<span style="font-size: 10pt; font-family: Arial;">you are
<span>cordially</span> <span>invited</span> to</span> the opening of the exhibition:<br><div class="gmail_quote"><br>
<p class="MsoNormal"><i><span style="font-size: 11pt; font-family: "Bodoni MT"; font-style: normal;" lang="TR">°</span></i><i><b><span style="font-size: 10pt; font-family: "Bodoni MT"; font-style: normal;" lang="TR"> </span></b></i><b><span style="font-size: 10pt; font-family: Arial;">No Ifs, No Buts </span></b><span style="color: black;">| </span><span style="font-size: 10pt; font-family: Arial;">1 December - 9 January 2010</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial; color: black;">Opening: 30 November, 18.00 </span><span style="font-size: 10pt; font-family: Arial; color: black;" lang="EN-US">- 21.00</span><span style="font-size: 10pt; font-family: Arial; color: black;"></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial; color: black;">Project curators</span><span style="font-size: 10pt; font-family: Arial;">: </span><span style="font-size: 10pt; font-family: Arial;">Gülsen Bal and
Walter Seidl</span><b><span style="font-size: 10pt; font-family: Arial;"></span></b></p>
<p class="MsoNormal" style="margin-left: 36pt; line-height: 14.4pt;"><u><span style="font-size: 10pt; font-family: Arial; color: black;" lang="FR"><span style="text-decoration: none;"><br></span></span></u></p>
<p class="MsoNormal" style="margin-left: 36pt; line-height: 14.4pt;"><span style="font-size: 10pt; font-family: Arial; color: black;" lang="FR">Participant
artists:</span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR"> </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR">Nevin Aladağ </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR">Zbyněk Baladrán </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR">Ursula Biemann </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR">Esra Ersen </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="FR">Marina Gr</span><span style="font-size: 10pt; font-family: Arial;">ž</span><span style="font-size: 10pt; font-family: Arial;" lang="FR">ini</span><i><span style="font-size: 10pt; font-family: Arial; font-style: normal;" lang="FR">ć</span></i><span style="font-size: 10pt; font-family: Arial;" lang="FR"> / </span><span style="font-size: 10pt; font-family: Arial; color: black;" lang="FR">Aina Šmid </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><i><span style="font-size: 10pt; font-family: Arial; font-style: normal;" lang="FR">Siniša Ilić </span></i></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="IT">Daniel Knorr </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span><span style="font-size: 10pt; font-family: Arial;" lang="IT">Aglaia Konrad</span></span><span style="font-size: 10pt; font-family: Arial;" lang="IT"></span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;" lang="IT">Marco Poloni </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span style="font-size: 10pt; font-family: Arial;">Nada Prlja </span></p>
<p class="MsoNormal" style="margin-left: 36pt;"><span><span style="font-size: 10pt; font-family: Arial;">Santiago</span></span><span><span style="font-size: 10pt; font-family: Arial;"> Sierra </span></span><span style="font-size: 10pt; font-family: Arial;"></span></p>
<p class="MsoNormal"><u><span style="font-size: 10pt; font-family: Arial; color: black;" lang="FR"><span style="text-decoration: none;"><br></span></span></u></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Close up, Intro to
the project:</span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">The changing
experiences with time and space formed the post-modern and postcolonial
subject, which, according to Fredric Jameson, has been exposed to a loss of
maps, and thus attaches less importance to the geographical departure and
arrival points than to interim stages, which are mostly perceived in passing,
yet producing significant visual, linguistic and cultural codes of interaction,
while the economic transition flow of the past decades necessitated an
increased concentration on various forms of signification in mainly urban
environments. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial; color: black;">In
exploring the new ways of thinking about the multiplicity of subject-positions “that
begins from the critique of its present conditions (‘being’) in order to embark
upon the careful construction of mechanisms of engagement (‘becoming’)”</span><span style="font-size: 9pt; font-family: Arial;">[1]</span><span style="font-size: 10pt; font-family: Arial; color: black;">,<a href="#12c69855b7cf0645__ftn1" name="12c69855b7cf0645__ftnref1" title=""><span><span><span><span style="font-size: 10pt; font-family: Arial; color: black;"></span></span></span></span></a>
we are interested in how this might offer the possibility of a “new” space.
This is intended to produce relational entities in which an interrelation takes
place as “an activity of an un-framing<i> </i>[…]
which leads to a recreation and a reinvention of the subject itself.”<a href="#12c69855b7cf0645__ftn2" name="12c69855b7cf0645__ftnref2" title=""><span><span><span><span style="font-size: 10pt; font-family: Arial; color: black;"></span></span></span></span></a> </span><span style="font-size: 9pt; font-family: Arial;">[2]</span><span style="font-size: 10pt; font-family: Arial; color: black;"> This is where “identity-form” can be re-evaluated beyond the “I-other”<i> </i>dichotomy and </span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">beyond
representational boundaries</span><span style="font-size: 10pt; font-family: Arial; color: black;">.<i> </i></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">This brings up a question: how is all this manifested
within the realm of creative practice and brought into the spaces of art? </span><span style="font-size: 10pt; font-family: Arial;"></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Revealing the rapid
transformation of several turning points in pursing a nexus that constitutes
new forms of life within the framework of different topologies is the starting
point for the exhibition <b>No Ifs, No Buts</b>,
which focuses on the geopolitical implications of what governs the walls of the
former East and West divide. The questions of geopolitical topology find
themselves addressed in specific cultural conditions. The latter suggests that
the sensitiveness of these issues marks the production of cultural spaces
reflecting the respective representational politics. It is therefore necessary
to engage or share an artistic platform of discussion as one of the remits of
this multi-layered project. By discussing radical modes of self-referentiality
which allow <b>No Ifs, No Buts</b>, thereby
forming counter strategies to globalised forces which restrict personal space,
the exhibition raises questions about trans-cultural forms of geopolitical and
economic conditions, which lead to a new mapping of terrains on a visual and
discursive level.</span></p>
<p class="MsoNormal" style="text-align: justify;"><br></p><p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; font-family: Arial;" lang="DE-AT">-----------------------------------------------------</span></p>
<p class="MsoNormal" style="text-align: justify;">
</p><p class="MsoNormal"><span style="font-size: 9pt; font-family: Arial;">[1] </span><span style="font-size: 9pt; font-family: Arial;">O’Sullivan,
S.<b> </b>and<b> </b>Zepke, S. <i>Deleuze and
Contemporary Art</i>, </span><span style="font-size: 9pt; font-family: Arial;">Edinburgh</span><span style="font-size: 9pt; font-family: Arial;"> </span><span style="font-size: 9pt; font-family: Arial;">University</span><span style="font-size: 9pt; font-family: Arial;"> Press,2009, p.2</span></p>
<p class="MsoNormal"><span style="font-size: 9pt; font-family: Arial;">[2] Guattari, </span><span style="font-size: 9pt; font-family: Arial; color: black;" lang="EN-US">F. <i>Chaosmosis:
An Ethicoaesthetic Paradigm</i>.</span><span style="font-size: 9pt; font-family: Arial;" lang="EN-US"><span style="color: black;"> </span></span><span style="font-size: 9pt; font-family: Arial; color: black;" lang="EN-US">Indiana</span><span style="font-size: 9pt; font-family: Arial; color: black;" lang="EN-US"> </span><span style="font-size: 9pt; font-family: Arial; color: black;" lang="EN-US">University</span><span style="font-size: 9pt; font-family: Arial; color: black;" lang="EN-US"> Press, 1995</span><span style="font-size: 9pt; font-family: Arial;">, p.131</span></p>
<p class="MsoNormal"><span style="font-size: 9pt; font-family: Arial;"><br></span><span style="font-size: 9pt; font-family: Arial;"> </span></p><b><u><span style="font-size: 10pt; font-family: Arial;"><span style="text-decoration: none;"></span></span></u></b><p>
</p><p class="MsoNormal" style="text-align: justify;"><b><u><span style="font-size: 10pt; font-family: Arial;"><span style="text-decoration: none;"><br></span></span></u></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><u><span style="font-size: 10pt; font-family: Arial;">Artist info</span></u></b><b><span style="font-size: 10pt; font-family: Arial;">:</span></b><b><span style="font-size: 10pt; font-family: Arial;" lang="IT"></span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;" lang="IT"> </span></b></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;">Nevin Aladağ </span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">Hochparterre, </span></i><span style="font-size: 10pt; font-family: Arial;">video </span><span style="font-size: 10pt; font-family: Arial;">d</span><span style="font-size: 10pt; font-family: Arial;">o</span><span style="font-size: 10pt; font-family: Arial;">c</span><span style="font-size: 10pt; font-family: Arial;">umentation of a live </span><span style="font-size: 10pt; font-family: Arial;">p</span><span style="font-size: 10pt; font-family: Arial;">erformance</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">, 2010</span><i><span style="font-size: 10pt; font-family: Arial;"></span></i></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Nevin Aladağ</span><span style="font-size: 10pt; font-family: Arial;"> spoke with the residents of the
Große Bergstrasse in Hamburg´s district Altona about their living conditions
and experiences they have </span><span style="font-size: 10pt; font-family: Arial;">had F</span><span style="font-size: 10pt; font-family: Arial;">rom these
encounters she created an audio portrait of the street.</span><span style="font-size: 10pt; font-family: Arial;"></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">In her
performative work “Mezzanine” (“Hochparterre”) the m</span><span style="font-size: 10pt; font-family: Arial;">ulti</span><span style="font-size: 10pt; font-family: Arial;">-voiced assemblage is represented by the single face
of the actress who moves her mo</span><span style="font-size: 10pt; font-family: Arial;">u</span><span style="font-size: 10pt; font-family: Arial;">th according to
the playback and outlines the invisible speakers through the display of a
precise mime.<span> </span></span><span style="font-size: 10pt; font-family: Arial;"></span></p>
<br>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; font-family: Arial;">Since all
of the statements collected by Aladağ</span><span style="font-size: 10pt; font-family: Arial;"> share the same interface, namely the face of the performer,
none of the speakers run the risk of being perceived as prototypes of a
sociotope. As confident subjects of a staging that continuously and
transparently refers to itself, they offer a rich description of their
environment. The result is a concrete poetry of the city, in which spectator,
actress and generators of the original soundtrack become actors of a fair play
with authenticity and curiosity.</span><b><span style="font-size: 10pt; font-family: Arial;"></span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;" lang="FR"> </span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;" lang="FR">Zbyněk Baladrán</span></b><b><span style="font-size: 10pt; font-family: Arial;"></span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">randez-vous nowhere</span></i><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">,
video installation, 2008</span><i><span style="font-size: 10pt; font-family: Arial;"> </span></i></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">The film is founded on the
confrontation between the Communist Manifesto and the utopian ideas of
functionalist architect Karel Honzík. Based upon the film footage of socialist </span><span style="font-size: 10pt; font-family: Arial;">Czechoslovakia</span><span style="font-size: 10pt; font-family: Arial;"> a question is posited here
regarding the further development of post-communist countries. The Communist
Manifesto and the concepts of Karel Honzík, who in the early '60s developed in
his literary work the idea of a perfect communist society as the inevitable
goal of cosmic matter, serve as a reflective bridge for considerations directed
towards liberal capitalist societies.</span></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;" lang="FR">Ursula Biemann</span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">X-Mission</span></i><span style="font-size: 10pt; font-family: Arial;">,<b> </b>video essay, single channel, 40', 2008<b></b></span></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">X-Mission</span></i><span style="font-size: 10pt; font-family: Arial;"> explores the logic of the refugee
camp as one of the oldest extraterritorial zones. Taking the Palestinian
refugee camps as a case in point, the video engages with the different discourses
– legal, symbolic, urban, mythological, and historical – that give meaning to
this exceptional space. According to International Law, the Palestinian refugee
represents indeed the exception within the exception. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">In the
course of 60 years they had to build a civil life in the camps, fostering an
intense microcosm with complex relations to homeland and Diaspora. The refugee
camp harbours an intense microcosm with complex relations to homeland and to
related communities abroad. Given the vital connections among the separated
Palestinian populations, the video attempts to place the Palestinian refugee in
the context of a global Diaspora and considers post-national models of belonging
which have emerged through the networked matrix of this widely dispersed
community. Special case studies include the reconstruction of Nahr el-Bared
refugee camp in Lebanon and the entanglement between the Qualified Industrial
Zone in Jordan recruiting its labour force from China and India and the among
Palestinian refugees of a nearby camp.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; font-family: Arial;">The
narrative relies on a series of interviews made with experts (lawyer,
journalist, architect, anthropologist, historian) interspersed with
multiple-layer video montage deriving from both downloaded and self-recorded
sources. Speakers include Susan Akram, Bilal Khabeiz, Samar Kanafani, Ismaël
Sheikh Hassan, Oroub elAbed, Beshara Doumani. The video also reflects on the
fine distinctions between humanitarian and artistic missions.</span></p>
<p class="MsoNormal" style="text-align: justify;"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;" lang="FR">Esra Ersen </span></b></p>
<p class="MsoNormal" style="text-align: justify;"><i><span style="font-size: 10pt; font-family: Arial;">Which One You Choose</span></i><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">,
video installation,<span style="color: black;"> </span></span><span style="font-size: 10pt; font-family: Arial; color: black;">17’39’, </span><span style="font-size: 10pt; font-family: Arial; color: black;" lang="EN-US">2003</span><span style="font-size: 10pt; font-family: Arial;"></span></p>
<p><span style="font-size: 10pt; font-family: Arial;">The work <i>Which One You Choose</i> confronts</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">
‘gender-specific’ positioning</span><span style="font-size: 10pt; font-family: Arial;"> in very specific contexts -Turkey and Japan – as well as the issue of identification
</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">while it provides alternatives to conventional ideas against the
backdrop of multilayered hierarchical structures. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">This sub-set has been brought together in the context
of “t</span><span style="font-size: 10pt; font-family: Arial;">he constitutive
political subject as well as the class that is excluded - <i><span style="font-family: Arial; color: black;">de facto</span></i>, if not <i><span style="font-family: Arial; color: black;">de jure</span></i> - from politics’” out
of the practical reading of Agamben.</span><span style="font-size: 10pt; font-family: Arial;"> </span><span style="font-size: 10pt; font-family: Arial;">In the same line of enquiry; the discourse on overcoming
this fundamental biopolitical fracture, Esra Ersen draws our attention to the precarization
that has emerged in the past decade, forcing us to rethink of a specific
conjuncture of a simultaneous relationship of the proliferation of the sites. <span style="color: black;">This reflects the importance of the “politics of space”
that reinforces the issues further by the eventuality of the </span>possibilities
for a variety of forms of precarization in </span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">recognition of a dialogical subjectivity to come into
existence</span><span style="font-size: 10pt; font-family: Arial; color: black;">
beyond </span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">gender-specific’ positioning</span><span style="font-size: 10pt; font-family: Arial; color: black;"> and identity politics at
a distance from </span><span style="font-size: 10pt; font-family: Arial;">the
cognitive capitalist game<span style="color: black;">.</span></span></p>
<p class="MsoNormal" style="text-align: justify;"><br><b><span style="font-size: 10pt; font-family: Arial;"></span></b></p><p class="MsoNormal" style="text-align: justify;">
</p><p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;">Marina
Gržini</span></b><b><span style="font-size: 10pt; font-family: Arial;">ć</span></b><b><span style="font-size: 10pt; font-family: Arial;">
/ </span></b><b><span style="font-size: 10pt; font-family: Arial;">Aina Šmid</span></b><span style="font-size: 10pt; font-family: Arial;"> in collaboration with Zvonka Simčič</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Naked
Freedom, video, 25 min., 2010</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">This video
work, connecting </span><span style="font-size: 10pt; font-family: Arial;">Ljubljana</span><span style="font-size: 10pt; font-family: Arial;">, </span><span style="font-size: 10pt; font-family: Arial;">Belgrade</span><span style="font-size: 10pt; font-family: Arial;"> and </span><span style="font-size: 10pt; font-family: Arial;">Durham</span><span style="font-size: 10pt; font-family: Arial;"> </span><span style="font-size: 10pt; font-family: Arial;">USA</span><span style="font-size: 10pt; font-family: Arial;">, 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></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">In </span><span style="font-size: 10pt; font-family: Arial;">Ljubljana</span><span style="font-size: 10pt; font-family: Arial;"> seven young activists, musicians,
poets and youth workers, members of the Youth Center Medvode, a village near </span><span style="font-size: 10pt; font-family: Arial;">Ljubljana</span><span style="font-size: 10pt; font-family: Arial;">, 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></p>
<p></p><b></b><p class="MsoNormal"><i><b><span style="font-size: 10pt; font-family: Arial; font-style: normal;">Siniša Ilić </span></b></i></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">A Letter to Heiner
M/Version 2</span></i><span style="font-size: 10pt; font-family: Arial;">, wall
installation and performance, 2009/2010</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;" lang="ES"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial; color: black;">The
joint work of Siniša Ilić and Goran Ferčec <i>A Letter to Heiner M/Version 2</i>
(working title) has began during KulturKontakt’s AiR program in Vienna as
research into the wide field of potential relations between text and picture. A
performance text by Goran Ferčec <i>A Letter to Heiner M</i> was taken as the
basis for Ilić’s work: a reading presented in story boards.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial; color: black;">Ilić
is interested in this text as instructions for performance executed in the
borderline area between the private sphere and artistic statement, but not
necessarily linked to culture as an institute. This reveals the process of the
continuous re-articulation of our own position in the world we live in and work.
For this exhibition, Siniša Ilić will present one possible combination of
picture, text and instructions for the audience to connect and create relations
between them.</span></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;">Daniel Knorr </span></b></p>
<p class="MsoNormal" style="text-align: justify;"><i><span style="font-size: 10pt; font-family: Arial;">Architecture Bucureşti 2001/2005</span></i><span style="font-size: 10pt; font-family: Arial;">, photographs</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Courtesy of Kontakt - The Art Collection of Erste Group </span></p>
<p class="MsoNormal" style="text-align: justify;"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">The work
Architecture Bucureşti 2001/2005 consists of 26 unique photographs made by Nea’
Costică, a street portrait photographer, after the instructions of the artist.
The photographs deal with urban wasteland and the construction as well as
deconstruction of new and old buildings. The phase of urban transformation of </span><span style="font-size: 10pt; font-family: Arial;">Bucharest</span><span style="font-size: 10pt; font-family: Arial;"> is shown in these photographs,
which are made with an old-fashioned plate camera, referencing to the
uniqueness of each photograph, which exists in both positive and negative
prints, showing the ambiguities of </span><span style="font-size: 10pt; font-family: Arial;">Bucharest</span><span style="font-size: 10pt; font-family: Arial;">’s changing urban outlook. The
black-and white images convey a spooky character of the town as a place where
corruption and dubious business is still under way. Meeting the standards set
by the EU is still a difficult task for a city, which has for a long time been
seen as Communism’s most biggest city, and which is gradually adapting to the
overarching European norms. Reforms in urban planning become a task, which
still seems difficult to tackle with regard to the city’s past and future.</span></p><p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"><br></span></p>
<p class="MsoNormal"><span><b><span style="font-size: 10pt; font-family: Arial;">Aglaia Konrad</span></b></span></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial; color: black;">Desert</span></i><i><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></i><i><span style="font-size: 10pt; font-family: Arial; color: black;">Cities</span></i><i><span style="font-size: 10pt; font-family: Arial; color: black;">, </span></i><span style="font-size: 10pt; font-family: Arial;">video, 2008<span><b></b></span></span></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></b></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Aglaia Konrad focuses a direct gaze on cities such as </span><span style="font-size: 10pt; font-family: Arial;">Cairo</span><span style="font-size: 10pt; font-family: Arial;">, </span><span style="font-size: 10pt; font-family: Arial;">Alexandria</span><span style="font-size: 10pt; font-family: Arial;">, and
Anwar el Sadat. This is not a classic documentary video: The artist asked two
writers to come up with their own text, which makes the video oscillate between
reality and fiction through the voice of the narrators. The video shows the
application of “modernist” principles to architectural development in desert
landscapes. They spotlight an improbable dialogue between imported models and
vernacular elements, constructions and sites, desert and communities, modernity
and tradition. People moving into these buildings try to find a new exclusivity
for social as well as living standards. Yet, many of these new housing projects
from the 1990s are already falling into ruins and got abandoned; raising
questions about the necessity for such grand endeavours far from traditional
traffic routes. How do deserts attract attention and how easily are the dreams
of utopian places destroyed? Konrad’s video is testimony to these unusual
developments.<span> </span><b></b></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;">Marco Poloni </span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">Persian Gulf Incubator</span></i><span style="font-size: 10pt; font-family: Arial;">, installation, 2008</span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">In <i>Persian Gulf Incubator</i>, Marco Poloni’s starting
point was a found amateur photograph from the 1970s. It shows a woman waving
farewell amid a group of passengers on the Italian luxury liner “T/S Raffaello”
in the </span><span style="font-size: 10pt; font-family: Arial;">harbour</span><span style="font-size: 10pt; font-family: Arial;"> of </span><span style="font-size: 10pt; font-family: Arial;">New York</span><span style="font-size: 10pt; font-family: Arial;">. This photograph encountered by
chance provides the backdrop for an (also autobiographically motivated)
investigation - in his childhood Poloni actually took this ship from New York
to Naples - that climaxed in a stealthy survey trip the artist took to the
Iranian nuclear compound of Bushehr, which is a primary target point of current
US warmongering. The result is a large medial wall installation that inexorably
generates a dramatic scenario.<b></b></span></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></p>
<p class="MsoNormal"><b><span style="font-size: 10pt; font-family: Arial;" lang="IT">Nada Prlja </span></b></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">Queue,</span></i><span style="font-size: 10pt; font-family: Arial;"> installation, 2010<span></span></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">The
project considers the phenomenon of ‘waiting’ - referring to the obligatory
queuing at airports’ passport control, when entering a foreign country. The
visitors, upon entering the gallery, find themselves queuing in line, in
meandering lanes created by line barriers, without the possibility to escape,
or redirect the direction.</span></p>
<p class="MsoNormal"><span><span style="font-size: 10pt; font-family: Arial;"> </span></span></p>
<p class="MsoNormal"><span><b><span style="font-size: 10pt; font-family: Arial;">Santiago</span></b></span><span><b><span style="font-size: 10pt; font-family: Arial;"> Sierra </span></b></span></p>
<p class="MsoNormal"><i><span style="font-size: 10pt; font-family: Arial;">Polyurethane sprayed on the backs of
10 workers</span></i><span style="font-size: 10pt; font-family: Arial;">,</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">
video, single channel, </span><span style="font-size: 10pt; font-family: Arial;">66’08’,<i> </i>2004</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Courtesy of the artist and Lisson Gallery (</span><span style="font-size: 10pt; font-family: Arial;">London</span><span style="font-size: 10pt; font-family: Arial;">)</span></p>
<p style="margin: 0cm 0cm 0.0001pt;"><span><b><span style="font-size: 10pt; font-family: Arial;"> </span></b></span></p>
<p style="margin: 0cm 0cm 0.0001pt;"><span style="font-size: 10pt; font-family: Arial;">The work was created by spraying ten men and women with
polyurethane - a poisonous liquid plastic that hardens quickly in contact with
air. What makes this piece so controversial is the fact that all the ten hired
participants were Iraqis. The themes, then, are the </span><span style="font-size: 10pt; font-family: Arial;">Iraq</span><span style="font-size: 10pt; font-family: Arial;"> war, chemical warfare and the
torture of Iraqi prisoners. Despite being toxic, polyurethane is commonly used
for household insulation, so it has connotations of both safety and danger - a
metaphor for the combination of defence and aggression that motivated the
invasion of </span><span style="font-size: 10pt; font-family: Arial;">Iraq</span><span style="font-size: 10pt; font-family: Arial;">. </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">A video
projection documents the entire process. Lined up in groups, jets of polyurethane
spattering over their backs, the participants have to wear chemically resistant
clothing and a thick sheet of plastic draped over their backs and heads. Given
the context, it comes across as a kind of militarised, updated version of the
veil, that most stereotypical of ciphers for Islam, emblematic of a range of
Western anxieties about the </span><span style="font-size: 10pt; font-family: Arial;">Middle East</span><span style="font-size: 10pt; font-family: Arial;">. A parallel can be drawn here with the hidden atrocities of
warfare: war crimes and torture. The idea is that war, and certainly the </span><span style="font-size: 10pt; font-family: Arial;">Iraq</span><span style="font-size: 10pt; font-family: Arial;"> war, is a continuation of
capitalism’s inherent violence. <b></b></span></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal" style="margin-left: 27pt;"><b><span style="font-size: 10pt; font-family: Arial; color: black;">supported
by</span></b><span style="font-size: 10pt; font-family: Arial; color: black;">:</span></p>
<p class="MsoNormal" style="margin-left: 27pt;"><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></p>
<p class="MsoNormal" style="margin-left: 27pt;"><span style="font-size: 10pt; font-family: Arial;">Anadolu Kültür A.Ş.</span></p>
<p class="MsoNormal" style="margin-left: 27pt;"><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></p>
<p class="MsoNormal" style="margin-left: 27pt;"><span style="font-size: 10pt; font-family: Arial; color: black;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Initially
this project started as a work in progress at <b>Open Space - Zentrum für Kunstprojekte </b></span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">from of </span><span style="font-size: 10pt; font-family: Arial; color: black;">7 September - </span><span style="font-size: 10pt; font-family: Arial; color: black;">3 October</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US"> 2010</span><span style="font-size: 10pt; font-family: Arial;" lang="EN-US">.
For further information: </span><span style="font-size: 10pt; font-family: Arial; color: black;"><a href="http://www.openspace-zkp.org/" target="_blank"><span style="color: black; text-decoration: none;"></span></a></span></p>
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</style><span style="font-size: 9.5pt; font-family: Arial; color: black;"><a href="http://www.openspace-zkp.org/" target="_blank"><span style="color: black; text-decoration: none;" lang="DE">http://www.openspace-zkp.org</span></a></span><span style="color: black;" lang="DE"></span>
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</p><p class="MsoNormal" style="margin-left: 26.95pt;"><span style="font-size: 10pt; font-family: Arial;"> </span><span style="font-family: Arial;"></span></p>
<p class="MsoNormal" style="margin-left: 26.95pt;"><span style="font-size: 10pt; font-family: Arial;">the previous edition of the project was supported by:</span><span style="font-family: Arial;"></span></p>
<p style="margin: 0cm 0cm 0.0001pt 26.95pt;"><span style="font-size: 10pt; font-family: Arial;"> </span><span style="font-family: Arial;"></span></p>
<p style="margin: 0cm 0cm 0.0001pt 26.95pt;"><span style="font-size: 10pt; font-family: Arial;" lang="DE">BM:UKK </span><span style="font-family: Arial;" lang="DE"></span></p>
<p class="MsoNormal" style="margin-left: 26.95pt;"><span style="font-size: 10pt; font-family: Arial;" lang="DE">Stadt Wien - Kulturabteilung MA 7</span><span style="font-family: Arial;" lang="DE"></span></p>
<p></p><p class="MsoNormal"><span lang="DE"> </span></p><p class="MsoNormal"><span lang="DE"><br></span></p>
<p class="MsoNormal"><i><b><span style="font-size: 10pt; font-family: Arial; font-style: normal;" lang="TR">° </span></b></i><b><span style="font-size: 10pt; font-family: Arial;">About DEPO:</span></b></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">DEPO is a
culture and debate centre serving as a platform supporting the collaboration of
artists, artist collectives, civic and cultural organizations in </span><span style="font-size: 10pt; font-family: Arial;">Turkey</span><span style="font-size: 10pt; font-family: Arial;">, the </span><span style="font-size: 10pt; font-family: Arial;">South Caucasus</span><span style="font-size: 10pt; font-family: Arial;">, the </span><span style="font-size: 10pt; font-family: Arial;">Middle East</span><span style="font-size: 10pt; font-family: Arial;"> and the Balkans.</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Address:</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">Lüleci
Hendek Caddesi No.12 <br>
Tophane </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;">34425
İstanbul <br>
<br>
<b><span style="font-family: Arial; font-weight: normal;">e-mail:</span></b> <a href="mailto:depo@depoistanbul.net" target="_blank">depo@depoistanbul.net</a></span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"><a href="http://www.depoistanbul.net/en/index.asp" target="_blank">http://www.depoistanbul.net/en/index.asp</a>
</span></p>
<p class="MsoNormal"><span style="font-size: 10pt; font-family: Arial;"> </span></p>
<span style="font-size: 10pt; font-family: Arial;" lang="EN-US"></span>
</div>