<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">° <b>Mapping Mobilities </b></span><span style="font-family:"Arial","sans-serif";color:black" lang="EN-US">| </span><span style="font-family:"Arial","sans-serif"" lang="EN-US">6 June - 7 July, 2012</span><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="margin-left:27pt"><font><span style="font-family:"Arial","sans-serif";color:black" lang="EN-US">Opening: 5</span><span style="font-family:"Arial","sans-serif";color:black" lang="EN-US"> June</span><span style="font-family:"Arial","sans-serif";color:black" lang="EN-US">, 19.00</span></font></p>
<p class="MsoNormal" style="margin-left:27pt"><font><span style="font-family:"Arial","sans-serif";color:black" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="margin-left:27pt"><font><span style="font-family:"Arial","sans-serif";color:black" lang="DE">Project curator: <span>Christine Takengny</span></span></font></p>
<p class="MsoNormal" style="margin-left:27pt"><font><span style="font-family:"Arial","sans-serif";color:black" lang="DE"> </span></font></p>
<p class="MsoNormal" style="margin-left:28.5pt"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Participating
artists:</span></font></p>
<p class="MsoNormal" style="margin-left:28.5pt"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p class="MsoNormal" style="margin-left:28.5pt"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Michael
Hieslmair / Michael Zinganel </span></font></p>
<p class="MsoNormal" style="margin-left:28.5pt"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Gulnara
Kasmalieva / Muratbek Djumaliev </span></font></p>
<p class="MsoNormal" style="margin-left:28.5pt"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Esther
Polak / Ivar van Bekkum </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">‘Cartography
is the signifying practice of both location and identity, a mode of writing
through which we can uncover a set of general laws. Much of the argument I am
making regarding the un-mapping, re-mapping and counter-cartographies to be
found within contemporary art practices revolves around the structures and
signifying systems by which knowledge is organised and conveyed.’ </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Irit Rogoff,
Terra Infirma, Geography’s Visual Culture, p. 73 </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">The
exhibition <b>Mapping Mobilities</b>
presents six international artists who develop new and experimental approaches
to mapping to explore questions around mobility, displacement and migration.</span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Using film,
installation, print and audio </span><span style="font-family:"Arial","sans-serif"">Gulnara Kasmalieva/Muratbek Djumaliev</span><span style="font-family:"Arial","sans-serif"" lang="EN-US">, Esther
Polak/Ivar van Bekkum and Michael Hieslmair/Michael Zinganel blur the
boundaries between art and scientific mapping to challenge the authority of
official maps and their role in the nexus of power knowledge. Their mappings
develop alternative visions on currently pressing socio-economic and
geo-political global issues such as transnational migration, spatial
implications of global commerce, border policies and the digitalisation of
geographical information, thereby discrediting the grand narratives of history
in favor of a focus on everyday lives, individual journeys and personal
narratives.</span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Globalisation
has dramatically changed our experience of space. It seems that the static,
two-dimensional map no longer adequately reflects the constantly shifting world
we live in and the global networks that migratory experience produces. <b>Mapping Mobilities </b>questions the
traditional map as an objective representation of the ‘real’, aiming to present
counter-cartographies that draw attention to what is often left off the map, by
exposing the fragmentations and inconsistencies of transitional spaces in the
age of migration. </span></font></p>
<p style="margin:0cm 0cm 0.0001pt;line-height:normal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">The power of the map long resided in its function as a
‘fixed’ representation of the world. Today digital technologies such as GIS
allow us to produce mobile, more fluid and democratic spatial information. The
artists in <b>Mapping Mobilities </b>engage
with mapping as a process-oriented, collective practice from different
perspectives. Interested in questions of power, identity and place they chart
not only geographic realities but thought processes relating to other
disciplines such as colonial imperialism, urbanism and global economy, offering
new potential for shaping contemporary experiences of space.</span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif""> </span></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif"" lang="EN-US">Artist
information: </span></b></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif"" lang="EN-US"> </span></b></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif"" lang="EN-US">Michael
Hieslmair / Michael Zinganel</span></b></font></p>
<p class="MsoNormal"><font><i><span style="font-family:"Arial","sans-serif"" lang="EN-US">Exit
St. Pankraz,</span></i><span style="font-family:"Arial","sans-serif"" lang="EN-US"> 2007-2011</span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"" lang="EN-US">Mixed Media installation, dimensions variable</span></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif""> </span></b></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Michael Hieslmair’s</span><span style="font-family:"Arial","sans-serif"">
and <span>Michael Zinganel<b>’</b></span>s<i> EXIT St. Pankraz</i> (2007) maps a motorway
service center <span class="englisch1"><span style="color:rgb(0,0,10)">located in
Upper Austria as a hub where streams of mobility and transnational migration
routes intersect. Post-war commercial development, increasing traffic and the
extension of the road network has gradually transformed the motorway at the end
of the Alps into one of the most important trans-national and trans-Alpine
north-south connections in Europe. The route is known as the ‘guest worker
route’, stretching from Holland and Germany to the states of former Yugoslavia
and Turkey. The installation <i>EXIT St.
Pankraz</i> consists of interviews with staff, regular customers and people who
stopped at the motorway service center in the course of their travels. Their
individual stories track the political, social and commercial changes within
Europe, reflecting issues such as the fall of the Iron Curtain, the Yugoslavian
crisis or the situation of ‘guest-workers’ in Europe. Initially co-produced
with </span></span>Maruša Sagadin<span class="englisch1"><span style="color:rgb(0,0,10)">
and presented on site, </span></span>the exhibition <b>Mapping Mobilities</b> at Open Systems 2012 will showcase a
site-specific installation of <i>EXIT St.
Pankraz</i>.</span></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif""> </span></b></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif"">Gulnara
Kasmalieva </span></b><span style="font-family:"Arial","sans-serif"">/ <b>Muratbek
Djumaliev</b></span></font></p>
<p class="MsoNormal"><font><i><span style="font-family:"Arial","sans-serif"">A
New Silk Road: Algorithm of Survival and Hope</span></i><span style="font-family:"Arial","sans-serif"">, 2007</span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Photograpy, dimension variable</span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Courtesy
of Laura Bulian Gallery</span></font></p>
<p class="MsoNormal"><font><b><span style="font-family:"Arial","sans-serif""> </span></b></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Kasmalieva's and Djuamaliev's project <i>A New Silk Road: Algorithm of Survival and Hope</i>,<b> </b>which was commissioned by the Art
Institute of Chicago, consists of a 5-channel video and a series of photographs
mapping the local impact of today's global economies along the remains of the
Central Asian Silk Road. <b>Mapping
Mobilities</b> will present a selection of photographs that document the new
reality of this ancient trade route that, after the fall of the Iron Curtain,
has become a cross-road for the economic and political interests of Russia,
China and the United States.<span> </span></span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Shot along the Silk Road in Kyrgyzstan, the images
capture derelict Soviet-lorries as they haul carriages of rusting iron from Central
Asia into China, juxtaposed by the caravans of shiny, large Chinese 18-wheelers
that, barrelling through the narrow passes in the opposite direction, are
loaded with cheaply manufactured mass goods destined for the European markets.</span></font></p>
<p class="MsoNormal"><font><span style="font-family:"Arial","sans-serif"">Along the way, entrepreneurial residents of small
Kyrgyz farms and poverty-stricken tiny towns creatively embark on this new road
of commerce, economically exchanging with and benefiting from both sets of
trucks.</span><b><span style="font-family:"Arial","sans-serif""></span></b></font><b><span style="font-family:"Arial","sans-serif""></span></b></p><p class="MsoNormal"><br></p><p class="MsoNormal">
</p><p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><b><span style="font-size:10.0pt;font-family:"Arial","sans-serif"" lang="EN-US">Esther Polak / Ivar van Bekkum<i> </i></span></b><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">NomadicMilk</span></i><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">, 2007 - 2010</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal" style="margin-bottom:0cm;margin-bottom:.0001pt;line-height:normal"><span style="font-size:10.0pt;font-family:"Arial","sans-serif"">Mixed-Media
Installation, size variable</span><span style="font-size:12.0pt;font-family:"Times New Roman","serif""></span></p>
<p class="MsoNormal"><br><b><span style="font-family:"Arial","sans-serif""></span></b></p><p class="MsoNormal"><b><span style="font-family:"Arial","sans-serif""></span></b>Today traditional cartographic normative and codes are
challenged through GPS and GIS, new fluid and democratic mapping strategies
that are able to situate the individual in the complex network of relations
within and between communities and places. Esther Polak’s and Ivar van Bekkum's
project <i>NomadicMilk</i> (2009) <span style="color:black">tracks the daily routes and spatial intersections of two
milk related economies in Nigeria with GPS: the routes of the</span> Fulani<span style="color:black">, nomadic herdsmen who move with their cattle in annual
migrations in search of water, food and markets and the distribution networks
of </span>PEAK milk, a Dutch company<span style="color:black"> whose condensed
milk cans and milk powder sachets are available on every street corner in
Nigeria. The </span><i>NomadicMilk’s </i>project
was thoroughly documented online in a weblog, and has known many different
presentation variations. At Open Systems the website is presented together with
12 mono-prints that depict specific milk routes.<span> </span><span style="background:none repeat scroll 0% 0% lime"></span></p><font><span style="font-family:"Arial","sans-serif""><span style="color:black"><i></i></span></span></font>
<p class="Standaard" style="margin:1.4pt 0cm;text-align:justify"><font><span style="font-family:"Arial","sans-serif""> </span></font></p>
<p class="MsoNormal" style="margin-bottom:0.0001pt;text-align:justify;line-height:normal"><font><b><span style="font-family:"Arial","sans-serif";color:black"><span> </span>supported by</span></b><span style="font-family:"Arial","sans-serif";color:black">:</span><span style="font-family:"Arial","sans-serif""></span></font></p>
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<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 27pt;text-align:justify;line-height:normal"><font><span style="font-family:"Arial","sans-serif"">BM:UKK </span></font></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 27pt;text-align:justify;line-height:normal"><font><span style="font-family:"Arial","sans-serif"">MA 7 - Interkulturelle und
Internationale Aktivitäten</span></font></p>
<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 27pt;text-align:justify;line-height:normal"><font><span style="font-family:"Arial","sans-serif"">Mondriaan Foundation</span></font></p>
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<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 27pt;text-align:justify;line-height:normal"><font><b><span style="font-family:"Arial","sans-serif"">kind support provided by</span></b><span style="font-family:"Arial","sans-serif""></span></font></p>
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<p class="MsoNormal" style="margin:0cm 0cm 0.0001pt 27pt;text-align:justify;line-height:normal"><font><span style="font-family:"Arial","sans-serif"">toolsatwork</span></font></p>
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<font><b><span style="font-family:"Arial","sans-serif"">About us:</span></b><span style="font-family:"Arial","sans-serif""></span></font></p>
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<p class="MsoNormal" style="text-align:justify"><font><span style="font-family:"Arial","sans-serif"">for more info: <a href="mailto:office@openspace-zkp.org">office@openspace-zkp.org</a> </span><span style="font-family:"Arial","sans-serif";color:black" lang="DE"><a href="mailto:office@openspace-zkp.org"><span style="color:black"></span></a></span><span style="font-family:"Arial","sans-serif";color:black" lang="DE"> </span><span style="font-family:"Arial","sans-serif""></span></font></p>
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Systems</span></b><span style="font-family:"Arial","sans-serif""> - Zentrum für Kunstprojekte aims to create the most
vital facilities for art concerned with contributing a model strategy for
cross-border and interregional projects on the basis of improving new approach.</span></font><span lang="DE"></span></p>
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