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<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">° <b style="">Encounters in Relational Geography</b> - Dust, Ashes, Residua | 2 June
- 2 July, 2010</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Opening</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">1 June, 19.00 – 21.30</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Project curator: Richard Appignanesi</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Participant artists:</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Ranko Bon </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Dumitru Budrala </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Marina Grzinic and Aina Šmid</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Isa Rosenberger </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Saso Sedlacek </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Vlad Nanca<span style=""> </span></span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Zbynek Baladran </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The awkward question: is East
Europe really accounted as European ‘added value’?<span style=""> </span>Or is our currently ‘extended Europe’ fatally
schizothymic. Do the East European newcomers to the Union remain disavowed
migrants at the banquet edge of Western Europe?<span style="">
</span>Where does the threshold of Fortress Europe actually begin, once again?</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Seven East European artists
have been convened as diagnosticians and researchers to explore these questions
in the art exhibition, ‘Encounters in Relational Geography - Dust, Ashes,
Residua’.<span style=""> </span>Each artist, of acknowledged
status, will address new multi-media work to the urgencies of a ‘space for
life’ in the neoliberal capitalist reconstruction and reterritorialization of
East Europe. Vienna, the former imperial lynchpin of trans-territorial peoples,
is the ideal ‘in-between’ site for this exhibition.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The broom is our humble
emblem, the symbol of everyday domestic contest that serves as cultural text
for these artists in their meditations on waste and relational geography.<span style=""> </span>Literally, too, the broom is the
anthropological artefact linking together images of the folk collection of
brooms at the Museum of Arna Jharna in Rajasthan, India, and the documentary
film on present day broom-makers, the Baesi Roma group in the uplands of
Romania.<span style=""> </span>It is our aim to gather fresh
birch twigs for our ‘sweepings of dust, ashes and residua’ at the Open Space.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The highlight of this
exhibition is exemplified research, but of a type that has another resonance in
East Europe, just as their contemporary art, for all of its apparent
resemblance to Western tactical intermediality, has a different aesthetic
texture. The artworks featured at the Open Space are also justifiably resistant
to prejudice and assimilation. Our objective is not to exoticize East European
artists as Europe’s ‘others’ but to comprehend how they play on an unfamiliar
scale of visual assonances and on which the past and present are inflected in a
phantasmic way, because the modernist utopia of Communist socialism suddenly
went dead and a prefab ‘machine for living’ was left vacant, with everything
stranded in uncanny residua – the architecture, the monuments in public spaces,
even territoriality itself had become homeless.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">A bridge of concern to
‘Encounters in Relational Geography - Dust, Ashes, Residua’ is now being built
across the trauma of seismic change.<span style=""> </span>But
is this the prelude to a further dire transformation from ‘biopolitics to
necropolitics’?<span style=""> </span>The situation is
critical but not hopeless, for surely these artists are themselves evidence of
the trenchant and humoristic resilience of East Europe.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Artist info:</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Ranko Bon </span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Residua (1976 – 2010)</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">This collection of notes,
essays, epistles, stories, aperçus, diary entries, tales, epigrams, vignettes,
parables, poems, quips, fables, snippets of conversation, maxims, slogans,
quotes, jokes, and aphorisms, as well as the addenda that extend all of the
above, was begun in 1976, and now contains about two million words that can be
searched. At first, the writings were collected at the end of the year into
yearbooks and shared with friends and acquaintances around the world.
Collections of writings extending over all years appeared in print on several
occasions, and many of these writings were published since 1976, most often as
selections on a particular theme. </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Residua is about a journey of
discovery and shaping of the author’s own self. The author is inviting others
to partake in his journey, as well as to consider their own journeys of
discovery and shaping of their own selves. According to the author, this is
art’s ultimate aim.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Marina Grzinic</span></b></em><em><span style="font-family: Arial; font-style: normal;" lang="TR"> and<b style=""> Aina Šmid </b>in collaboration with Zvonka
Simzcic</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Naked Freedom, video, 2010</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">This video work, connecting
Ljubljana, Belgrade and Durham USA, presents a conceptual political space of
engagement that allows for rethinking what local community is. It
conceptualizes the possibility of social change under the conditions of finance
capitalism and its financialization processes that permeate art, the social,
political and critical discourse. The collective process of making the video
“Naked Freedom” is about the enactment of social, political and collective
performative practices for the screen that resonates with the performers’ own
off-screen lives. </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">In Ljubljana seven young
activists, musicians, poets and youth workers, members of the Youth Center
Medvode, a village near Ljubljana, discuss capitalism, colonialism, education
and the power of art as a possibility for politics. They also rethink the
possibility for a radicalization of a proper life. The work is not only
recognition of local youth power but as well an initiation, through the making
of the video work, to social relations that will make visible those agencies
seeking new possibilities.<span style=""> </span></span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Isa Rosenberger </span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">DANCE OF DEATH. A Rehearsal</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The domination of Austrian
banks in Eastern European countries, as one example of the so-called
transitional processes in post-socialistic countries, is the starting point of
Isa Rosenberger’s artistic research. While searching for images which could
represent the abstract and immaterial economic-political interlocking and the
negative spirals, in her work DANCE OF DEATH. A Rehearsal Rosenberger adopts
the motive of the Dance of Death, as a kind of morbid waltz, an image of destructive
flows, turns and intertwining: a dark motive that is intermitted with the
aesthetic dimension of the dance.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"><span style=""> </span></span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The work DANCE OF DEATH. A
Rehearsal should be interpreted as homage to the ballet of the German
choreographer Kurt Jooss. In this expressionistic piece conceived as a dance
macabre, Jooss translated the classical motive of late medieval art linked to
motives that reflect the times of the Weimar Republic, the first Fascistic
tendencies, the economic crisis, etc. Isa Rosenberger translates this first
political ballet into contemporariness, but also into a proper genre, and she
interweaves it with her own experiences and perspectives on the actual
political and economic conditions.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Saso Sedlacek</span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">AcDcWc (Merda d’Artista),
floor inslattion</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The project’s prototypes are
nicely summarized with the upgraded work of Piero Manzoni’s work from 1961
Merda d’Artista where the artist filled cans with his excrement. The work is
part of AcDcWc project which presents different prototypes of portable and
stationary toilets which can one day generate electricity in the western world
by recycling our own excrement.<span style=""> </span></span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The design of individual types
of AcDcWc toilet is based on Indian technology called Deenbandhu, meaning
"helpful for the poor", which was developed recently by Indian
technologists for the poorer classes of Indian society, who can thereby produce
electricity and gas for cooking. Sedlacek's upgraded version of this technology
was mostly driven by the need to adapt and use it in the so-called developed world,
and it resulted in the various types of toilets. </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Vlad Nanca</span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Birch broom, floor
instillation</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">The birch broom is more
traditional than the commonly seen besom broom. It is normally used in autumn
to sweep leaves and usually found in poorer areas. The plan is to make such a
broom in early spring with the assistance of broom- makers from the villages
outside Bucharest and gather the necessary branches from the trees at a time
when they are about to blossom. As soon as the broom is made, it will be placed
in a jar of water and allowed to grow roots and of course little leaves. It is
a natural process. From there on the broom can be planted in different gardens
and grow new birch trees. This would be a different use of the broom, a
slightly less direct way of cleaning, but with a more direct impact on the
environment. The broom here is just a pretext.</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Dumitru Budrala</span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Curse of the Hedgehog, video
(Running time: 100 minutes)</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Dumitru Budrala’s film Curse
of the Hedgehog is a central reference point for the ‘Encounters in Relational
Geography – Dust, Ashes, Residua’ exhibition because of its unusual and
poignant depiction of broom-making among the Baesi Roma people. This particular
project makes a specific link between Baesi, so-called “gypsy“, broom-makers of
Romania and the Arna Jharna Museum in Rajasthan, India, where the material
culture of this desert area is being represented by a long-term project of
collecting brooms. We come to appreciate the wit, the good humour and tenacity
of these Baesi people who live on the edge of disaster.<span style=""> </span>There is also interestingly a relational
geographic link of ethnic descent which joins the Roma people dispersed across
Europe to their origins in Rajasthan.<span style=""> </span></span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">Zbynek Baladran</span></b></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Bookcase, video essay, 5’ 05”</span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR">This short video essay is
based on a description of a family bookcase seen through the eyes of child.
>From this point of view everything looks very enigmatic and the interpretation
of one basic authoritarian ‘Socialistic Architecture’ book shifts the result of
the child’s perception to a new consequence. </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal"><em><span style="font-family: Arial; font-style: normal;" lang="TR"> </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><b style=""><span style="font-family: Arial; font-style: normal;" lang="TR">supported by</span></b></em><em><span style="font-family: Arial; font-style: normal;" lang="TR">:</span></em></p>
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<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">BM:UKK </span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">ERSTE Foundation</span></em></p>
<p class="MsoNormal" style="margin-left: 27pt;"><em><span style="font-family: Arial; font-style: normal;" lang="TR">Stadt Wien - Kulturabteilung MA 7</span></em></p>
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<p class="MsoNormal"><em><span style="font-size: 9pt; font-family: Arial; font-style: normal;" lang="TR">Open Space -
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