SPACE/ ZENTRUM FÜR KUNSTPROJEKTELassingleithnerplatz 2, 1020 ViennaU-bahn: Schwedenplatz

12 to 16 October 2009, Monday to FridaySEMPER DEPOT, M1Seminar on film by prof. FarockiFrom to 10.00 to 18.00 (check his www)

15 October 2009, ThursdayAULA Akbild, SchillerplazAt 16.00First meeting of the Seminar “Plattform Geschichtspolitik” [Platform History Politics]The seminar is conceived and organized by Eduard Freudmann

Seminar description [ENGLISH]How are and how were different History Politics conducted at the Academy of Fine Arts?Until which extent were and are Colonialism, Fascism and National Socialism considered in the Academy? Where do gaps, ruptures, continuities occur? Which role plays dis-remembrance, repression, self-victimization? Which history-political manifestations exist at the Academy – and which do not exist?

These questions mark the start of the course – and thereby the beginning of establishing a continuing “Platform History Politics” at the Academy. They should be related to other questions that are to be developed. The critical examination of history-political processes in comparable institutions should raise the sensibility for a survey of the current state in the direct study and work environment. A preliminary visualization of traced habits and usualness, of oddities and tremendousness as well as of other remarkable [ab-]normalities, should initiate broader discussions about History Politics at the Academy.

“History Politics” is a literal translation of the German term “Geschichtspolitik” and used since there is no generally admitted translation existing. It refers to the fact that the construction of history and its political interpretation are immanent to history as such.

Subscription to the seminar: tinyurl.com

Seminar description [DEUTSCH]Wie werden und wie wurden Geschichtspolitiken an der Akademie der bildenden Künste betrieben? Inwieweit wird und wurde dabei die Teilhabe an Kolonialismus, Faschismus und Nationalsozialismus eingeschlossen? Wo treten Lücken, wo Bruchlinien, wo Kontinuitäten auf? Welche Rollen spielen Vergessen, Verdrängen, Selbstviktimisierung? Welche geschichtspolitischen Manifestationen gibt es an der Akademie – und welche Manifestationen gibt es nicht?

Diese Fragen markieren den Beginn der Lehrveranstaltung – und damit der Etablierung einer kontinuierlichen „Plattform Geschichtspolitik“ an der Akademie. Sie sollen mit weiteren, zu erarbeitenden Fragen in Verbindung gesetzt werden. Die kritische Betrachtung exemplarischer geschichtspolitischer Prozesse an vergleichbaren Institutionen, soll die Sensibilität zur Bestandsaufnahme des Ist-Zustands im direkten Studien- und Arbeitsumfeld schärfen. Mit einer vorläufigen Sichtbarmachung aufgespürter Gepflogenheiten und Gewöhnlichkeiten, Kuriositäten und Ungeheuerlichkeiten, sowie anderweitig bemerkenswerter [Un-]Auffälligkeiten sollen breitere Diskussionen über Geschichtspolitiken an der Akademie angestoßen werden.

Anmeldung: tinyurl.com

15 October 2009, ThursdayAULA Akbild, SchillerplazAt 18.30

Guest lecture by Ronen Eidelman (IL): Medinat Weimar

Part of the Seminar “Plattform Geschichtspolitik” [Platform History Politics]Conceived and organized by Eduard Freudmann

Medinat Weimar is an art project that created a movement to promote the idea of the Jewish state in Thuringia, Germany, with the city of Weimar as its capital. The movements goal is to convince the German people to call the Jews (and anyone else who wants to be one) to gather in Thuringia, a post-industrial area emptying more every year, and found there another Jewish state. One that would not only satisfy the need for a secure Jewish home, appease the Palestinian Israeli conflict, help the German with coming to terms with the past, but would also save Thuringia from its own bleak future. In the lecture Eidelman, the Movements' secretary, will present the Movement, explain the political and artistic context it was born in, as well as show other art projects he has created in the past that are related to the movement.

The lecture will be in English.medinatweimar.org

Ronen Eidelman is an artist, writer and activist engaged with linking art, culture and grassroots politics. Participated in many exhibitions and festivals, as well as creating independent projects in the public sphere. Born in New York City, grew up in Jerusalem and based in Tel Aviv-Jaffa, Israel, Co-founder and editor of "Ma'arav" (www.maarav.org.il www.maarav.org.il ) leading online art and culture magazine from Israel. Graduate of the MFA program for "Public Art and New Artistic Strategies' at Bauhaus University in Weimar, Germany, and for more than ten years active in anti-occupation and anti-capitalist activists groups. Ronen likes hats and enjoys wearing many kinds.ronen.dvarim.com

19 October 2009, MondaySEMPER DEPOT, M1

14.00 until 15.30New Students meeting with the assistants Dimitrova/Freudmann.

19 October 2009, MondaySEMPER DEPOT, M115.30 until 18.00Project “SEMINAR Decolonizing Knowledge and Life through Theory and Art”

Reading and discussion:Frantz Fanon "The Wretched of the Earth", Grove Weidenfeld, New York, 1961

Chapter “Concerning Violence”Students presenting parts of the chapter: Annalisa Cannito, Elisabeth Lnenicka,Marissa Lobo

Chapter “The Pitfalls of National Consciousness”Students presenting parts of the chapter: Chui Yong Jian, Barbara Wilding, Regina Wuzella

See blog with details, texts…

19 October 2009, MondaySEMPER DEPOT, M1At 18.30 until 20.00

Presentation future diploma work (June 2010)By CAROLINA AGREDO

19 October 2009, MondaySEMPER DEPOT, M1At 20.30 until 24.00

Presentation future diploma work (January 2010)By BRANKO ANDRIC

20 October 2009, TuesdayGrzinic officeAt 8.30 individual meetingsAt 10.00 curricula NG

At 14.00 Grzinic officeIndividual meetingsContact me for appointment

20 October 2009, TuesdaySEMPER DEPOT, M115.30 until 18.00Project “SEMINAR Decolonizing Knowledge and Life through Theory and Art”

Reading and discussion:Frantz Fanon "The Wretched of the Earth", Grove Weidenfeld, New York, 1961

Chapter “The Pitfalls of National Consciousness”Students presenting parts of the chapter: Chui Yong Jian, Barbara Wilding, Regina Wuzella

Chapter “Reciprocal Bases of National Culture and the Fight for Freedom”Students presenting parts of the chapter: Branko Andric, Anamarija Batista

Chapter: ConclusionAll students who presented chapters

See blog with details, texts…

20 October 2009, TuesdaySEMPER DEPOT, M1

At 19.00Students presentation, work in processAndy ScherzAnnalisa Cannito and Miltiadis Gerothanasis

22 October 2009, ThursdaySEMPER DEPOT, M1At 18.00

Meeting of the seminar “Plattform Geschichtspolitik”

26 October 2009 holiday

27 October 2009, TuesdaySEMPER DEPOT, M1Going to exhibition with Petja Dimitrova.

29 October 2009, ThursdaySEMPER DEPOT, M1At 18.00

Meeting of the seminar “Plattform Geschichtspolitik”

2 November 2009 holidayProgram starts 3 November, will be announced on 1 November 2009.

READING LOUIS ALTHUSSER AND AGON HAMZA

concept — Tue, 09 Jun 2009 21:45:59 GMT

Althusser

"The school (but also other State institutions like the Church, or other apparatuses like the Army) teaches 'know-how', but informs which ensure subjection to the ruling ideology or the mastery of its 'practice'. All the agents of production, exploitationand repression, not to speak of the 'professionals of ideology' (Marx), must in one way or another be 'steeped'in this ideology in order to perform their tasks 'conscientiously' - the tasks of the exploited (the proletarians), of the exploiters(the capitalists), of the exploiters' auxiliaries (the managers), or of the high priests of the ruling ideology (its 'functionaries'),etc."download the english and/or german version of the text here:

m1.antville.org

Hamza

“How do we stand with regards to the field of ideology within the realm of society? The question itself poses certain difficultieswhich for all of us are already well known. When we talk about ideology in society, aren’t we basically talking about politicalstruggles which take place within the space of a social reality? As Mao Zedong said, “Except in the desert, everywhere elsethere is always a left, centre and right.” Liberals tell us that the notion of “ideology” is no longer operative, because liberalismwon over other ideologies and their perverted forms (totalitarianisms). Therefore they announce the end of ideologicalstruggles, and our world is portrayed as a post–ideological era (prefix “post” goes for everything, from political, to cultural oreven theoretical realms). However, where does this lead us? To Althusser, of course, and I think it’s very important to take thedifficult road of dialectical materialism and repeat Althusser’s remark on the use of philosophy – using “scientific knowledgeagainst all the mystifications of ideological ‘knowledge’.” Demystification can take place only in the field of the political. AsAlthusser says, it’s “politics which decide everything,” not politics in general, but “Marxist–Leninist politics.” We should useMarxist–Leninist tools to demystify the certain form of ideology in Kosova, the one which I call “New Born Ideology.”

www.reartikulacija.org

STUDENT PRESENTATION

concept — Tue, 09 Jun 2009 21:42:21 GMT

SARAJEVO GROUP OF AUTHORS

concept — Wed, 03 Jun 2009 19:10:34 GMT

In 1990 Ademir Kenović together with Ismet Arnautalić created SaGA (Sarajevo Group of Authors), which gathers most ofSarajevo filmmakers, professionals and students as well as a great number of writers, poets, painters, creators in differentfields. The war and siege of Sarajevo, BiH, between 1992-1995 curbed feature film production and innumerable shorts anddocumentaries, among them members of the Sarajevo Group of Authors (SaGA), that gave impressive testimony to the lives,suffering and the war.

BACKGROUNDBosnia and Herzegovina was one of the most prolific centers of film production in the former Yugoslavia, with strong traditionof film-making and a history of award-winning directors. A burst of productions in the 1960s known as the Black Wavelaunched names as for example Bata Čengić's The Role Of My Family in the World Revolution, etc. Less overtly politicalcinema emerged after the death of Tito in 1980, notably the work of Emir Kusturica, which achieved worldwide acclaim andnumerous awards (Do You Remember Dolly Bell?, When Father Was Away On Business). SaGA (Sarajevo Group of Authors)FILM GROUP PRODUCTION during the 1990s reinvented documentary film possibilities.

ARTIST TALK

concept — Wed, 03 Jun 2009 19:07:51 GMT

On fatiguePaper folders are on the table. Each is entitled with: tired of: being a symptom, of repetition, of articulation, of dealing, ofmigrations, of heteronormativity, of criticism, of maintaining status quo… or similar. Drawings in the folders are portraits offictional, no name, everyday characters, figures, positions, unrecognizable in their eclectic identities. Faces tired of here-andnow,but still or never ready for radical intervention. Audience is proposed to go through the faces/portraits/drawings andmove/reposition them as he/she wish, between folders, through fatigues.
A Letter to Heiner M, version IIIs a collaboration with the Croatian author Goran Ferčec. It is an intervention in/on his (performance) text “A Letter to HeinerM.” (“Brief an Heiner M.”), written in 2007. Installation presents a double set of instructions for the possibleperformer/reader/audience. Ilić presented a work in progress’ proposition for newspaper/art book project. “A Letter to HeinerM, version II”, is Ilić and Ferčec third collaboration project. They started the first collaboration in 2005.Siniša ILIĆ, born in 1977, Belgrade, Serbia. MA at the Painting Department, Faculty of Fine Arts, Belgrade. He exhibits inSerbia and abroad; he draws on the gallery walls and presents performances at exhibitions’ openings. He is co-founder andmember of TkH (Walking Theory), Belgrade, independent performance art and theory platform, and as well of TkH magazine.He writes and performs texts on performance. He collaborated at selected theatre projects as stage designer. In 2002 withtheatre director Bojan Djordjev, Ilić started a long term project Desert of Picture.KulturKontakt Austria - Gallery ART POINTUniversitätsstraße 51010 Wien

PRACHTSTRASSE, FANMEILE, PREUSSENSCHLOSS

concept — Wed, 03 Jun 2009 19:04:52 GMT

In the recent years Germany has seen yet another revival of Nationalism. Unlike in the Nineties, when Nazi-skins and theKosovo war dominated the discourses around Nationalism in Germany, the contemporary "new Nationalism" expresses itselfin culture. Building up to the 2006 world cup and the 60year anniversary of the BRD in 2009 an unprecedented amount ofnation branding-campaigns, exhibitions and events was organized to communicate Germany as a strong, yet self-criticalNation. In the term of the "purified nation" and the "Kulturnation" and along narratives of a seemingly funny and harmless"party-otism" where "it’s only about soccer" new forms of a "culturalized Nationalism" seem to take shape.Johannes Paul Raether is an artist and author, activist and performer based in Berlin. He will show his new project,Prachtstrasse, a slide show, which he produced since 2006. The slide-film researches the image-campaign “Germany – Landof Ideas, “ an initiative of the German government and the Federation of German Industries during the soccer world championshipin 2006. In this framework, six monumental sculptures were erected in the centre of Berlin – all representing “German”inventions.Johannes Paul Raether will also discuss examples of intervening into the national consensus in culture by the means of performance,actions, happenings and artist organization, focusing on how to articulate a fundamental critique of the nation, as acritical cultural producer, without being embraced by the very contemporary German nationalist discourse: “the self-criticalnation.”Organized by the Institut für das künstlerische Lehramt/ Institute for Education/ in collaboration with Post-conceptual art practicesand the Department for Art and Communication at the Academy of Fine Arts Vienna.Presentation of the lecturer by Eva EgermannModeration debate after the lecture Eduard Freudmann

DEBATING MIDDLE EAST CONFLICTS IN POST-NAZISTIC SPACES?

concept — Wed, 03 Jun 2009 19:00:29 GMT

15:30AUDIO RECORDING: Zweierlei IsraelAudioaufnahme der Buchpräsentation am 18. April 2003 in Hamburg.Moshe Zuckermann: Zweierlei Israel?Auskünfte eines marxistischen Juden an Thomas Ebermann, Hermann L. Gremliza und Volker Weiß142 SeitenKonkret Literaturverlag, 2003ISBN 3-930786-39-7Verwirrender war die Lage nie: Deutsche Kommunisten ergreifen wie die deutsche Rechte im Kampf gegen Israel die Parteider Palästinenser. Antideutsche Linke verteidigen Israels regierende Rechte, israelische Kommunisten gelten ihr als Handlangerislamistischen Terrors. Man hört Rufe: "Antisemiten", "Zionisten", "Philosemiten", "Rassisten", "Imperialisten". Der inIsrael geborene Moshe Zuckermann, Direktor des Instituts für Deutsche Geschichte der Universität Tel Aviv, ist mit 21 Jahrenvon Frankfurt nach Israel emigriert. "Es war", sagt er, "die erwachsene Entscheidung eines jungen linken Zionisten". Inzwischenhat er sich vom Zionismus verabschiedet. Heute wird Zuckermann von Gegnern Israels als Antizionist in Anspruchgenommen. Im Gespräch mit den Konkret-Autoren Thomas Ebermann, Hermann L. Gremliza und Volker Weiss räumt er mitMissverständnissen dieser Art auf.19:00SCREENING: Bil'in Habibti - Bil'in My LoveDirector: Shai Carmeli PollakIsrael 2006, Digital Beta/Beta SP, 84 min.Arabic, Hebrew with English subtitlesBIL'IN MY LOVE tells the story of a small Palestinian village trying to save itself and to break the occupation in a non-violentresistance against the Israeli Army. Under the pretext of security, the village of Bil'in is about to lose more than half of its landsto the Israeli separation fence and to the neighboring Israeli settlement. In an attempt to stop the bulldozers, tear gas, beatings,arrests and live ammunition, the villagers confront the army in creative weekly demonstrations.It's not an ordinary documentary, because after following the struggle, in dozens of other villages, Shai Carmeli-Pollak arrivesin Bil'in first and foremost, as an activist fighting the occupation and only then as filmmaker. He stays for more than a year andaccompanies the village's struggle, focusing on two people that become real friends: Mohamed, a member of the village'slocal committee against the fence, and Wagee, an olive tree farmer and father of ten, who is losing the majority of his land tothe fence.

Linz Excursion

concept — Mon, 01 Jun 2009 14:35:54 GMT

PROGRAM JUNE 2009

concept — Mon, 01 Jun 2009 14:23:23 GMT

3, June 2009, Wednesday

M1, SEMPERDEPOT

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organized by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

At 15.30

AUDIO RECORDING: BOOK PRESENTATION

Moshe Zuckermann: Zweierlei Israel?Auskünfte eines marxistischen Juden an Thomas Ebermann, Hermann L. Gremliza und Volker Weiß142 SeitenKonkret Literaturverlag, 2003ISBN 3-930786-39-7

Verwirrender war die Lage nie: Deutsche Kommunisten ergreifen wie die deutsche Rechte im Kampf gegen Israel die Partei der Palästinenser. Antideutsche Linke verteidigen Israels regierende Rechte, israelische Kommunisten gelten ihr als Handlanger islamistischen Terrors. Man hört Rufe: "Antisemiten", "Zionisten", "Philosemiten", "Rassisten", "Imperialisten". Der in Israel geborene Moshe Zuckermann, Direktor des Instituts für Deutsche Geschichte der Universität Tel Aviv, ist mit 21 Jahren von Frankfurt nach Israel emigriert. "Es war", sagt er, "die erwachsene Entscheidung eines jungen linken Zionisten". Inzwischen hat er sich vom Zionismus verabschiedet. Heute wird Zuckermann von Gegnern Israels als Antizionist in Anspruch genommen. Im Gespräch mit den Konkret-Autoren Thomas Ebermann, Hermann L. Gremliza und Volker Weiss räumt er mit Missverständnissen dieser Art auf.

Audioaufnahme der Buchpräsentation am 18. April 2003 in Hamburg.

OPEN TO GENERAL PUBLIC

3, June 2009, Wednesday at 19.00

M1, SEMPERDEPOT

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organized by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

At 19.00

SCREENINGBil'in Habibti - Bil'in My LoveDirector: Shai Carmeli PollakIsrael 2006, Digital Beta/Beta SP, 84 min.Arabic, Hebrew with English subtitles

BIL'IN MY LOVE (Bilin Habibti)BIL'IN MY LOVE tells the story of a small Palestinian village trying to save itself and to break the occupation in a non-violent resistance against the Israeli Army. Under the pretext of security, the village of Bil'in is about to lose more than half of its lands to the Israeli separation fence and to the neighboring Israeli settlement. In an attempt to stop the bulldozers, tear gas, beatings, arrests and live ammunition, the villagers confront the army in creative weekly demonstrations.It's not an ordinary documentary, because after following the struggle, in dozens of other villages, Shai Carmeli-Pollak arrives in Bil'in first and foremost, as an activist fighting the occupation and only then as filmmaker. He stays for more than a year and accompanies the village's struggle, focusing on two people that become real friends: Mohamed, a member of the village's local committee against the fence, and Wagee, an olive tree farmer and father of ten, who is losing the majority of his land to the fence.

www.claudiusfilms.com/bilin.swf

OPEN TO GENERAL PUBLIC

4, June 2009, Thurdsay at 19.00M1, SEMPERDEPOTLehargasse 8, Vienna

Guest Lecture by Johannes Paul Raether | Artist, Activist | Berlin

PRACHTSRASSE, FANMEILE, PREUSSENSCHLOSSNation branding and New Nationalism in Germany

Organized by the Institut für das künstlerische Lehramt/ Institute for Education/ in collaboration with Post-conceptual art practices and the Department for Art and Communication at the Academy of Fine Arts Vienna.

Presentation of the lecturer by Eva EgermannModeration debate after the lecture Eduard Freudmann

SUMMARY OF THE LECTURE

CV LECTURER

Johannes Paul Raether is an artist and author, activist and performer based in Berlin. He will show his new project, Prachtstrasse, a slide show, which he produced since 2006. The slide-film researches the image-campaign “Germany – Land of Ideas, “ an initiative of the German government and the Federation of German Industries during the soccer world championship in 2006. In this framework, six monumental sculptures were erected in the centre of Berlin – all representing “German” inventions.

Johannes Paul Raether will also discuss examples of intervening into the national consensus in culture by the means of performance, actions, happenings and artist organization, focusing on how to articulate a fundamental critique of the nation, as a critical cultural producer, without being embraced by the very contemporary German nationalist discourse: “the self-critical nation.”

OPEN TO GENERAL PUBLIC

5,6,7, June 2009, installment diplomaIn charge Freudmann and Dimitrova.

8, 9, 10, June 2009, Monday, Tuesday, WednesdayDIPLOMA EXAM

From the class 10.06 in Semper depotLilo Nein (basement)Lina Dokuzovic (M1)

8. to 12.06, 2009FILM SEMINAR prof. Harun FarockiPlace will be announced!

EXTRA: 8.06.2009, MONDAY, DEPOT, Vienna

At 19.00

Representing History. Case study – PerestroikaFilmscreening und discussionPARTICIPANTSOlga Egorova, Chto Delat?, St. PetersburgDmitry Vilensky, Chto Delat?, St. PetersburgModeration: Lisa Bolyos, Kollektiv AnnegangIN ENGLISH

DepotBreite Gasse 31070 Wienwww.depot.or.at

REGULAR: 10 June 2009 Wednesday, 2009M1, SEMPER DEPOTAt 20.00

READING and CONCLUSION: Louis Althusser, Ideology and ISA.Conducted by Ivana Marjanovic, Annalisa Cannito, Miltiadis Gerothanasis, Reinhard Uttenthaler.DISCUSSION of the text by Agon Hamza, Pristina, Kosovo«NEW BORN IDEOLOGY,« published in REARTIKULACIJA, no. 6, 2009.

Text accessible atwww.reartikulacija.org

Discussion and presentation of Hamza text by Grzinic and Marjanovic in collaboration with the reading group.

OPEN TO GENERAL PUBLIC

11, June, 2009, national holiday, academy closed

12, June, 2009, FRIDAY

ARTIST TALK: SINIŠA ILIĆ, Belgrade, SerbiaPresentation of 2 art works and discussionModeration by Ivana Marjanovic

WHERE: KulturKontakt Austria - Gallery ART POINTUniversitätsstraße 51010 Wien

WHEN: at 19.00

Siniša Ilić is in Vienna as part of the Kultur Kontakt art residency Program.Ilić will talk about his two art works in progress displayed at the group show “ 2. Ausstellung, Artist in Residence, 2009” in Vienna at KulturKontakt Austria – Gallery ART POINT.

SINISA ILIC WORKS:

On fatiguePaper folders are on the table. Each is entitled with: tired of: being a symptom, of repetition, of articulation, of dealing, of migrations, of heteronormativity, of criticism, of maintaining status quo… or similar. Drawings in the folders are portraits of fictional, no name, everyday characters, figures, positions, unrecognizable in their eclectic identities. Faces tired of here-and-now, but still or never ready for radical intervention. Audience is proposed to go through the faces/portraits/drawings and move/reposition them as he/she wish, between folders, through fatigues.
A Letter to Heiner M, version IIIs a collaboration with the Croatian author Goran Ferčec. It is an intervention in/on his (performance) text “A Letter to Heiner M.” (“Brief an Heiner M.”), written in 2007. Installation presents a double set of instructions for the possible performer/reader/audience. Ilić presented a work in progress’ proposition for newspaper/art book project. “A Letter to Heiner M, version II”, is Ilić and Ferčec third collaboration project. They started the first collaboration in 2005.

Siniša ILIĆ, short CV

Born in 1977, Belgrade, Serbia. MA at the Painting Department, Faculty of Fine Arts, Belgrade. He exhibits in Serbia and abroad; he draws on the gallery walls and presents performances at exhibitions’ openings. He is co-founder and member of TkH (Walking Theory), Belgrade, independent performance art and theory platform, and as well of TkH magazine. He writes and performs texts on performance. He collaborated at selected theatre projects as stage designer. In 2002 with theatre director Bojan Djordjev, Ilić started a long term project Desert of Picture.

OPEN TO GENERAL PUBLIC

15.06. 2009, MONDAY

M1, SEMPER DEPOT

At 10.30 to 11.30 Student presentation: Bernadette Uttenthaler

At 12.00 until 15.00 SaGA (Sarajevo Group of Authors) FILM GROUP PRODUCTION DURING THE WAR IN Bosnia and Herzegovina 1992-1995

Presentation of excerpts from documentaries and the feature film with in situ translation and comments. Presentation for the PCAP is organized by Freudmann, Grzinic, Klemen and Popovic.

In 1990 Ademir Kenovic together with Ismet Arnautalic created SaGA (Sarajevo Group of Authors), which gathers most of Sarajevo filmmakers, professionals and students as well as a great number of writers, poets, painters, creators in different fields. The war and siege of Sarajevo, BiH, between 1992-1995 curbed feature film production and innumerable shorts and documentaries, among them members of the Sarajevo Group of Authors (SaGA), that gave impressive testimony to the lives, suffering and the war.

BACKGROUND

Bosnia and Herzegovina was one of the most prolific centers of film production in the former Yugoslavia, with strong tradition of film-making and a history of award-winning directors. A burst of productions in the 1960s known as the Black Wave launched names as for example Bata Cengic's The Role Of My Family in the World Revolution, etc. Less overtly political cinema emerged after the death of Tito in 1980, notably the work of Emir Kusturica, which achieved worldwide acclaim and numerous awards (Do You Remember Dolly Bell?, When Father Was Away On Business). SaGA (Sarajevo Group of Authors) FILM GROUP PRODUCTION during the 1990s reinvented documentary film possibilities.

OPEN TO GENERAL PUBLIC

24, 25 and 26.06.2009Exhibition class diploma works: LINA DOKUZOVIC, IVAN JURICA, LILO NEIN

25.06.2009, THURSDAYM1, SEMPER DEPOTCONCLUSION OF THE SEMESTER at PCAP

From 16.00 to 24.00: FILMS, PRESENTATIONS, LECTURE

PROGRAM:

At 16.00 CHRISTOPH KOLAR, recent films “Ankerbrot” and “Gemeindebauten”At 18.00 REGINA WUZELLA, lecture on/about film

AT 20.00

NATAŠA MACKULJAK, JOHANNES KLEMEN AND ADNAN POPOVIĆScreening of VAŠAR, experimental video documentary; cca 90 minutes, Sarajevo/Vienna 2008/2009

VAŠAR SUMMARY

During six weeks in summer 2008, we researched and documented current, political and cultural phenomena in Bosnia and Herzegovina. The initial point of the work was traditional annual fairs in Bosnia and Herzegovina, called “vašar.” The fairs are interesting and weird, but we realized that focusing only on rural phenomena would result an exotic romanticized Balkan, or rural Bosnia and Herzegovina. Therefore we decided to integrate in our documentary contemporary progressive artists, cultural workers and political activists from Bosnia and Herzegovina. Besides we included as well recent political and cultural events, mixing them with peculiar personal stories, stories and events we had a chance to document. The structure of our the video film should represent the chaotic political and social situation in contemporary Bosnian society, as the word “vašar” implies, it means in Serbo-Croatian “disorder” or “chaos.” – Mackuljak, Klemen and Popović

OPEN TO GENERAL PUBLIC

26.06 2009, FRIDAYAt 10.00 SEMPER DEPOT, diploma ceremony

WE START NEXT SEMESTER 5.OCTOBER 2009 at 16.00!

STUDENT PRESENTATION

concept — Wed, 27 May 2009 18:23:24 GMT

STUDENT PRESENTATION

concept — Wed, 27 May 2009 18:22:10 GMT

Student Presentations

concept — Thu, 14 May 2009 17:34:03 GMT

STRUCTURES OF MEMORY IN CONTEMPORARY CITIES

concept — Thu, 14 May 2009 17:31:30 GMT

Karla Villavicencio is artist that holds PhD in architecture from the European University in Madrid, Spain. She creates projects about the evolution of different cities in multicultural societies around the globe. She tries to show the visual memory of social processes in architectural spaces within contemporary cities. Villavicencio studied in Peru and Spain. In the past she has been working as assistant professor for Architecture in The Architecture and Art School of the European University of Madrid.

The lecture is possibly organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Viennaand the Institute for Art and Architecture at Academy of fine Arts, ViennaLecture organized by Marina Gržinić, Gabu Heindl and Michael Pötschko.Questions and answers after the lecture facilitated by Hansel Sato (Spanish-English-German).

Workshop/Lecture/Presentation: Hiroshi Yoshioka

concept — Thu, 14 May 2009 17:27:27 GMT

BIOGRAPHY: Prof. dr. Hiroshi Yoshioka was born in Kyoto, Japan. He studied philosophy and aesthetics at Kyoto University.He teaches aesthetics and art theory at Kyoto University, IAMAS. He is the author of The Present Tense of Thought: ComplexSystems, Cyberspace, and Affordance Theory (1997), Information and Life: The Brain, Computers, and the Universe (withHisashi Muroi, 1993) [both books published in Japanese], and many articles on aesthetics, arts, technology and culture. Hewas the editor-in-chief of the critical journal Diatxt.(vol.1-8, Kyoto Art Center, 2000-2003) and Yorobon: Diatxt./Yamaguchi(YCAM, 2008). He was the general director of Kyoto Biennale 2003, and Ogaki Biennale 2006.Workshop/Lecture/Presentation is a joint project between the Akbild and Coded cultures and it is part of the Seminar on OpenSource in the Post-Conceptual art practices department, developed by the students in the class: Annalisa Cannito, Chui YongJian, Philip Leitner, Ivette Mrova and Santiago Berce Doig.

Antke Engel: Bilder von Sexualität und Ökonomie

concept — Thu, 14 May 2009 17:23:36 GMT

Is there an intimate relation between sexual freedom and market freedom? Images of dissident sexualities and gender ambiguitycan be found in commercial advertising as well as in art and in sexual subcultures. Around the topoi of sexual diversityand the multiplicity of desire a discursive overlap develops – queer perspectives in commercial and neoliberal perspectives inqueer discourses. This discursive overlap is the terrain of cultural politics.Antke Engel introduces the concept of “projective integration” in order to show that in late modern societies, difference is nowcoded as cultural capital and is made usable for economic interests. While other forms of integration like assimilation andmulticultural pluralism still exist, “projective integration,” Engel suggests, is the characteristic version of neoliberal governmentality.It turns out that the investment in difference relies heavily on images of sexuality. However, these are also the imagesthat become the starting point for the queering of capitalist economy.Reading images through the lens of projective integration is interesting because the term “projection” covers psychic, sociopolitical,and visual technological aspects and invites viewers to look for the productivity of their intermingling. Exemplarily,Antke Engel will introduce close readings of two art works: a collage by Ines Doujak from the series “Victory Gardens” (2007)and a drawing without title, but recently exhibited as “Kotzblatt” (vomiting sheet) by Galli (1984).These readings show that being implicated in processes of projective integration does not necessarily mean that one hassubmitted to the neoliberal order. “Bilder von Sexualität und Ökonomie” points towards, and indeed strives to strengthen,those tendencies in queer theory and politics that make use of their own entangling with the discourses they want to oppose.Thus, queer cultural politics opens up the field for the critique of capitalist economy by showing how the neoliberal deploymentof dissident sexualities and genders can be turned against itself.Antke Engel is director of the Institute for Queer Theory situated in Hamburg and Berlin. She received her Ph.D. in Philosophyat Potsdam University (Germany) in 2001 and held a visiting professorship for Queer Theory at Hamburg University between2003 and 2005. The focus of her work is on feminist and poststructuralist theory, on conceptualizations of sexuality anddesire, and on the critique of representation. Since autumn 2007 she is a research fellow at the Institute for Cultural Inquiry(ICI) in Berlin, working on the relation of sexuality and economy and asking for possibilities of queering neoliberalism.Rosa Reitsamer, sociologist, University of Applied Arts Vienna.The presentation is organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Viennaand the Institute of Art Theory and Cultural Studies/Epistemology and methodology of art production / PhD in practice at theAcademy of Fine Arts Vienna with galerie aRtmosphere, Vienna http://www.artmosphere-vienna.net/

DEBATING MIDDLE EAST CONFLICTS IN POST-NAZISTIC SPACES?

concept — Fri, 08 May 2009 06:08:34 GMT

Tuesday, May 5, 16:30–19:00: READING ROOM

Please bring books and/or texts that are related to the subject and that you consider as interesting to share among each other. Copier will be available.

Tuesday, May 5, 19:00

SCREENING: Pourquoi Israel (Claude Lanzmann, F/I 1973, 16mm, 192 min., Multi-lingual with English subtitles) Pourquoi Israël (Israel, Why) is Shoah filmmaker Claude Lanzmann's first film. The documentary examines life in Israel twenty-five years after the birth of the state. Lanzmann spends time with, among others, German-Jewish émigrés, intellectuals, dock workers, police, prison inmates, and the newly arrived surveying life in the new homeland. The title of the film is often incorrectly given as a question "Why Israel?" however, Lanzmann intended it as an answer or an explanation from a collection of viewpoints.

(www.kino-zeit.de)

Wednesday, May 6, 13:30–20:00: READING ROOM

Wednesday, May 6, 20:00

SCREENING: Matzpen (Eran Torbiner, Israel, 2003, video, 54 min, Hebrew, English & Arabic with English subtitles) Matzpen, the Israeli socialist organization, has never had more than a few dozen active members. Still, at the end of the sixties and beginning of the seventies, it was considered a real threat to the Israeli political and social consensus. Most of Matzpen's members were Israeli born, coming from the deep core of Israeli society. Their fight against Zionism and against the occupation, as well as their contacts with Palestinian and European left-wing activists, were the cause of threats, slander, as well as political and social isolation. The film touches on the main issues of the Zionist-Palestinian struggle, through the eyes of some of the organization's prominent figures, their ideas, opinions and activities, then and today. (www.matzpen.org/eran/index.html - en.wikipedia.org)

Monday, May 18, 20:00

SCREENING: Mapping the Wall (Reinhard Uttenthaler, IL/PAL/A 2007, 32min, English) In 2002 the Israeli Government begins to build the so-called Security Fence along the Westbank to separate Israelis from Palestinians. The fence which became a wall in most urban locations claimes to protect Israel against terror acts as happened during the Second Intifada since 2000. Statistically, terror acts have decreased since the erection. In 2007, equipped with small video camera and a Palestine Tourist Map we followed the traces the wall had left for people living on both sides around Jerusalem. Although one can hardly find the wall on public roadmaps, it is present in the daily life of many people using the different ways along the route. Mapping the Wall explores this conditions in a conceptual way. Story by story, the hidden protagonists describe a new path network by sketching andocating their changing ways on a presented tourist map. In its own narrative way and without the visibility of any talking heads throughout the picture the film emerges a virtual map in the head of the viewer about the run, dimension and the social-spatial consequences of the wall.

READING LOUIS ALTHUSSER

concept — Fri, 08 May 2009 06:01:55 GMT

– Althusser

"Ich bezeichne als Ideologische Staatsapparate (ISA) eine bestimmte Anzahl von Realitäten, die sich dem unvoreingenommenen Beobachter in Form von unterschiedlichen und spezialisierten Institutionen darbieten. Ich schlage eine empirische Liste vor, die natürlich detailliert untersucht werden, in Frage gestellt, verbessert und verändert werden muß. Bei allen Einschränkungen, die dieses Erfordernis mit sich bringt, können wir im Augenblick folgende Institutionen alIdeologische Staatsapparate bezeichnen (die Reihenfolge der Aufzählung hat keine besondere Bedeutung):

der religiöse ISA (das System der verschiedenen Kirchen),
der schulische ISA (das System der verschiedenen öffentlichen und privaten Bildungsinstitutionen),
der familiäre ISA
der juristische ISA
der politische ISA (das politische System, zu dem u.a. die verschiedenen Parteien gehören),
der gewerkschaftliche ISA,
der ISA der Information (Presse, Radio, Fernsehen usw.),
der kulturelle ISA (Literatur, Kunst, Sport usw.)."

– Althusser

Monday, 4. 5., 12:00 (reading conducted by Ivana Marjanović)Monday, 18. 5., 10:30 (reading conducted by Marina Gržinić and Ivana Marjanović)download the english and/or german version of the text here:m1.antville.org

PROGRAM MAY 2009

concept — Fri, 01 May 2009 09:31:36 GMT

1, May, 2009 FridayFIGHT 4 SOCIAL, POLITICAL and ECONOMIC changes as today precarization is the norm, temp work, low salaries, and unemployment.

4, May, 2009 Monday

Semperdepot, M1From 12.00 to 15.00Reading Althusser: Ideology and Ideological state Apparatuses.German and English texts available
Reading conducted by Ivana Marjanovic

4, May, 2009 Monday

Semperdepot, M1At 16.00Meeting Linz group/Dimitrova /Maiz

4, May, 2009 MondaySemperdepot, M1At 19.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

SCREENINGDie papierene Brücke (Paper Bridge)Director: Ruth BeckermannAustria 1987, 16mm, 91 min.German with English subtitles

Paper Bridge is a journey through Ruth Beckermann's own family's history and at the same time the story of Central Europe's Jews and of a region. It takes her from Vienna, where her grandmother survived the war and the nazis in hiding and to which her mother returned from Israel, to the landscapes of her father's childhood: the Bukowina, once part of the Austro-Hungarian Empire.

www.ruthbeckermann.com

5, May 2009, TUESDAY

Semperdepot, M1From 16.30 to 19.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

READING ROOMPlease bring books and/or texts that are related to the subject and that you consider as interesting to share among each other. Copier will be available.

5, May 2009, TUESDAY

Semperdepot, M1At 19.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

SCREENINGPourquoi IsraelDirector: Claude LanzmannFrance/Italy 1973, 16mm, 192 min.Multi-lingual with English subtitles

Pourquoi Israël (Israel, Why) is Shoah filmmaker Claude Lanzmann's first film. The documentary examines life in Israel twenty-five years after the birth of the state. Lanzmann spends time with, among others, German-Jewish émigrés, intellectuals, dock workers, police, prison inmates, and the newly arrived surveying life in the new homeland. The title of the film is often incorrectly given as a question "Why Israel?" however, Lanzmann intended it as an answer or an explanation from a collection of viewpoints.

www.kino-zeit.de

6, May 2009, WEDNESDAY

Semperdepot, M1From 13.30 to 20.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

READING ROOMPlease bring books and/or texts that are related to the subject and that you consider as interesting to share among each other. Copier will be available.

6, May 2009, WEDNESDAY

Semperdepot, M1At 20.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

SCREENINGBil'in Habibti - Bil'in My LoveDirector: Shai Carmeli PollakIsrael 2006, Digital Beta/Beta SP, 84 min.Arabic, Hebrew with English subtitles

BIL'IN MY LOVE (Bilin Habibti)BIL'IN MY LOVE tells the story of a small Palestinian village trying to save itself and to break the occupation in a non-violent resistance against the Israeli Army. Under the pretext of security, the village of Bil'in is about to lose more than half of its lands to the Israeli separation fence and to the neighbouring Israeli settlement. In an attempt to stop the bulldozers, tear gas, beatings, arrests and live ammunition, the villagers confront the army in creative weekly demonstrations.It's not an ordinary documentary, because after following the struggle, in dozens of other villages, Shai Carmeli-Pollak arrives in Bil'in first and foremost, as an activist fighting the occupation and only then as filmmaker. He stays for more than a year and accompanies the village's struggle, focusing on two people that become real friends: Mohamed, a member of the village's local committee against the fence, and Wagee, an olive tree farmer and father of ten, who is losing the majority of his land to the fence.

www.claudiusfilms.com/bilin.swf

11, May until 15, May 2009Film seminar prof. Harun Farocki

18, May 2009, MONDAYAt 9.00 to 10.00INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office

18, May 2009, MONDAY

Semper, M1At 10.30 to 13.30

Reading Althusser: Ideology and Ideological state Apparatuses, German and English texts available
Reading conducted by Marina Grzinic and Ivana Marjanovic

18, May 2009, MONDAYSemperdepot, M1From 14.00 to 20.002 DIPLOMA presentations (FOR DIPLOMA EXAM JUNE 2009):

LILO NEINLINA DOKUZOVIC

Erasmus exchange student presentation:Santiago Berce Doig (Barcelona)

18, May 2009, MONDAYSemperdepot, M1At 20.00

Debating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?

Conceived and organised by Eduard Freudmann in collaboration with Tal Adler on the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".

SCREENINGMapping the WallDirector: Reinhard UttenthalerIL/PAL/A 2007, 32minEnglish

In 2002 the Israeli Government begins to build the so-called Security Fence along the Westbank to separate Israelis from Palestinians. The fence which became a wall in most urban locations claimes to protect Israel against terror acts as happened during the Second Intifada since 2000. Statistically, terror acts have decreased since the erection.In 2007, equipped with small video camera and a Palestine Tourist Map we followed the traces the wall had left for people living on both sides around Jerusalem. Although one can hardly find the wall on public roadmaps, it is present in the daily life of many people using the different ways along the route. Mapping the Wall explores these conditions in a conceptual way. Story by story, the hidden protagonists describe a new path network by sketching and locating their changing ways on a presented tourist map. In its own narrative way and without the visibility of any talking heads throughout the picture the film emerges a virtual map in the head of the viewer about the run, dimension and the social-spatial consequences of the wall.

19, May 2009, TUESDAYAt 9.00 to 10.00INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office

19, May 2009, TUESDAYSemperdepot M1From 11.00 to 15.00

STUDENT PRESENTATIONS

Chui Yong Jian, CainMajda TurkicMiltiadis Gerothanasis

19, May 2009, TUESDAYAT 17.00

Place to be announced or in the class M1 or at Schillerplatz 3!!!!

GUEST LECTURE /PRESENTATION by Karla Villavicencio (Lima/Vienna)

Title: IMA-R-GINAL ARCHITECTURE: STRUCTURES OF MEMORY IN CONTEMPORARY CITIES.

SUMMARY: Karla Villavicencio will talk about illegal cities in Latin America that are culturally, socially and politically marginalized. The aim of the lecture is to offer with the help of documentation a new perspective on urban development. The lecture will focus on Peru and on migration of the indigenous population from the Andes to Lima. It will try to show how immigration transforms the architecture of the city. Furthermore the lecture will propose a platform for reading visually the social impact of such transformations on the development of architecture. These architectural and urban spaces can be compared to a living skin that adapts itself to the needs of the migrants. For this reason such architecture makes clearly visible the social, economic and political dimensions of architecture.

CV: Dr. Karla Villavicencio is artist that holds PhD in architecture from the European University in Madrid, Spain. She creates projects about the evolution of different cities in multicultural societies around the globe. She tries to show the visual memory of social processes in architectural spaces within contemporary cities. Villavicencio studied in Peru and Spain. In the past she has been working as assistant professor for Architecture in The Architecture and Art School of the European University of Madrid.

LANGUGE: ENGLISH.

OPEN TO GENERAL PUBLIC.

The lecture is possibly organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Vienna and the Institute for Art and Architecture at Academy of fine Arts, Vienna

Lecture organized by Marina Grzinic, Gabu Heindl and Michael Poetschko.Questions and answers after the lecture facilitated by Hansel Sato (Spanish-English-German).

19, May 2009, TUESDAY

Opening of the exhibition part of the Workshop City and Body, exchange Akbild, students from Istanbul, from the class 3 participants: Sarah Binder, Muzaffer Hasaltay, Dayan Ozan Özoglu.

Space will announced and time in between 19.00 to 20.00

20, May 2009, WEDNESDAY

Semperdepot M1At 16.00 FINAL MEETING PROJECT LINZ MAIZ /Dimitrova

21. May 2009, holiday

22/23.May 2009, FRIDAY-SUNDAYSS09 Klassenprojekt in Linz (in Zusammenarbeit mit maiz.at)Klassenprojekt in Linz (in Zusammenarbeit mit maiz.at): kritik an diversitätspolitik und (neue)formen von “management der minderheiten”, authonomie der migration, antirassistische praxen, mögliche gemeinsamme (selbst)organisationsformen für politische arbeit (zBs im activismus-, kultur-, bildungsarbeit).In charge: Petja Dimitrova and collaboration with Maiz, Linz22.5.2009 Workshop, Vortrag23.5.2009 Ausstellungsaufbau und Vernissage

25, May 2009, MONDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi YoshiokaOPEN TO ALL THE STUDENTS OF THE ACADEMY

Semperdepot, M1Where Akbild/ Institute of Fine Arts/Conceptual art practices departmentLehargasse 8, 1 floor

When At 17.00 until 20.00, PART 1

The workshop is from May 25th - 27th, 2009, 3 parts. It is a joint project between the Akbild, Coded cultures and Open source seminar at PCAP, Akbild, Vienna.

The workshop by Hiroshi Yoshioka at The Academy of Fine Arts in Vienna will focus on contemporary art and media art from Japan and other Asian countries in order to discuss economic, political and technological issues. The works presented will be those by Asian artists from the Ogaki Biennale in 2006 in Japan, along with experimental animation works, which are completely different from what is accepted as “Japanimation” or “Japan Cool,” and with modern computer music projects attempted by Masahiro Miwa and his students.

Wokshop/Lecture/Presentation is part of the Seminar on Open Source in the Conceptual art practices department, developed by the students in the class: Annalisa Cannito, Chui Yong Jian, Philip Leitner, Ivette Mrova and Santiago Berce Doig.

26, May 2009, TUESDAY10.00 to 11.00INDIVIDUAL MEETINGS, contact me for an appointment, Grzinic office

26, May 2009, TUESDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi YoshiokaOPEN TO ALL THE STUDENTS OF THE ACADEMY

Semperdepot, M1Where Akbild/ Institute of Fine Arts/Conceptual art practices departmentLehargasse 8, 1 floor

At 11.00 until 15.00, PART 2

27, May 2009, WEDNESDAY

Semperdepot, M1At 10.00 until 12.00

Annalisa Cannito, Chui Yong Jian and Santiago Berce Doig:REPORT Liwoli project Linz with screening a documentary film on the project

Liwoli 2009 hacklab for art and open source was an eventFrom 23 – to 26 April 2009 in Linz. It was an open invitation toeveryone who would like to participate in an active process of learning,producing and sharing ideas around the areas of Free/Libre Open SourceSoftware (FLOSS) and DIY practices in digital art and culture.

FLOSS developers, software artists such as the collective GOTO10,activists from HAIP (Hack Act Interact Progress) and many others formedthe basis for the event and shared knowledge in the form of workshops,presentations, installations and performances.

27, May 2009, WEDNESDAY

WORKSHOP /LECTURE/ PRESENTATION: Hiroshi YoshiokaOPEN TO ALL THE STUDENTS OF THE ACADEMY

Semperdepot, M1Where Akbild/ Institute of Fine Arts/Conceptual art practices departmentLehargasse 8, 1 floor

At 13.00 until 16.00, PART 3

SPECIAL 27, May 2009, WEDNESDAYAt 19.00 : freiraum/quartier21 / MQOPENING CODED CULTUREScodedcultures.com

SPECIAL 27, May 2009, WEDNESDAYAt 19.00 : art space kunsthalle exnergasse, Viennawww.wuk.at/kunsthalleOPENING EXHIBITION: SMELL IT!

Taking part: Katrina Daschner, Isabell Spengler, Jaan Toomik, Joyce Wieland / Hollis Frampton, Hubert Fichte / Lil Picard, G.B. Jones / Bruce LaBruce / Candy Parker, Deborah Schamoni, Karol Radziszewski, CHEAP, Paolo Mezzacapo de Cenzo, Dasen Stambuk, Marina Grzinic / Aina Smid, William E. Jones, ...

Zusammenstellung: Dietmar SchwärzlerAusstellungsarchitektur: Robert Vörös

Freundschaften sind nicht nur in jeder einzelnen Biographie eine der wichtigsten Formen sozialen Zusammenlebens, sondern stellen auch im Kunstbetrieb eine essentielle Voraussetzung dar, sowohl was Kooperationen, Arbeits- als auch Produktionsverhältnisse betrifft. Freundschaften zeigen sich aber auch als Lebensform bzw. Teil subkultureller Community-Formen. Michael Foucault hat (als Beispiel) einmal gesagt, das Bedrohliche an der Homosexualität ist nicht der Sex, den welche miteinander haben, sondern die Lebensweisen, die sie miteinander erfinden: Freundschaften und Netzwerke.Die Ausstellung Smell it! präsentiert vorwiegend künstlerische Arbeiten, die queere Bezüglichkeiten herstellen oder in einem offenen Dialog zu queeren Kontexten stehen. Entlang der Thematik sollen auch Produktionen aus jenen postsozialistischen Ländern integriert werden, in denen aktuell ganz unmittelbar reaktionäre und homophobe Kräfte wirken und es in der künstlerischen Produktion keine nachhaltige sichtbare queere Tradition gibt.

28, May 2009, THURSDAYSemper depot, M1At 10.00 until 13.30

STUDENT FROM THE CLASS PRESENTATIONS

Maria Kuschelieva, presentation of her work with some comments on reading the book by Roland Barthes' Camera Lucida—Reflections on Photography (original version in French was published in 1980, English version in 1981) and the book by Susan Sontag, On Photography, published in 1977. Camera Lucida and On Photography were important early academic books of criticism and theorization on photography.Rozati Seyed Saleh, new works

28, May 2009, THURSDAYAt 14.00 MUMOK Lectures/symposium on CODED CULTUREScodedcultures.com

28, May 2009, THURSDAYAt 20.30Where:Akademie der bildendenden Künste Wien /Academy of Fine Arts, ViennaSchillerplatz 3A-1010 WienROOM: M20

Buchpräsentation / Book Presentation

Antke Engel: Bilder von Sexualität und Ökonomie.Queere kulturelle Politiken im NeoliberalismusBielefeld (transcript) 2009

Presentation moderated by Rosa Reitsamer.

PRESENTATION IN GERMAN. Discussion German and English.

Gibt es eine intime Beziehung zwischen sexueller Freiheit und Marktfreiheit? Bilder dissidenter Sexualität und geschlechtlicher Ambiguität finden sich heute nicht nur in sexueller Subkultur, sondern auch in Kunst und kommerzieller Werbung. Die entstehenden Überlappungsfelder – queere Diskurse in kommerziellen ebenso wie neoliberale Diskurse in queeren visuellen Produkten – sind Schauplätze kultureller Politiken. Antke Engel führt den Begriff der „projektiven Integration“ ein, um zu zeigen, dass dort, wo vormals Abwehr oder Assimilation propagiert wurde, heute Differenzen als kulturelles Kapital codiert und ökonomisch verwertbar werden. Es zeigt sich, dass diese affirmativen Investitionen in Differenz maßgeblich über Sexualität vermittelt sind. Genau hieraus erwachsen jedoch auch Möglichkeiten queerer Herrschaftskritik.

In acht close readings von visuellem Bildmaterial lotet Antke Engel in ihrem neuen Buch das Verhältnis von Sexualität und Ökonomie aus und entwickelt eine queere Kritik neoliberaler Entwicklungen. Die Lektüre des Coverbildes, eine Collage der Wiener Künstlerin Ines Doujak, soll vorgestellt werden. Anhand dieser Lektüre wird das Paradox als eine Figur eingeführt, die es erlaubt, die Analyse sozio-ökonomischer, psychischer und symbolisch-kultureller Prozesse miteinander zu verbinden. Der Einsatz von Paradoxien erscheint deshalb interessant, weil er einerseits dazu dient rigide binäre Geschlechter- und Sexualitätsvorstellungen in Bewegung zu versetzen, andererseits aber auch zur Durchsetzung neoliberale Transformationen beiträgt. Argumentiert werden soll, dass Paradoxien genau dann ein kritisches Potenzial entfalten, wenn sie nicht aufgelöst oder in antagonistische Widersprüche übersetzt werden.

English version

Reading images through the lens of projective integration is interesting because the term “projection” covers psychic, socio-political, and visual technological aspects and invites viewers to look for the productivity of their intermingling. Exemplarily, Antke Engel will introduce close readings of two art works: a collage by Ines Doujak from the series “Victory Gardens” (2007) and a drawing without title, but recently exhibited as “Kotzblatt” (vomiting sheet) by Galli (1984).

These readings show that being implicated in processes of projective integration does not necessarily mean that one has submitted to the neoliberal order. “Bilder von Sexualität und Ökonomie” points towards, and indeed strives to strengthen, those tendencies in queer theory and politics that make use of their own entangling with the discourses they want to oppose. Thus, queer cultural politics opens up the field for the critique of capitalist economy by showing how the neoliberal deployment of dissident sexualities and genders can be turned against itself.

Biographies

Antke Engel ist promovierte Philosophin, feministische Queer Theoretikerin und freiberuflich in Wissenschaft und Kulturproduktion tätig. Sie leitet das „Institut für Queer Theory“ (Berlin/Hamburg: www.queer-institut.de), das seit 2006 Projekte initiiert, die sich einer "queeren Politik der Repräsentation" verschreiben und in denen sich akademische und aktivistische, philosophische, politische und künstlerische Praxen verflechten. Sie war (zwischen 2003-2005) als Gast- und Vertretungsprofessorin für Queer Studies an der Universität Hamburg tätig und ist seit Herbst 2007 Fellow am Institute for Cultural Inquiry (ICI) in Berlin. Ihre Arbeitsschwerpunkte sind feministische und poststrukturalistische Theorie, Konzepte von Sexualität und Begehren sowie Repräsentationskritik und kulturelle Politiken.

Antke Engel is director of the Institute for Queer Theory situated in Hamburg and Berlin. She received her Ph.D. in Philosophy at Potsdam University (Germany) in 2001 and held a visiting professorship for Queer Theory at Hamburg University between 2003 and 2005. The focus of her work is on feminist and poststructuralist theory, on conceptualizations of sexuality and desire, and on the critique of representation. Since autumn 2007 she is a research fellow at the Institute for Cultural Inquiry (ICI) in Berlin, working on the relation of sexuality and economy and asking for possibilities of queering neoliberalism.

Rosa Reitsamer, Soziologin, Universität für angewandte Kunst WienRosa Reitsamer, sociologist, University of Applied Arts Vienna.

The presentation is organized as a joint platform in-between Post Conceptual Art Practices, Academy of Fine Arts, Vienna and the Institute of Art Theory and Cultural Studies/ Epistemology and methodology of art production / PhD in practice at the Academy of Fine Arts Vienna with galerie aRtmosphere, Vienna www.artmosphere-vienna.net

Presentation organized by Marina Grzinic, Tom Holert, Rosa Reitsamer and Johanna Schaffer.

29, May 2009, FRIDAYSemper depot, M1At 10.00 until 13.30

STUDENT FROM THE CLASS PRESENTATIONS

Bernadette UttenthalerJuana Gonzalez Vernaza

29, May 2009, FRIDAYAt 14.00 MUMOK Lectures/symposium on CODED CULTUREScodedcultures.com

visiting the exhibition "Ensemble der Verhältnisse"

concept — Sat, 25 Apr 2009 10:06:33 GMT

The exhibition "Ensemble of Conditions" assembles artistic projects that position themselves by means of discursive, analytical or activist confrontation against the predominating politics of neoliberal global Capitalism - against discrimination, ostracism and exploitation. The hegemony of hetero-normative, racist practices as well as their increasing acceptance and normalisation in neo-liberal societies necessitates the formation of resistant oppositions, thus bringing about an alternative production of knowledge and historiographies as well as progressive modes of self-empowerment and self-determination. With regard to critical practices of art, this also means a permanent discussion of the threat of appropriation and instrumentalisation through conventional culture-production machineries. The artistic positions represented in this exhibition, try to point out potentials of individual as well as collective models of action against the dominant capitalist system, to grasp processes of subjectivation and mobilisation, to develop strategies against normative identity constructions and to oppose the objectivation of minorities as well as the medialisation and normalisation of their discrimination.

Die Ausstellung Ensemble der Verhältnisse versammelt künstlerische Projekte, die sich anhand diskursiver, analytischer oder aktivistischer Auseinandersetzung gegen die vorherrschenden Politiken des neoliberalen globalen Kapitalismus positionieren - gegen Diskriminierung, Ausgrenzung und Ausbeutung. Die Hegemonie heteronormativer, rassistischer Praktiken sowie deren zunehmende Akzeptanz und Normalisierung in neoliberalen Gesellschaften macht die Formierung widerständiger Oppositionen notwendig, die alternative Wissensproduktionen und Geschichtsschreibungen sowie progressive Modi der Selbstermächtigung und Selbstbestimmung hervorbringen. In Bezug auf kritische Kunstpraxen bedeutet dies auch eine permanente Auseinandersetzung mit drohender Vereinnahmung und Instrument-alisierung seitens konventioneller Kultur-Produktionsmaschinerien. Die in der Ausstellung vertretenen Positionen versuchen Potentiale individueller wie kollektiver Handlungsmodelle gegen das dominante kapitalistische System aufzuzeigen, Prozesse der Subjektivierung und Mobilisierung zu erfassen, Strategien gegen normative Identitätskonstruktionen zu entwickeln und sich der Objektivation von Minderheiten sowie der Medialisierung und Normalisierung ihrer Diskriminierung entgegenzustellen.

Talk/discussionwith the artists Lina Dokuzovic, Muzaffer Hasaltay, Ana Hoffnerintroduction by project curator Can GülcüLecture by Ljubomir Bratic: "Zwischen Normalität begreifen und Konfliktinszenierung"Food and drinks provided!!!

Open Space / Zentrum für KunstprojekteLassingleithnerplatz 2Wien 1020www.openspace-zkp.org

Screening of "Jenseits des Krieges (East of War)"

concept — Sat, 25 Apr 2009 10:01:34 GMT

White-tiled rooms, neon lighting; on the walls black and white photographs documenting the atrocities committed by the german Wehrmacht on the Eastern Front in WW2. Against this background former soldiers talk about their experiences beyond the bounds of "normal" warfare. With a mixture of helplessness, impotence, shame, opportunism and undiminished fanaticism, witnesses from that time tell of atrocities such as shooting of Russian PWs, the murder of Jews and the rape and abuse of women.The differing accounts of these events demonstrate how selective perception was even in there most inhuman and brutal environments.This film seeks not only to contribute to the demolition of the myth of the "decent" Wehrmacht (as opposed to the evil SS) but also to illuminate the construction of history in the post-war period and to make a diagnosis of the present.

Interview with Ruth Beckermann about the film (german)www.ruthbeckermann.com

Some basic information about the "Wehrmachtsausstellung"en.wikipedia.org en.wikipedia.org

The screening is organised as part of the seminarDebating Middle East Conflicts in Post-Nazistic Spaces?Post-nazistische Räume als Verhandlungsorte der Nahost-Konflikte?Conceived and organised by Eduard Freudmann in collaboration with Tal Adleron the initiative of students of PCAP as part of "Kritische Künstlerische Praxis als Dissens".Note that the seminar will continue in May and June 2009.

STUDENT PRESENTATIONS

concept — Sat, 25 Apr 2009 09:58:42 GMT

Muzaffer Hasaltay, "Können wir miteinander sprechen?"Videodokumentation, HD, Farbe, ca. 10 min., A 2009In "Können wir miteinander sprechen?" ist "MigrantIn" die Kategorie einer sozialwissenschaftlichen Untersuchung. Als Objekt einer Studie zum Thema Männlichkeitskonstruktionen junger türkischer Migranten wird der Künstler von einem Soziologen interviewt und dafür als "Migrant der 2., 3., etc. Generation" eingeordnet. Nach einem ersten Interview im Jahr 2004 folgt die Anfrage für weitere Interviews.Um die Erfahrung der Kategorisierung als 'der Andere' seitens des sich selbst nicht näher definierenden Soziologen sichtbar zu machen und diese Zuschreibung durchzubrechen, macht Hasaltay das nächste Interview zum Thema seiner eigenen Arbeit. Er richtet die Kamera auf den Soziologen, erscheint dabei selbst in einem Spiegel, der als entscheidendes Gestaltungselement der Situation eingesetzt wird: Er soll beide Sprechenden auf ihrer 'Suche nach der Suche' zeigen. Seine Verwendung ist der Versuch, die Subjekt-Objekt-Trennung einer solchen Befragung aufzulösen und sie in ein Gespräch zwischen "Gleichwertigen" zu transformieren. Das Aufeinandertreffen der Sprechenden ist von der Unvereinbarkeit der beiden Vorhaben geprägt - der Soziologe versucht sein Interview zu führen, während der Filmemacher ein Gespräch über das Interview anstrebt. Die Aufzeichnung dessen bildet das Rohmaterial der Videoarbeit, deren Titel sich auf Gayatri Spivaks Text "Can the Subaltern Speak?" bezieht.

Lina Dokuzovic, "Social Regulation Under Market Deregulation: A Serious Game On Equilibriuminteractive game installation, 2009The interactive project simulates and draws parallels on the current socioeconomic condition - one of instability and "crisis." The ultimate goal of the capitalist system is to find ever-developing flexible means for maintaining the stability of an inherently unstable structure/market that makes profit through violence, slavery, appropriation and death. Therefore, the main premise of the game is the analysis of the exchange of resources - biological, living or dead labor.As the game simulates infra- and superstructural elements, the "stability" between an increasingly deregulated economy and social regulation is shown and maintained. The theoretical proposal stands on the First Law of Thermodynamics (Rudolf Clausius, 1850) that "energy cannot be created or destroyed, only converted from one form to another," using the interlinked elements of capital, finance and social roles. The Second Law of Thermodynamics (Nicolas Léonard Sadi Carnot, 1824), however, introduces entropy as a variable in energy production, stating that there is a perpetual tendency towards a condition of destruction increasing with time. Therefore, a system which cannot ever be in equilibrium on its own, eventually reaches a limit - presented here as the limit to the resources of capital. Therefore, an inward-appropriation of the very modes of entropy result in order to make use of the very conditions of instability, exploiting entropy through "necrotrophy" - the parasitism of living resources resulting in death - posited here as "necropolitics" (Achille Mbembe).The game exposes the perverse relationship between economic production and the production of modes of life. The choice for a "serious game" presents a critical analysis of an "equilibrium" which cannot be obtained. The interactive project should exist as a self-sustaining experimental learning platform. It consists of the game machine, the playing rules, playing cards and an accompanying reader.

OPEN SOURCE

concept — Sat, 25 Apr 2009 09:52:49 GMT

Denis Rojo (Jaromil), originally trained as a linguist, is an artist,theorist and programmer who is currently based in Amsterdam. Through hissupport for the development and distribution of free and open software,he tries to overcome existing restrictions and borders, whethereconomic, social or scientific. Taking an alternative stance to 'profitand power' oriented apparatuses, he is strongly engaged in buildingnetworks as a means of sharing tools - choosing to view knowledge as adialogical and non-hierarchical process. By channeling personal insightsinto collaborative action, he shows a deep understanding for theproblems of our time and possible solutions.rastasoft.org
tbt.dyne.org

TALK followed by

Philip Leitner lecture, introduction history, talk about a publicationfrom exgae.netRip manifesto screening/Ivette Mrova presentation

NOTE THAT THE SEMINAR WILL CONTINUE IN MAY and JUNE 2009.

reading of "Ideology and Ideological State Apparatuses"

concept — Sat, 25 Apr 2009 09:49:21 GMT

"The school (but also other State institutions like the Church, or other apparatuses like the Army) teaches 'know-how', but in forms which ensure subjection to the ruling ideology or the mastery of its 'practice'. All the agents of production, exploitation and repression, not to speak of the 'professionals of ideology' (Marx), must in one way or another be 'steeped' in this ideology in order to perform their tasks 'conscientiously' - the tasks of the exploited (the proletarians), of the exploiters (the capitalists), of the exploiters' auxiliaries (the managers), or of the high priests of the ruling ideology (its 'functionaries'), etc."- Althusser

"Ich bezeichne als Ideologische Staatsapparate (ISA) eine bestimmte Anzahl von Realitäten, die sich dem unvoreingenommenen Beobachter in Form von unterschiedlichen und spezialisierten Institutionen darbieten. Ich schlage eine empirische Liste vor, die natürlich detailliert untersucht werden, in Frage gestellt, verbessert und verändert werden muß. Bei allen Einschränkungen, die dieses Erfordernis mit sich bringt, können wir im Augenblick folgende Institutionen als Ideologische Staatsapparate bezeichnen (die Reihenfolge der Aufzählung hat keine besondere Bedeutung):

der religiöse ISA (das System der verschiedenen Kirchen),
der schulische ISA (das System der verschiedenen öffentlichen und privaten Bildungsinstitutionen),
der familiäre ISA
der juristische ISA
der politische ISA (das politische System, zu dem u.a. die verschiedenen Parteien gehören),
der gewerkschaftliche ISA,
der ISA der Information (Presse, Radio, Fernsehen usw.),
der kulturelle ISA (Literatur, Kunst, Sport usw.)."
Althusser

Monday, 27.4., 12:30 (reading conducted by Marina Gržinić and Ivana Marjanović)Wednesday, 29.4., 14:00 (reading conducted by Marina Gržinić and Ivana Marjanović)Thursday, 30.4., 14:30 (reading conducted by Ivana Marjanović)

Erster Mai 2009 – zehn Jahre danach

concept — Sun, 19 Apr 2009 19:45:51 GMT

MORD VERJÄHRT NICHTErster Mai 2009 – zehn Jahre danach

Wir trauern um Marcus Omofuma. Er wurde vor zehn Jahren, am 1. Mai 1999, im Abschubflieger von Fremdenpolizisten umgebracht. Er war eines von vielen Opfern einer langen Kette rassistischer Gewalt.

Den Tätern ist nichts geschehen, sie laufen frei herum. Der Tatbestand des Mordes wurde von keinem unabhängigen Gericht geprüft, weil die weisungsgebundene Staatsanwaltschaft dieses Delikt gar nicht angeklagt hat.

Die verhängten Bagatellstrafen signalisierten allen Nachfolgetätern: Die Tötung eines „Fremden“, eines „Schwarzen“ gar, bleibt hierzulande ungesühnt.

Daher sind noch weitere Opfer gefallen: Wir trauern um Imre Bartos, um Seibane Wague – stellvertretend für viele. Auch in diesen Fällen blieben die Täter ungeschoren.

Daher dauert die Gewalt auch heute noch an: Michael Brennan, US-amerikanischer Lehrer an der Vienna International School, wurde am 11. Februar 2009 von österreichischen Polizisten schwer verletzt.

Und immer wieder, in jedem Fall, die staatliche Schmutzkübelkampagne: Die Opfer sind selber schuld! Der Überfall auf Mike Brennan war „von den gesellschaftlichen und rechtlichen Werten unserer Stadt, unseres Landes getragen“, erklärt uns, mit einem Zynismus sondergleichen, der Polizeipräsident.

Wir gedenken aber auch der vielen namenlosen Opfer. Tag für Tag verschwinden Menschen in der Schubhaft, werden Familien auseinander gerissen, werden Kinder nachts aus den Betten gerissen, werden Väter vor den Augen der Kinder in Handschellen abgeführt.

Sie sind Opfer eines rassistischen Systems, das ständig neue Sondergesetze gegen „Fremde“ hervorbringt und von eigenst ausgewählten und geschulten Beamten exekutieren lässt. Daher ist der Prozentsatz an Rassisten in diesem Bereich auch höher als sonst in der Bevölkerung.

Der Anschlag auf Mike Brennan und die unverschämte Reaktion der Polizei hat vielen Menschen die Augen geöffnet. Am Ersten Mai 2009, Omofumas zehntem Todestag, wollen wir auf die Straße gehen:

Kein Mensch ist illegal! Bleiberecht! Abschaffung aller Sondergesetze! Gleiche Rechte für alle! Die Menschenrechte müssen wieder gelten in diesem Land!

KUNDGEBUNG, anschließend DEMONSTRATIONFreitag, 1. Mai 2009Treffpunkt: 14 Uhr, Omofuma-SteinU 2-Station Museumsquartier / Mariahilferstraße

PROGRAM APRIL 2009

concept — Fri, 03 Apr 2009 21:59:42 GMT

“Notes on Plan Rosebud. On images, sites and politics of memory” (PART 2, 120 min., 2008)

concept — Sat, 21 Mar 2009 08:58:50 GMT

Introduction by Marina Gržinić

'matz ab', zur grossen geschichte des wiener matzleinsdorferplatzes

concept — Sat, 21 Mar 2009 08:58:29 GMT

“Die Arbeit der Geschichtswerkstätten glich über die Jahre [...] einer erweiterten Heimatgeschichtsschreibung. Anfänglich sahen sich viele zwar einer so genannten mikrologischen Methode verpflichtet – also im Besonderen das Allgemeine zu erblicken, wie dies zum Beispiel auch ein Walter Benjamin in seiner Geschichtstheorie propagiert – jedoch investierte mensch gleichzeitig in eine krude Theoriebildung, in der eine (Wieder)entdeckung von Heimat als emanzipativ phantasiert wurde. Eine Problematisierung »des Eigenen«, von Einheiten, Gemeinschaften, vor allem in Bezug zur NS-Vergangenheit und dem politischen Umgang mit Shoa und Massenmord, erfolgte nicht oder nur in sehr harmloser Art und Weise. Der Kosmos Heimat duldet keine Konflikte, er ist sauber, befreit von Politik, allzeit verantwortungslos. Dies verdeutlicht nicht zuletzt die bis heute beliebte und komplett unreflektierte Bemühung des deutschen Wortes »Lebensraum«, im Kontext von Stadtpolitiken oder Bürgerpartizipation. [...] Die Geschichtsbaustelle würde hingegen sagen: Baue mist! Oder um die ganze Sache produktiv zu wenden: Baue, wo du stehst! Denn Geschichte wird nicht ausgegraben, sie liegt nicht wie ein nationaler, regionaler oder sonst wie gearteter Schatz im Wurzelwerk der Erde begraben. Geschichte wird gemacht, sie wird geschrieben und ist einem ständigen Prozess der politischen Verhandlung unterzogen. In diesen gilt es einzugreifen. [...] Die Geschichtsbaustelle ist keine Kunst im öffentlichen Raum oder Interesse. Sie kann nur in einem kollektiven – möglichst autonomen – politischen Prozess stattfinden; alles andere wäre Blödsinn, Kunstwerte zu produzieren würde den antikapitalistischen Versuch ad absurdum führen. Es geht nicht darum, Geschichtsbaustellen als mühsam genehmigte Kunstaktionen zu betreiben. Allerdings mögen die Kanäle der Kunstförderung angezapft werden. Für Baumaterial, für Arbeitsmaterial, für Gerätschaften und Maschinen. Zur Schaffung von Materiallager. Für eine kontinuierliche politische Arbeit.”

(Tomash Schoiswohl, “Baue, wo du stehst! Von der Geschichtswerkstatt zur Geschichtsbaustelle.” in “INTERSECTIONS. At the Crossroads of the Production of Knowledge, Precarity, Subjugation and the Reconstruction of History, Display and De-linking”, Hrsg. Dokuzović et al., Wien 2009, 267–280)

reading of “Ideology and Ideological State Apparatuses” by Louis Althusser (1970) discussion of “Frames of War: The politics of ungrievable life” by Judith Butler (2009)

concept — Sat, 21 Mar 2009 08:58:05 GMT

"The school (but also other State institutions like the Church, or other apparatuses like the Army) teaches 'know-how', but in forms which ensure subjection to the ruling ideology or the mastery of its 'practice'. All the agents of production, exploitation and repression, not to speak of the 'professionals of ideology' (Marx), must in one way or another be 'steeped' in this ideology in order to perform their tasks 'conscientiously' - the tasks of the exploited (the proletarians), of the exploiters (the capitalists), of the exploiters' auxiliaries (the managers), or of the high priests of the ruling ideology (its 'functionaries'), etc." – Althusser

Judith Butler presents from her forthcoming book from Verso, Frames of War: The Politics of Ungrievable Life. Butler explores the way that recent US-led wars have enforced a distinction between those lives that are recognized as grievable, and those that are not. Extending the argument of Precarious Life (Verso, 2004), Butler argues that process of differential grieving is enacted through media forms that have become part of the very waging of war. This situation has led to the first-world destruction and abandonment of populations who do not conform to the prevailing norm of the human. Such ungrievable populations are framed as never having been “lives” at all, and so already lost from the living from the start. Cast as threats to human life as we know it, rather than as living populations, such populations become targeted for destruction in order to protect the lives of “the living”. This disparity, Butler argues, has profound implications for why and when we feel horror, outrage, guilt, loss and righteous indifference, both in the context of war and, increasingly, everyday life. In this lecture on media - in its broadest sense - and war, Butler focuses on the question: what are the conditions under which a life can be apprehended as a life, and loss openly mourned?

Kadër Muzaqi: Presentation of new works

concept — Sat, 21 Mar 2009 08:57:40 GMT

“The State of Exception Proved to be the Rule. A video documentary of the prevention of an exhibition” by Eduard Freudmann and Jelena Radić

concept — Sat, 21 Mar 2009 08:54:48 GMT

On February 7th 2008 the opening of the exhibition entitled “Exception – Contemporary Art Scene From Prishtina” presenting artworks by Albanian artists from Kosovo in the ‘Kontekst Galerija’ Belgrade was prevented by a clerical-fascist organization, violent football hooligans and the Serbian police. The incident was accompanied by a hysterical infamous campaign in the Serbian media and marks another milestone in the continual state of exceptions in the Serbian public space after the Milošević regime was overthrown in 2000. It became apparent in 2001 when Belgrade’s first Gay Pride Day was brutally suppressed. In both events the realization was impossible due to lack of safety. Following Boris Groys’ assumption that art differs from non-art by being under an extraordinary police protection, non-protection of the exhibition should be recognized as an attempt to invalidate the exhibition’s artworks converting them into non-art. Along with the narration about a series of events the documentary video examines the tradition in which the incident is embedded, points out its political context, displays the media coverage, reflects its preconditions, meanings and impact and concludes that hateful reactions were being triggered by the fact that Serbian cultural racism cannot accept its stereotype of the “uncivilized Albanians” to be strongly contrasted and therefore annulled by a perfectly articulated artistic positions of Prishtina’s contemporary art scene.

Jelena Radić was born in 1978 in Pančevo, Serbia. Lives and works in Pančevo and Belgrade.Eduard Freudmann was born in 1979 in Vienna. Lives and works in Vienna and Belgrade.

Work presentation by exchange student Ivette Mrova

concept — Sat, 21 Mar 2009 08:54:07 GMT

PROGRAM MARCH 2009

concept — Thu, 26 Feb 2009 13:15:16 GMT

Academy of Fine Arts, ViennaPost-Conceptual Art Practices/PCAPProf. dr. Marina Grzinic/ Class M1At Semper Depot, Lehargasse 8m1.antville.org

MARCH 2009 WORKING SCHEDULE

March 2009

2. March 2009, Monday

At 16.00 CLASS DISCUSSION on representation/politics, activation/warA DEBATE ON THE TOPICS opened by Saleh, Ozan, Ivan, Ruth, Lisa, Petja, Edi and many others…For our talk on the 2.03.2009 it is a lecture by Judith Butler from the 4. February 2009. It is a lecture that put together part of her upcoming book “Frames of War,” 2009 and also she established an analysis of the Gaza/Palestine/Israel situation. I copy a description of the lecture as well:

»This is a profound exploration of the current wars, looking at violence, gender and different forms of resistance. In “Frames of War”, Judith Butler explores the media’s portrayal of state violence, a process integral to the way in which the West wages modern war. This portrayal has saturated our understanding of human life, and has led to the exploitation and abandonment of whole peoples, who are cast as existential threats rather than as living populations in need of protection. These people are framed as already lost, to imprisonment, unemployment and starvation, and can easily be dismissed. In the twisted logic that rationalizes their deaths, the loss of such populations is deemed necessary to protect the lives of ‘the living’. This disparity, Butler argues, has profound implications for why and when we feel horror, guilt, loss and indifference, both in the context of war and, increasingly, everyday life. In this urgent response to increasingly dominant methods of coercion, violence and racism, Butler calls for a reconceptualization of the Left, one united in opposition and resistance to the illegitimate and arbitrary effects of state violence.«GO ONLINE AND LISTEN

backdoorbroadcasting.net

Maybe can somebody present this in the class on the 2.03.2009 from 14.00 to 16.00 for those who would like to listen in the class and then at 16.00 we connect the positions in the class expressed on the list and points of critique and try to have an exchange of opinions, and as well we reflect on Butler thoughts.

2. March 2009, Monday

At 20.00 film by Maria Ruido Notes on Plan Rosebud: on images, sites and politics of memory (2006-2008)//PLAN ROSEBUD 1 (114 mints.) Vídeo (DigiBeta + DVD PAL), 2008Introduction by Grzinic

ABOUT THE PROJECT:

With a support from CGAC (Galician Centre for Contemporary Art) in Santiago de Compostela, Spain, and under the vision of Maria Ruido, a working team for the realization of the videofilm Plan Rosebud, 1 and 2 part (240 minutes of film in total) was established in 2006 and the video finished in 2008. The purpose of the group was not to make a documentary with a historical or informative value, nor to commemorate or encourage the new epic narratives surrounding the republican remembrance, but to elaborate a critical mapping of the so called politics of memory, to investigate about the ways of transmission and/or imposition of historic memory (not lived or remembered, but transmitted and/or imposed trough the different forms of the politics of memory: education, commemorations, memory sites, symbols...) and to reflect upon its different strategies and mediators in Galicia, and therefore in the Spanish state.Focusing the attention especially on the representation and as well on the control devices of regulation of bodies and producing subjectivities during the long dictatorship of General Franco and the Transition period in Spain, a platform to discuss representation and politics was established. General Francisco Franco (1892-1975) was a Spanish military leader who rose to power during the Spanish Civil War (1936-1939) and went on to rule Spain as dictator from 1939 to 1975. The Republican forces were a conglomeration of assorted factions (Communists, Socialists, and Anarchists, to name a few) that had different approaches to government, but nonetheless joined forces to oppose the Nationalists, lead by General Francisco Franco. Republicans (republicanos) gained the support of the Soviet Union and Mexico, while the Nationalists (nacionales), received the support of England, Italy, and Germany, as well as neighboring Portugal. The Republicans were defeated by the Nationalists thanks to the support by England, Italy, Germany and Portugal. The Spanish civil war announced as well the WWII. The casualties were high; the city of Guernica that was completely destroyed is one of the symbols of resistance. Guernica was bombed by German bombers that killed between 250 and 1,600 people, and many more were injured.The video film by Maria Ruido establishes as well a comparison with other European states today, especially Great Britain, in order to discover which specificities and resemblances, if there were any, relations with its most immediate context.

MARIA RUIDO is artist and researcher from Spain.3. March 2009, Tuesday

10.00 to 13.00INDIVIDUAL MEETINGSContact me for an individual talk.

3. March 2009, Tuesday

13.00 to 15.00

Evaluation Rundgang 2009. Discussion projects class, trips and etc, a continuation of the debate on representation and politics with presenting some projects in the class in the semester:1)Travel to Linz, Maiz collaboration organized by Petja Dimitrova and Maiz2) Lectures on open source and new media technology3) Preparing a substantial project for 2010 Rundagang: activism, open source, performances and de-coloniality.4) your project presentation in the class

3. March 2009, Tuesday

At 16.00 presentation diploma, works in process:

Peter MuzakPeter HaselmayerIvan Jurica

3. March 2009, Tuesday

At 20.00 film by Maria Ruido Notes on Plan Rosebud: on images, sites and politics of memory (2006-2008)// PLAN ROSEBUD 2 (120 min. )Vídeo (DigiBeta + DVD PAL), 2008Introduction by Grzinic

5. März 2009, Donnerstag/Thursday

18:30 Einlass, 19:00 BeginnSemperdepot/M1Lehargasse 6-8, 1060 WienCo-organisation: PCAP class/Petja Dimitrova

Lecture und Diskussion: MARK TERKESSIDISIntegration!! - Ein Wundermittel am Prüfstand.Moderation: Mona Singer

Alle wollen sie, die Integration. Sie ist in aller Munde. Sie ist gut, sie ist notwendig, sie ist machbar. Man muss nur wollen. So tönt es von Rechts bis Links.

Aber was bedeutet das Zauberwort Integration eigentlich? Und meinen alle, die davon sprechen, dasselbe? Ist sie, die Integration, tatsächlich so erstrebenswert? Wer muss was tun, damit sie glückt – ja, glücklich macht? Und was denken eigentlich die zu Integrierenden selbst, über die Angebetete?

Viele Fragen. Und zwei Veranstaltungen, die versuchen Antworten beizusteuern. Es darf gestritten werden über Kulturrassismus, gesellschaftlichen Ausschluss und die allgegenwärtige Kulturalisierung sozialer Probleme. Eintritt frei.

Dr. Mark Terkessidis: * 1966, (Radio- und Print)Journalist, Geisteswissenschaftler und Migrationsforscher aus Köln. 1992 bis 1994 Redakteur der Zeitschrift „Spex“. 2001 mit Tom Holert Gründung des „Institute for Studies in Visual Culture“ (ISVC). Mitglied der Initiative „Kanak Attak“. Autor mehrer Bücher, darunter das Standardwerk „Die Banalität des Rassismus. Migranten zweiter Generation entwickeln eine neue Perspektive“. Terkessidis verbindet gekonnt Beobachtungen von Pop- und Alltagskultur und Wissenschaft. Er entwickelte den Begriff des rassistischen Wissens, der Rassismus nicht als Vorurteil, sondern als Teil eines gesellschaftlichen Wertesystems beschreibt. Heute arbeitet er unter anderem für die „taz“, den „Tagesspiegel“, die „Zeit“ und „Literaturen“ sowie für den „Westdeutschen Rundfunk“. Mitglied im Beirat des Goethe-Institutes im Bereich „Wissenschaft und Zeitgeschehen“.Bücher: Mainstream der Minderheiten – Pop in der Kontrollgesellschaft; Psychologie des Rassismus; Globalkolorit – Multikulturalismus und Populärkultur; Entsichert. Krieg als Massenkultur im 21. Jahrhundert; Fliehkraft. Gesellschaft in Bewegung - Von Migranten und Touristen.

Dr. Mona Singer: Univ-Prof. am Institut für Philosophie an der Uni Wien. Forschungsschwerpunkte feministische Wissenschaftstheorie, Cultural Studies, Rassismusforschung und postkoloniale Theorie. Zahlreiche wissenschaftliche Publikationen. Bücher: Geteilte Wahrheit. Feministische Epistemologie, Wissenssoziologie und Cultural Studies; Fremd.Bestimmung. Zur kulturellen Verortung von Identität.

Eine Veranstaltung von SOS Mitmensch und Zeitschrift DerWisch. In Kooperation mit PCAP - Klasse für postkonzeptuelle Kunst der Akademie der bildenden Künste. Mit freundlicher Unterstützung der Stadt Wien MA 17 Integrations- und Diversitätsangelegenheiten, der Zeitschrift planet und der Österreichischen HochschülerInnenschaft der Universität Wien.

6. März 2009, Freitag, 10:30Workshop „Möglichkeiten antirassistischer Praxis“Brunnenpassage am BrunnenmarktBrunnengasse 71, Yppenplatz, 1160 WienAchtung: Begrenzte TeilnehmerInnenzahl!Anmeldung erforderlich (mailto: office@sosmitmensch.at).

9. March, 2009, Monday At 16.00 Petja DimitrovaTalk with the class: class project in Linz with Maiz in the time of 22 and 23.05.2009;
DIMITROVA: mögliche Projektthemen: diversitätspolitik und (neue)formen von “management der minderheiten”, authonomie der migration, antirasitische praxen, mögliche gemeinsamme (selbst)organisationsformen für politische arbeit (zBs im activismus-, kultur-, bildungsarbeit).

10. March, 2009, TuesdayCritically framing exhibitions: visiting an exhibition and discussionIm Rahmen von KKPD (Kritische künstlerische Praxis als Dissens) conceived by Dimitrova and Freudmann.

16. to 20. March 2009Harun Farocki film seminar

23. March 2009, Monday

At 16.00 READINGS: AlthusserAt 20.00 LECTURE: Tomash Schoiswohl

24. March 2009, Tuesday

10.00 to 12.00 INDIVIDUAL MEETINGSContact me for a talk.

24. March 2009, Tuesday

At 13.00 to 16.00 READINGS: AlthusserAt 17.00 PRESENTATION: Kader Muzaqi

24. March 2009, Tuesday

At 20.00 SCREENING of the video by Radic Jelena/Freudmann Eduard with the title:The State of Exception Proved to be the Rule. A video documentary of the prevention of an exhibition, 2008, 90 min.Introduction by Eduard Freudmann.

ABOUT THE FILMOn 7 February 2008 the exhibition Exception – Contemporary Art Scene from Prishtina presenting artworks by Albanian artists from Kosovo in Kontekst Galerija Belgrade was prevented from being opened by a clerical-fascist organization, violent football hooligans and the Serbian police.The incident was accompanied by a hysteric scandalisation campaign in Serbian media and marks another milestone in the continuous state of exception in Serbian public space after the overthrow of the Milosevic regime in 2000. It came into effect in 2001 when Belgrade’s first Gay Pride Day was bloodily annihilated. In both cases also the subsequent realization could not be accomplished due to the lack of security.Along the narration of the tide of events the documentary video examines the traditions in which the incident is embedded, points out its political context, displays the media coverage, reflects its preconditions, meanings and impact and concludes that hatred reactions were being triggered by the fact that Serbian cultural racism could not bear having its stereotype of “uncivilized Albanians” being strongly contrasted and therefore nullified by perfectly articulated artistic positions of Prishtina’s contemporary art scene. – Jelena Radic, Eduard FreudmannJelena Radic was born in 1978 in Pančevo, Serbia. Lives and works in Pančevo and Belgrade.Eduard Freudmann was born in 1979 in Vienna. Lives and works in Vienna and Belgrade

25. March, 2009, Wednesday

At 10.00 diploma in Akbild

31. March, 2009, Tuesday

At 20.00Discussion class, reading Althusser, questions about representation… and maybe some student presentation

RUNDGANG 2009

concept — Mon, 19 Jan 2009 22:16:38 GMT

THURSDAY 22.01.2009

At 18.00 OPENING EXHIBITION by PCAP STUDENTS and GUESTS

Carolina Agredo, Aleksandra Aleksic, Lisa Bolyos, Lina Dokuzovic, Cain Chui (Chui Yong Jian), Clarissa Gadsden, Muzaffer Hasaltay, David Kellner, Christoph Kolar, Lisbeth Kovacic, Majda Turkic,Kadri Muzaqi, Marissa Lobo, Adnan Popovic + Jasmin Schienegger, Rozati Sayed Saleh Christoph Stulle, Ruth Weismann and “Writing Central European Art History seminar” presented by Philip Leitner, Analisa Cannito, Chui Jong Yian, Rozati Sayed Saleh, Muzaffer Hasaltay, Miltiadis Gerothanasis, Ivana Marjanovic and Ivan Jurica.

THURSDAY 22.01.2009

AT 19.30 BOOK PRESENTATION// Buchpräsentation

TITLE: “At the Crossroads of the Production of Knowledge, Precarity, Subjugation and the Reconstruction of History, Display and De-linking”

Editors/ HrsgInnen: Lina Dokuzović, Eduard Freudmann, Peter Haselmayer and Lisbeth Kovačič

Publised by Löcker Verlag, Vienna 2009. A project by Post-Conceptual Art Practices/PCAP at Akbild, Vienna.

The book contains contributions by

Tal Adler, Carolina Agredo, Aleksandra Aleksić, Fahim Amir, Martin Beck, Ljubomir Bratić, Petja Dimitrova, Lina Dokuzović, fin, Kirsten Forkert, Eduard Freudmann, Vlatka Frketić, Juana Gonzalez Vernaza, Marina Gržinić, Muzaffer Hasaltay, Peter Haselmayer, Araba Evelyn Johnston-Arthur, Ivan Jurica, Christoph Kolar, Lisbeth Kovačič, Maria Krisper, Ivana Marjanović, Pablo A. Mejía, Walter D. Mignolo, Katharina Morawek, Kader Muzaqi, Lilo Nein, r0370126@akbild.ac.at, Gerald Raunig, Rúbia Salgado, Patrick Schabus, Tomash Schoiswohl, Jude Sentongo, Šefik Tatlić, Dmitry Vilensky, Marion von Osten and Ruth Weismann.

PRESENTATION OF THE BOOK WITH GUESTS WRITERS (Araba Evelyn Johnston-Arthur, Vlatka Frketić, Ljubomir Bratić, Fahim Amir, Gerald Raunig, among others) and STUDENTS from PCAP.

FRIDAY, 23. 01. 2009EXHIBITION OPENS at 10.00AT 14.00

PRESENTATION and REFLECTION ON THE SEMINAR:“Writing Central European Art History”

Moderation: Ivan Jurica und Ivana Marjanović

In collaboration with Philip Leitner, Analisa Cannito, Chui Jong Yian, Rozati Sayed Saleh, Muzaffer Hasaltay, Miltiadis Gerothanasis

FRIDAY, 23. 01. 2009EXHIBITION OPENS at 10.0018 Uhr.: Fimscreening/FILMSCREENING: “In Prison My Whole Life” (UK/2007)Anschließende/ Diskussion mit/ TALK with WILLIAM FRANCOME UND KATIE GREEN.

Filmreihe organisiert von Daniel Erlacher in Kooperation mit Amnesty International.

IN ENGLISH

In Prison My Whole Life (UK/2007)Basierend auf einer Idee von William Francome und Katie GreenRegie: Marc Evans; Buch: Marc Evans & William Francome; 93Min, eng.OVIn Prison My Whole Life ist ein Dokumentarfilm über den berühmten Todesstrafen-Fall des afroamerikanischen Journalisten Mumia Abu-Jamal. Produzenten sind der britische Schauspieler Colin Firth und seine Frau Livia, Regie führte der bekannte Regisseur Marc Evans.

Dieser Film erzählt die Geschichte der Reise eines jungen Mannes, William Francome, der in derselben Nacht – am 9. Dezember 1981 – zur Welt kam, in der Mumia Abu-Jamal verhaftet und des Mordes an einem Polizeibeamten angeklagt wurde. Dabei setzt sich Francome nicht nur mit der Geschichte des letzten Vierteljahrhunderts, sondern auch mit Rassismus, Klassenvorurteilen, und den Widersprüchen und Schrecken der Todesstrafe auseinander. Der Film zeigt seine Gespräche mit AutorInnen, MenschenrechtsaktivistInnen und MusikerInnen wie Alice Walker, Noam Chomsky, Angela Davis, Snoop Dogg und Steve Earle – und natürlich Mumia Abu-Jamal selbst, der von alten Fotos abgesehen unsichtbar bleiben muss, weil die zum Tod Verdammten heute nicht mehr gefilmt oder fotografiert werden dürfen. Außerdem bringt der Film die bisher stärksten Argumente für ein neues Verfahren für Abu-Jamal, zum Teil aufgrund neuer Beweise für Abu-Jamals Unschuld, die während der Dreharbeiten von dem Heidelberger Autor M ichael Schiffmann entdeckt wurden.

Der Film steht unter Schirmherrschaft der wichtigsten Menschenrechtsorganisation der Welt, Amnesty International, ein bisher einmaliger Vorgang in der Geschichte der Organisation.(Text: Deutsch-Amerikanisches Institut, Heidelberg)

www.inprisonmywholelife.com www.myspace.comTrailer: www.agit-doc.org

SATURDAY, 24. 01. 2009EXHIBITION OPENS at 10.00STARTING AT 18.00

LECTURE »Labor Struggle and Labor Migration in Industrialized Agriculture” by LISA BOLYOS

PERFORMANCE “How to Break Reality” by PETER HASELMAYER

PERFORMANCE “The five Commandments against the Divine Law” by MARISSA LOBO in collaboration with ALESSANDRA KLIMPEL (activist and performer from Linz)

SUNDAY, 25.01.2009EXHIBITION OPENS at 10.00AT 15.00

LECTURE “Filmische und soziale Raumentwürfe im experimentellen ethnografischen Dokumentarfilm anhand der Filmpraxis von Trinh T. Minh-ha”

By Regina Wuzella

Lecture followed by the screening of “Re-assemblage” (1981) by Trinh T. Minh-Ha

SUNDAY, 25.01.2009EXHIBITION OPENS at 10.0018 Uhr: Filmscreening/FILMSCREENING: “The Elephant in the Room” (UK/2008)Anschließende Diskussion mit dem Regisseur des Films/ TALK with DEAN PUCKETT.

In Rahmen der Filmreihe von Daniel Erlacher.

IN ENGLISH

The Elephant in the Room (UK/2008)Buch/Regie:Dean Puckett; 92min; eng. OV6 1/2 Jahre nach der Tragödie von 9/11 sind die psychologischen Auswirkungen dieser Katastrophe noch immer quer über den Globus zu spüren."The Elephant In The Room" begleitet den Filmemacher Dean Puckett bei seiner Untersuchung der kulturellen Auswirkungen von Paranoia und 9/11 auf die britische Lebenswelt: von AktivistInnen des 9/11 Truth Movement über die Psyche von MuslimInnen im modernen Grossbritannien bis hin zu einem Besuch in New York City zum 6. Jahrestag der Anschläge, wo er eine Stadt vorfand, die noch immer eine große offene Wunde hat.Der Film zeigt die stille Scham der USA: die 9/11 First Responders, also Feuerwehrmänner, Polizistinnen und HelferInnen, die an 9/11 als erste vor Ort waren um zu helfen und von denen mittlerweile tausende an schweren Lungenkrankheiten, Krebs und anderen Beschwerden leiden. Sie alle wurden von der Bush-Administration an 9/11 nachweislich beim Thema der Luftqualität belogen, und dann als sie nicht mehr gebraucht wurden, fallengelassen."The Elephant In The Room" erzählt vor allem ihre Geschichte, denn niemand anders tut es

ALL OPEN TO GENERAL PUBLIC!

STUDENT PRESENTATIONS

concept — Wed, 07 Jan 2009 14:17:29 GMT

GUEST LECTURE

concept — Wed, 07 Jan 2009 14:12:16 GMT

In the year 1970 a fire extinguished, almost in its entirety, the cinema material of the National File of the Image, Montevideo. Itwas reconstructed on the basis of collector's donations and private cinema archives, but could never fully recover from thecensorship of the dictatorship in Uruguay (1973 -1980) and from the low budget that the successive governments assigned toit. The archive from 1974 collected many works from the film festival in Montevideo set up in 1954 by the SODRE, Uruguay'snational radio station and a progressive cultural promoter. Among the film makers attending in 1958, when John Grierson wasthe guest of honor, were Chambi from Peru, Nelson Pereira dos Santos from Brazil, and Fernando Birri from Santa Fe.Montevideo was the only city of Latin America that sheltered for 2 decades a Festival of Experimental Cinema, which had asprotagonists the visit of personalities like Norman McLaren, John Grierson and others. For being Cine of “not commercial”interest, it was not considered of a major importance. Doing an inquiry of the authors of the above mentioned films and reconstructingthe movies one to one, we succeeded in reconstructing a new map of the history of the art in the Rio de la Plata.The point of the investigation is to review the cinema’s history in Uruguay (especially regarding the Experimental Cinema from50s to 70s) and to reflect on the consequences brought by the extinguished period of the 1970s for contemporary generations.The principal way of research is on one side the historical information given by the protagonists of the time (and thesubversion that this information produces in the historicity of the image) and on the other the impact from new artistic productionsthat arise today and as part of the research.The project of reconstruction of the material of the National File of the Image, Montevideo is carried out in the City of Montevideoand relies on the support of the Foundation of Contemporary Art, the National File of the Image and the National Museumof Visual Arts.facmvd.blogspot.com

DISCUSSION IN SPANISH, GERMAN and ENGLISH.The lecture from Spanish to German will be translated by Hansel Sato.Resume of the lecture will be given as well in English.

The screening of 16 mm films from the archive is facilitated by Chistoph Kolar.Ángela López Ruiz is artist, curator and researcher, from Montevideo, Uruguay. Graduate from the Republican University, sheis specialized in Cinema and Video. Some of her out-standing curatorships were: Anthology videoperformance of ClementePadín, Museo del Barrio, New York, www.elmuseo.org; Cine Expandido I and II (Expanded cinema) at National Museum ofVisual Arts, MVD, www.mnav.gub.uy and focos/fac realized in the context of the Regional Meeting of Art www.era.org.uy. Asartist she has exhibited from 1999 up to today in Montevideo, Buenos Aires, Caracas, Maracaibo, Santiago de Chile, SanPablo, Paris, Barcelona, Seville, Dresden, Berlin and London

WRITING CENTRAL EUROPEAN ART HISTORY

concept — Wed, 07 Jan 2009 14:05:35 GMT

15:30 Introduction

15:45 Jan Bakos (Comenius University Bratislava):

Humanists versus Relativists. Visions and Revisions of the Vienna School Methodological DoctrineThe Vienna School of Art History based art historical research on the belief in method and its scientific nature. The orthodox epistemological model of the Vienna School as formulated by Alois Riegl regarded art history as an exact and non-partial objective science. Riegl’s followers developed and transformed or critically revised his model. The present paper deals with the process of transformations and revisions of the Vienna School orthodox model.

17:00 Discussion

7:30 Pause

18:00 Piotr Piotrowski (Adam Mickiewicz University, Poznan):

Towards a Horizontal Art HistoryThe author proposes a theory of a horizontal art history as both a critique of the vertical one, understood as hierarchical and Western oriented scholarly practice, as well as the proposed methodological approach to rewrite a history of modern art along with the pluralistic and non-hierarchical model. The model suggested here is based on an equality of different art historical narratives. Its crucial point is to negotiate different discourses, not in order to create one alternative super-structure, but rather to unveil a dynamic process of exchanging values between them.

19:30 Discussion

20:00 Final notes

20:30 Dinner in the class, prepared by Miltiadis Gerothanassis and Ivan JuricaIn charge of the seminar at the Academy of Fine Arts in Vienna: Marina GržinićAssistants/tutors: Ivan Jurica and Ivana Marjanović.

PROJECT ASSISTANCE from PCAP:Technical coordination: Petja Dimitrova, Eduard FreudmannRecording, editing, streaming: Analisa Cannito, Philip Leitner, Chui Jong YianPhoto archive by Muzaffer Hasaltay and Rozati Sayed Saleh

PROGRAM JANUARY 2009

concept — Tue, 30 Dec 2008 07:08:15 GMT

JANUARY 2009 WORKING SCHEDULE6. January 2009, Tuesday, national holiday

8. January 2009, ThursdaySEMPER, M1

At 15.30SEMINAR: Writing Central European Art History, part 2, public lectures

Writing Central European Art History is a special seminar/course,that was put together by ERSTE Stiftung and WUS with 7 academics/professors from the so called Central European art institutions and academies: Czech Republic, Estonia, Hungary, Poland, Serbian and Slovakia. It brings fresh inputs on academic art history and the perception on modernism and post-modernism in the former Eastern European territory.In charge: Marina GrzinicAssistants/tutors: Ivan Jurica and Ivana Marjanovic, Akbild

AT 15.30 INTRODUCTION

AT 15.45 LECTURE by Jan BakosJan Bakos, Member of Presidium of the Slovak Academy of Sciences Faculty of Letters, Comenius University Bratislava, Slovak Republic

Title: Humanists versus Relativists. Visions and Revisions of the Vienna School Methodological Doctrine

The Vienna School of Art History based art historical research on the belief in method and its scientific nature. The orthodox epistemological model of the Vienna School as formulatedby Alois Riegl regarded art history as an exact and non-partial objective science. Riegl’s followers developed and transformed or critically revised his model. The present paper deals with the process of transformations and revisions of theVienna School orthodox model.

DISCUSSION: 17.00 to 17.30

PAUSE: 17.30 – 18.00, refreshments

AT 18.00 LECTURE by Piotr Piotrowski

Professor and Chair of Art History Piotr Piotrowski, Adam Mickiewicz University, Poznan, Poland

Title: Towards a Horizontal Art History

The author proposes a theory of a horizontal art history as both a critique of the vertical one, understood as hierarchical and Western oriented scholarly practice, as well as the proposed methodological approach to rewrite a history of modern art along with the pluralistic and non-hierarchical model. The model suggested here is based on an equality of different art historical narratives. Its crucial point is to negotiate different discourses, not in order to create one alternative super-structure, but rather to unveil a dynamic process of exchanging values between them.

DISCUSSION: 19.30-20.00At 20.00 until 20.30: FINAL NOTESAt 20.30: Dinner in the class: prepared by Miltiadis Gerothanassis and Ivan Jurica

PROJECT ASSISTANCE from PCAP:Technical coordination: Eduard Freudmann, Petja DimitrovaRecording, editing, streaming: Philip Leitner, Analisa Cannito, Chui Jong YianPhoto archive by Rozati Sayed Saleh, Muzafer Hasaltay

9, January 2009, FridaySEMPER, M1

At 15.00 until 19.00Presentations with discussionPhilip Leitner, open sourceLilo Nein, presentation diploma work (June 2009)Ruth Weismann, recent work (in progress )Reinhard Uttenthaler presentation of his project: MAUER/WALL

9, January 2009, FridaySEMPER, M1

At 20.00 GUEST LECTURER: ÁNGELA LÓPEZ RUIZ, MONTEVIDEO, URUGUAYThe lecture from Spanish to German will be translated by Hansel Sato.

BIO:Ángela López Ruiz is artist, curator and researcher, from Montevideo, Uruguay. Graduate from the Republican University, she is specialized in Cinema and Video. Member of the Foundation of Contemporary Art, (Fundación de arte contemporaneo) ww.facmvd.org, where she develops her project of investigation, 05982: Montevideo digital,
www.facmvd.org,Arqueología: los objetos y la imagen, (Archaeology: the objects and the image) facmvd.blogspot.com, Sé lo que hicieron el año pasado, (I know what you did last year) facmvd.blogspot.com.She has created the Workshop of Cinema/fac www.facmvd.blogspot.comSome of her out-standing curator ships were: Anthology videoperformance of Clemente Padín, Museo del Barrio, New York, www.elmuseo.org; Cine Expandido I and II (Expanded cinema) at National Museum of Visual Arts, MVD, www.mnav.gub.uy and focos/fac realized in the context of the Regional Meeting of Art www.era.org.uy. As artist she has exhibited from 1999 up to today in Montevideo, Buenos Aires, Caracas, Maracaibo, Santiago de Chile, San Pablo, Paris, Barcelona, Seville, Dresden, Berlin and London.

LECTURE SUMMARY:

Title: Sé lo que hicieron el año pasado / I know what you did last yearIn the year 1970 a fire extinguished, almost in its entirety, the cinema material of the National File of the Image, Montevideo. It was reconstructed on the basis of collector's donations and private cinema archives, but could never fully recover from the censorship of the dictatorship in Uruguay (1973 -1980) and from the low budget that the successive governments assigned to it. The archive from 1974 collected many works from the film festival in Montevideo set up in 1954 by the SODRE, Uruguay's national radio station and a progressive cultural promoter. Among the film makers attending in 1958, when John Grierson was the guest of honor, were Chambi from Peru, Nelson Pereira dos Santos from Brazil, and Fernando Birri from Santa Fe.Montevideo was the only city of Latin America that sheltered for 2 decades a Festival of Experimental Cinema, which had as protagonists the visit of personalities like Norman McLaren, John Grierson and others. For being Cine of “not commercial” interest, it was not considered of a major importance. Doing an inquiry of the authors of the above mentioned films and reconstructing the movies one to one, we succeeded in reconstructing a new map of the history of the art in the Rio de la Plata.The point of the investigation is to review the cinema’s history in Uruguay (especially regarding the Experimental Cinema from 50s to 70s) and to reflect on the consequences brought by the extinguished period of the 1970s for contemporary generations. The principal way of research is on one side the historical information given by the protagonists of the time (and the subversion that this information produces in the historicity of the image) and on the other the impact from new artistic productions that arise today and as part of the research.The project of reconstruction of the material of the National File of the Image, Montevideo is carried out in the City of Montevideo and relies on the support of the Foundation of Contemporary Art, the National File of the Image and the National Museum of Visual Arts.

The screening of 16 mm films from the archive will be facilitated by Chistoph Kolar.

12 to 17, January, 2009, Monday to FridayFilm seminar, prof. Harun Farocki

19, 20. 01. 2009, Monday, TuesdayInstalling RUNDGANG exhibition. In charge Eduard Freudmann and Petja Dimitrova.21.01.2009 PREOPENING RUNDGANG at 16.00

22 to 25, January, 2009, THURSDAY to SUNDAYRUNDGANG for GENERAL PUBLIC PROGRAM at M1:Ordinariat für postkonzeptuelle Kunst (PCAP)Semperdepot, M1, Lehargasse 8

RUNDGANG PROGRAM

THURSDAY, 22.01.2009

18 Uhr Ausstellungseröffnung der Studierenden/EXHIBITION OPENING:Carolina Agredo, Lina Dokuzović, Muzaffer Hasaltay, Ivan Jurica, Christoph Kolar, Kader Muzaqi, Adnan Popović, Johannes Klemen, Michael Pötschko, Sarah Binder, Chui Yong Jian, Maria Kuschelieva, Marissa Lobo, Dayan Ozan Özoglu, Bernadette Uttentahler, Lisa Bolyos, Analisa Cannito, Miltiadis Gerothanassis, Rozati Sayed Saleh, Jasmin Schienegger, Aleksandra Aleksić, etc.

THURSDAY, 22.01.2009 19.30 Uhr. Buchpräsentation/BOOK PRESENTATION:“At the Crossroads of the Production of Knowledge, Precarity, Subjugation and the Reconstruction of History, Display and De-linking”HrsgInnen: Lina Dokuzović, Eduard Freudmann, Peter Haselmayer and Lisbeth Kovačič Erschienen 2009 im Wiener Löcker Verlag in Zusammenarbeit mit der Ordinariat für postkonzeptuelle Kunst (PCAP) der Akademie der bildenden Künste Wien.

Gespräch mit den HerausgeberInnen und AutorInnen (Araba Evelyn Johnston-Arthur, Vlatka Frketić, Ljubomir Bratić, Fahim Amir, Gerald Raunig, und weitere) sowie Studierenden der PCAP.

Das Buch versammelt höchst unterschiedliche Interventionen in den Räumen der Kunst, Theorie, Bildung, Politik und des Aktivismus in Form englisch- und deutschsprachiger Beiträge von 37 AutorInnen. Es versteht sich als Plattform zur Hinterfragung und Redefinition von Machtrelationen und sozialen Auseinandersetzungen in zeitgenössischer Bildungs-, Kunst- und Kulturproduktion und analysiert jene inner- und außerinstitutionellen Praktiken, anhand derer gegenwärtig die „Autonomie“ in Bildung und Kunst festgemacht werden.

Mit Beiträgen von: Tal Adler, Carolina Agredo, Aleksandra Aleksić, Fahim Amir, Martin Beck, Ljubomir Bratić, Petja Dimitrova, Lina Dokuzović, fin, Kirsten Forkert, Eduard Freudmann, Vlatka Frketić, Juana Gonzalez Vernaza, Marina Gržinić, Muzaffer Hasaltay, Peter Haselmayer, Araba Evelyn Johnston-Arthur, Ivan Jurica, Christoph Kolar, Lisbeth Kovačič, Maria Krisper, Ivana Marjanović, Pablo A. Mejía, Walter D. Mignolo, Katharina Morawek, Kader Muzaqi, Lilo Nein, r0370126@akbild.ac.at, Gerald Raunig, Rúbia Salgado, Patrick Schabus, Tomash Schoiswohl, Jude Sentongo, Šefik Tatlić, Dmitry Vilensky, Marion von Osten and Ruth Weismann

FRIDAY, 23. 01. 2009

14 Uhr Präsentation und Reflektion des //PRESENTATION Seminars “Writing Central European Art History”. Moderation: Ivan Jurica und Ivana Marjanović.Archive: Philip Leitner, Analisa Cannito, Chui Jong Yian, Rozati Sayed Saleh, Muzafer Hasaltay

FRIDAY, 23. 01. 2009

18 Uhr.: Fimscreening/FILMSCREENING: “In Prison My Whole Life” (UK/2007)Anschließende/ Diskussion mit/ TALK WITH William Francome.Filmreihe organisiert von Daniel Erlacher in Kooperation mit Amnesty International.IN ENGLISH

www.inprisonmywholelife.com www.myspace.comTrailer: www.agit-doc.org

SATURDAY, 24.01.200918 Uhr, Vorträge, Performances, Screenings, LECTURESLisa Bolyos, lecturePeter Haselmayer, performance “How to Break Reality”Marissa Lobo, lecture/performance

SUNDAY, 25.01.200918 Uhr: Filmscreening/FILMSCREENING : “ The Elephant in the Room (UK/2008)In Rahmen der Filmreihe von Daniel ErlacherAnschließende Diskussion mit dem Regisseur des Films/ TALK WITH Dean Puckett.IN ENGLISH

The Elephant In The Room (UK/2008)Buch/Regie:Dean Puckett; 92min; eng. OV6 1/2 Jahre nach der Tragödie von 9/11 sind die psychologischen Auswirkungen dieser Katastrophe noch immer quer über den Globus zu spüren."The Elephant In The Room" begleitet den Filmemacher Dean Puckett bei seiner Untersuchung der kulturellen Auswirkungen von Paranoia und 9/11 auf die britische Lebenswelt: von AktivistInnen des 9/11 Truth Movement über die Psyche von MuslimInnen im modernen Grossbritannien bis hin zu einem Besuch in New York City zum 6. Jahrestag der Anschläge, wo er eine Stadt vorfand, die noch immer eine große offene Wunde hat.Der Film zeigt die stille Scham der USA: die 9/11 First Responders, also Feuerwehrmänner, Polizistinnen und HelferInnen, die an 9/11 als erste vor Ort waren um zu helfen und von denen mittlerweile tausende an schweren Lungenkrankheiten, Krebs und anderen Beschwerden leiden. Sie alle wurden von der Bush-Administration an 9/11 nachweislich beim Thema der Luftqualität belogen, und dann als sie nicht mehr gebraucht wurden, fallengelassen."The Elephant In The Room" erzählt vor allem ihre Geschichte, denn niemand anders tut es.

26 to 30.01.2009, EXAMS AKBILD

1.2 -1.3. 2009 FERIEN//HOLIDAYS

NEXT LECTURE IN MARCH: 2.3.2009, Monday at 16.00