<p class="MsoNormal" style="margin-bottom:0.0001pt;line-height:normal"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">° State
of Transit</span></b><span style="font-size:9pt;font-family:"Arial","sans-serif""> | 20
April – 21 May 2012</span></p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""><br></span></p>
<div class="gmail_quote"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""></span>
<p class="MsoNormal" style="margin-left:1.0cm;text-align:justify"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:28.15pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Opening: <i><span style="font-family:"Arial","sans-serif";font-style:normal">19 April, 19.00 </span></i></span></p>
<p class="MsoNormal" style="text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:27.0pt"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Project
curators: </span><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Frida Carazzato & Maria Garzia</span></p>
<p class="MsoNormal" style="margin-left:27.0pt"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:28.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Participating artists:</span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">/barbaragurrieri/group</span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Taysir
Batniji</span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Esra Ersen</span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Mario Rizzi</span></p>
<p class="MsoNormal" style="margin-left:27.5pt;text-autospace:ideograph-numeric"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="DE-AT">Zineb Sedira</span></p>
<p style="margin:0cm;margin-bottom:.0001pt"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="DE-AT"> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">In the past the
Mediterranean was a place of flourishing cultures that developed owing to the
economic, cultural and social relations between the peoples living on its
shores. As recently stressed by various curators’ and artists’ projects, the
concept of the Mediteranean is much more than simply a geographical term. The
movements of capital as well as of people, the ideas that these entail, the
stories of every individual person and the inevitable effort and possibilities
that these movements cause and trigger, constitute elements that transform the
Mediterranean to a space in which politics, business, literature and desires
mix.<span> </span></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Marked by colonial
history and later processes of decolonialisation, the Mediterranean area is
still having to struggle with political and territorial conflicts and with the
ongoing fall of dictatorial regimes, which now brings to light the opposites
that were previously hidden under a precarious balance. A region that presents
itself as a bridge between the peoples, while on the other hand also being a
region of cross-overs between all the populations that are driven to escape
unequal economic developments.</span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">In his essay <i>Routes</i><span>,</span> the anthropologist James Clifford
introduces the term of the “travelling cultures”. By this he wants to say that
modern cultures should no longer be interpreted as static and bound to a
certain place, but rather from a new perspective, linked to the notion of
travelling. Thus as movement, mobility that is to be seen as a departure from
the home country and return to it, on the way to somewhere else so far
unspecified because of states of emergency or needs. The aspect of the journey
in the sense attributed to it by Calvino, as a journey of knowledge on the
basis of the notion of ‘elsewhere’ – see a comparison of the dialogue between
Marco Polo and Kublai Khan in the <i>Invisible Cities</i> – becomes a metaphor
for the search for an individual identity and at the same time a collective
identity concerning the subjects in movement, but also for the search for
identification as process of the reappropriation of the self. Transnationalism,
decentralisation, migration and hybridisation are phenomena that irretrievably
change the culture of these countries and their relationships to one another.
Mobility seems to stress two further dynamics: the process of destruction and
the subsequent reconstruction of being and a permanent state of instability, a
state of transit that is expressed in the precarious living conditions.</span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></i></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">State of Transit</span></b><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">presents
five artists who – based on the state of transit that has always characterised
the region in question – have dedicated part of their research to the
Mediterranean area and its dynamics of mobility. The works presented in the
exhibition narrate personal stories reflecting also collective living
conditions that are linked with emigration because of various events or
emergency situations. <i>State of Transit</i> focuses on the artists’ effort to
capture the “presence” of these stories of transit and constant new beginning.
These are extinguished or often forgotten stories like that of Ali Akilah in
the film by Mario Rizzi or those that remain anonymous precisely because they
take place under the spotlight of the mass media, like the animation by the
/barbaragurrieri/group. These are stories from everyday life that appear almost
banal because of simple clichés, such as in the video by Esra Ersen or those
reporting about places that are normally left behind or where you decide to
stay, such as in the shots by Zineb Sedira or places of transit such as in the
“stolen” pictures by Taysir Batniji. The movement of the individual within more
complex dynamics, often going beyond him or her into the area of geopolitics,
the economy and major social upheavals, is represented through the media of
photography and of video, which have meanwhile become protagonists of the live
global transmission of the events. Although the works presented were produced
some years ago, they remain topical – less the isolated facts than those of the
state of transit and the presence of a time captured in the picture.<span> </span></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Artists info:</span></b><span style="font-size:9.0pt;font-family:"Arial","sans-serif""></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">/barbaragurrieri/group
</span></b></p>
<p style="text-align:left" class="MsoNormal"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">11AL9T20</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">, <span>2009<i> </i></span></span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Video animation, DV PAL, colour, sound, 3’40’’<span></span></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></i></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">11AL9T20</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">
uses animation to examine the experienced reality on the shores of southern
Italy, where people looking for a life in another country land in makeshift
boats almost daily. The animated video tells of the difficulties during the
journey, it contrasts the helpfulness of the initial supportive measures with
the subsequent “suspension” of the necessary legal and moral solutions and
reveals the important role of information, whose sensationalist reporting
methods highlight the perception of the message at the expense of a critical
evaluation. The behaviour of the boat and at the same time its situation, in
limbo or floating on the surface of a sea that resembles a kind of a staircase,
refers to the universalation of the condition of transit. The drawing enables
/barbaragurrieri/group to initiate a process of abstraction and universalation,
which precisely because of the subtraction making the drawing seem almost
“emptied” becomes the characteristic element of their research. </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Taysir Batniji </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Transit</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">,
2004<i> </i></span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Video,
colour, silent, 6’18”</span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">In 2003 Taysir
Batniji decided to secretly document the journeys from Cairo to the border of
Rafah in the Gaza-Strip, which the Isrealis had closed in 2006 and reopened in
2011. <i>Transit</i> developed in 2004 on the basis of these shots: a series of
photos mounted as slide show whose only sound is provided by the regular change
of images in a slow sequence. <i>Transit</i> deals with the difficult mobility
of the Palestinians in the city of Rafah, which became even more severe after
the beginning of the second Intifada. Many men, women and children are waiting
to leave or return, because the Israeli miliary only allows a limited number of
transits. The artist takes a perspective in the midst of them. As a traveller
among travellers he abolishes the distance betwen the recorded subject and the
invisible camera, and thus presents this hardly known reality differently to
the way it would appear in a documentary. The shots are not precisely adjusted
and their sequence is slowed down in order to emphasise the state of waiting.
The film and photo work here thus tries to provide a counter-information and
should be seen as action in a situation in which waiting seems to be the only
activity.<span> </span></span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Esra Ersen </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Hello! Where Is It?</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">,
2000<i> </i></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">DVD PAL, Mini DV,
7’50” </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">The video <i>Hello! Where is it?</i> deals with the
fundamental stereotype how the Occident sees the Orient. The video presents
three banal conversations taking place in Istanbul in three cars crossing the
bridge over the Bosphorus. A couple discuss how they will spend their umpteenth
weekend together, a man talks to his fellow passenger about his professional
worries, and two friends joke about the 1999 earthquake. During the crossing,
towards the end of the film the camera focuses on the two “Welcome to Europe”
and “Welcome to Asia” signs, as if these panning shots were just accidently
moving away from the conversation. The two signs thus perpetuate the rhetorical
formula of the cultural idiosnycracies and the cliché according to which
Istandbul and Turkey are regarded as bridges between the cultural spaces,
between Orient and Occident. The daily commute across the bridge thus
constitutes a clear opposite to the cultural division between the two
territories that the artist has chosen as the background of this urban
crossing.</span><span style="font-size:9.0pt;font-family:"Arial","sans-serif";color:#353535"></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Mario Rizzi </span></b></p>
<p style="text-align:left" class="MsoNormal"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">impermanent</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">,
2007 </span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="IT">Digi
beta pal, colour, stereo, 15’08’’</span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="IT"> </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Ali Akilah is a
96-year-old Palestinian physician. He lives in Amman, but was born in Lifta, a
Palestinian village that is now part of Jerusalem. The short film <i>impermanent</i>
was made in 2006 within the scope of a larger art project shot in Palestine,
Israel and in Jordan. The video installation <i>neighbours</i> from 2006 and
Ali‘s nostalgic narration came about as a reflection on Giorgio Agamben’s term
of the “state of exception”, which considers the suspension of the judicial
order as normal paradigm of government increasingly determining the politics of
the modern state. The film focuses on Ali’s personal story and memories of his
youth, on his student years and his lovers. His view seems to be focused on an
ideal screen, showing the pictures from a film of his own life. The difficult
memory becomes painful when he conjures the days in Lifta and his parents’
home, which he fled from in 1948. Here, the state of instability of his life
and the insecure feeling of belonging become very obvious reflecting the
universal dimension of a refugee, the state of somebody who is always in the
in-between. </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Zineb Sedira </span></b></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Transitional
Landscape</span></i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">, 2006<i> </i></span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Diptych, C-print, 154
x 50 cm each </span></p>
<p style="text-align:left" class="MsoNormal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Courtesy of the artist and </span><span style="font-size:9.0pt;font-family:"Arial","sans-serif"" lang="EN-US">Kamel
Mennour Galerie</span><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> (Paris)</span></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span></i></p>
<p style="margin:0cm 0cm 0.0001pt;text-align:left"><i><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Transitional
Landscape</span></i><span style="font-size:9pt;font-family:"Arial","sans-serif""> is a diptych that Zineb Sedira produced in 2006
during her work on her video <i>Saphir</i>. The photogpraphy almost always
precedes or is in parallel with her videos. As the artist herself confesses, it
is a still, subjective lingering in front of something that attracts us, a
detail that stays still while things glide past. Shot on an Algerian beach,
from which young people usually watch the sea and everything it has to give,
everything seems to be floating in space on these photos, and the endless sea
becomes a screen on which hopes, expectations and sometimes a feeling of
homesickness become evident. For the artist, the pictures are a kind of a
documentary of this place and how it is experienced by the people who inhabit
it and decide to leave it, the relation that develops between people and
landscape. There is no specific biographical reference; the man with his back
to us rather becomes a presence that makes the viewer reflect on the eternal
dilemma of the traveller: staying or leaving, standstill or transition,
belonging or the escape from it. <br></span></p><p style="margin:0cm 0cm 0.0001pt;text-align:left"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""><br></span></p>
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<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">for more
info: <a href="mailto:office@openspace-zkp.org">office@openspace-zkp.org</a> </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""><a href="http://www.openspace-zkp.org">http://www.openspace-zkp.org</a></span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;text-align:justify;line-height:normal"><span style="font-size:9.0pt;font-family:"Arial","sans-serif""> </span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">Open Systems</span></b><span style="font-size:9.0pt;font-family:"Arial","sans-serif"">- Zentrum für Kunstprojekte aims to create the most
vital facilities for art concerned with contributing a constantly developing
model strategy for cross-border and interregional projects.</span><span style="font-size:12.0pt;font-family:"Arial","sans-serif""></span></p>
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