Acting Relations, Mapping Positions Part I: the Individual HOW to GATHER Acting Relations, Mapping Positions

Kunsthalle Wien

Acting Relations, Mapping Positions Part I: The Individual HOW TO GATHER Acting Relations, Mapping Positions

3 21 Bart De Baere, Defne Ayas, Keren Cytter — Nicolaus Schafhausen — Note From Bed Background 23 9 Hanne Lippard — Marie Egger — Here’s it Editorial 25 Sergey Bratkov — Predictions on the Moon

33 Liam Gillick — Letters from Moscow

43 Li Mu — The Labourer

63 Ho Tzu-Nyen and Lee Weng-Choy — Curation is Also a Form of Transportation

77 Lee Weng-Choy — Three Degrees of Intimacy

81 Meggy Rustamova — Waiting for the Secret (Script)

85 Johanna van Overmeir — Janus

88 Janus Faced Freedom Marina Simakova Part II: In Relation Part III: Political Gestures HOW TO GATHER Acting Relations, Mapping Positions

89 119 176 225 Peter Wächtler — Mián Mián and Konstantin Zvezdochotov — Anna Jermolaewa and Leather Man / Woman of Nicolaus Schafhausen — About Ezgin Altinses Vanessa Joan Müller — the Bistro Talkshow Political Extras 180 104 131 Inventing Ritual 237 Jimmie Durham — Communicative Failures Leon Kahane — A Stone and Defeats 186 Figures of Authority Andrey Shental Gabriel Lester — 108 MurMure 243 Donna Kukama — 132 Nástio Mosquito — The Cemetery for Bad Honoré δ’O and 195 SOUTH Behaviours Fabrice Hyber — Honoré δ’O — Telepathic Protocol The Ten Commandments 246 114 Saâdane Afif — On Intimacy 137 215 Play Opposite Maria Kotlyachkova, Nadia Qiu Zhijie — Vaast Colson — Gorokhova Map of the Third World Ten Side Notes as Warm Up 250 Rana Hamadeh — 140 219 Performance Script Augustas Serapinas — Andrey Kuzkin — Conversation Behind the Balloons and Nails 259 Map of the Third World Exoticising and Deciphering 220 the Caucasus 148 Isa Genzken — Maria Kramar Anastasiya Yarovenko — Die kleine Bushaltestelle HowTOgether (Gerüstbau) 262 Taus Makhacheva — 153 221 Interviews with Acrobats Birdhead and On Togetherness Daniil Kolchanov — Alexander Zhuravlev, Anna Zhurba, 286 22 September – 01 October Ivan Isaev, Sona Stepanyan, Maria Ilya Budraitskis — 2015 Stepkina Art as a Partisan?

158 292 Gleb Berg — Ines and Eyal Weizman — Untitled (An Art Story in Between the Dissident Three Art Novels) and the Activist

307 Alevtina Kakhidze — All Times News 3 volatile circumstances) (or: How we acted underhighly Background achieve: ingeneratingacollectivesenseofcapacity, on oneofthemostimportantlevelsaculturalprojectcanhopeto biennial’s producersandparticipantsthatithadbeensuccessful cumstances. exhibition of remarkable vitality created under exceptional cir best effortstoanalmostdefunctbiennial,whichresultedin public reflection.Asimilarkindofurgencyledustodevoteour are merelyanodeinnetworkthatfeelstheurgencyforproper was neverfullyours,justasthisbookisnotourseither. We The 6 did weimaginewouldbepublishingthisbooktwoyearslater. We never dreamt we would create the biennial as it occurred. Nor tion. approach each newlimitationasatrigger forfurtherradicalisa as incentives: to go back to basics rather than to forfeit, to ever diretheseconditions mayhavebeen,theycametofunction often underminingmany states’officialforeignpolicy).How funding bodiestosupport adialogueinandwithMoscow(thus and the reluctance displayed by most European state cultural ruble inwhichthebiennial budgethadinitiallybeenexpressed sons for this decisiontoo: the weakening exchange rate of the platform ofVDNKh’s CentralPavilion,theformerSovietexhibi- survey of contemporary art camaraderie. Over ten days highly instead:people end production today soexpensive partners, wererapidlydeteriorating. and Russia relations betweenthetwopolesofEurope upon inMoscowunderhighlyvolatileconditions inwhichthe as theengineandoutcomeofengagement we embarked question ofhow to gather. It was a question that functioned both tion venue for Achievements of the National Economy, toward the This publication is the outcome of a shared feeling among the So, wedecidedtoscrapeverythingthatmakesexhibitions th Moscow Biennale of Contemporary Art, as an exhibition, MoscowBiennaleofContemporaryArt,asanexhibition, — and, morelocally, betweenthebiennialandcity — and investthelimitedbudgetinwhatwevalue — crated airtransports,insurance,andhigh- actions. and — — the biennial re-oriented the public a briefperiod for an international There werepragmaticrea- — the European Union the EuropeanUnion , and meaning, and - - -

Bart De Baere, Defne Ayas, Nicolaus Schafhausen — Background 4 their works not justforMoscow. open spaceassuchmight engage.Thatwashighlyurgent,and could gainaninsightinto thefutureandpossibletrajectoriesan thinkers, aswellthebiennial’s localandinternationalpublic, facilitated anenvironmentinwhichwe,asorganisers, artistsand being and the letting-be of a public space through inaction. We not ple’s desiresorexpectationspriorities.Ourquestionwashow public spacewithoutcompromisingittoaccordwith otherpeo- focus. Asorganisers,wesoughttorealiseouraspired temporary together? live we can a betterlife?Andthehighlyurgentquestion:How Moscow be like in the future? What fundamentals constitute ency? Whoarewe(people,city, nation,empire,etc.)?Whatwill uisites: Whatarethegroundsuponwhichtobuildaconstitu basic throughtheprovocationofaseriesnecessaryprereq more ambitious than simply speaking together and yet also more larly well.Theaimoftheexhibition,however, wassimultaneously ‘to speak’.Andso,howdowespeaktogether?Oftennotparticu verbal stemvetiti from notionsoftogethernessandcounsel,withtheProto-Slavonic ‘advice’, ‘harmony’,and‘concord’.Etymologically, itisderived which canbetakentomean‘council’or‘assembly’butalso together inthesamespaceattime. ten days;tohavepeoplemeetweneededfacilitatetheircoming impasse. Insodoing,thebiennialwaslimitedtoanunprecedented biennial, onethatfocusedonpotentialstartingpointsbeyond intention tolocateadifferentpresentduringthetimespanof from contemporarystandardsofdisplayanddemonstrateaclear tion asathinktankrealisedinrealtime.Thespacewoulddiverge biennial. We set upon the construction of a space Instead, wetestedandsearchedforopportunitiestogalvanisethe antagonised thembyrevolt or exodus, by boycott ortransgression. direct funds toward theirinvolvement andasupportsystemfor other) atthe onset ofthecreationcultural space.We lobbiedto ticipation asculturalactors (individuallyandinrelationtoeach The artists’presencewas not limitedstrictlytothecreationof One ofthekeyexpressionsinRussiantraditionissoviet, Moscow presents unique challenges and thus stimulates unique Moscow presentsuniquechallengesandthusstimulates unique We couldhave addressedtheselimitsbyexercisingcritiqueor to compromise our aspiration, how to enable the coming-into- in situ but rather unfolded through their directpar in as itsultimatekeyword,meaning‘totalk’or that could func - - - - -

5 or producingretrospectiveremarks. the inputofparticipantsbemetbyanequallyseriouscom- honoured morethanayearlater. of honoraria,includingpre-financedairlinetickets,areyettobe said, anddespiteallefforts,itismuchtoourregretthatahandful being attentive to these moments and letting them guide us. That their proposals.We committedtoaflowofdifferentmoments; from the united efforts of M HKA, the Witte de With Center for such, didnotproducethisbook.Instead, thispublicationresults extinct ortransformitself alike to press.Manyotherparticipants and coordinatethedesignproductionprocess before itwent Ouranou cameonboardatthelastminutetosalvage thisbook lead producer, neverletgoofoverallresponsibility. Maria-Louiza archive nowhostedbyMHKA.KatyaSavchenko, thebiennial’s terdam, andMoscow. EviBertorganisedthe3.4terabytedigital the processofeditingacrossthreedifferentcities content beyondtheexhibition’s ten-dayrun.MarieEggertookon with theorganisationofbiennialcontinuedtocarefor reflection requiredonestepfurtherstill.Manyofthoseinvolved vast amountofdigitalmaterialintoahumblebookandfor goal ofonedayreflectinguponthecapacitiesitoffered. annotated andanalysedthebiennialasitprogressed,with and criticalwritingfromenlistedMoscow-basedbloggerswho professional documentationbycameramenandphotographers, tive duringthetendaysofbiennialandfeaturesinterviews, has beensourcedfromandbythemediamachinethatwasac- those activities in their potential ofcontinuation. The content activities, thepublicationthatyouholdinyourhandsmanifests is allabout.Ratherthanadocumentationofthebiennial’s on-site have predictedbeforehand,believingthistobewhatpublicspace foremost, wastothoseoutcomesofthebiennialthatwecouldnot mitment from the host ofthe biennial. Our commitment, first and Moscow and askedthemto analyse thecore ofthebiennialand ought tobecontinued, assembledagroup ofyoungcuratorsin The latter, sharingourintuitionthattheevaluation ofthebiennial Contemporary Art,Kunsthalle Wien, andtheV-A-C Foundation. This publicationstandsasatestamenttoourconvictionthat Engaged incontinualdeliberations overitsfuture The gargantuan task of digesting and then transforming the — were alsoinvolvedinthisprocess,informingthematerial — the Moscow Biennale Foundation, as the MoscowBiennaleFoundation, as — artists, thinkers,andvisitors — Antwerp, Rot — to become to become - Bart De Baere, Defne Ayas, Nicolaus Schafhausen — Background 6 question Howtogather? its associatedprogram,whichhopefullyaddedmorevaluetothe them intoanewspacefreed fromtheinitialgesturestheyhad to transformimagesand gesturesinto micro-moments, tipping actions’ andperformances’ capacitytoactivatethisenergy. nial, againandwenoticed bothimpromptuandscheduled relations with and in the world. During the course of the bien happenings, transcendingtheirinitialformand continuing as gestures transformed into conversations and impasses, but also ways inwhichpeoplecanberelation.Personal andpolitical the artistsHonoré‰’OandFabriceHyber. in Moscow, andthetelepathicdrawingsessionsself-organisedby biennial participantsandforeignmediacorrespondents residing ologist MayavanLeemput,whocultivatedencounters between formally visible duringdaily meetings included the input offutur influenced the exhibition’s unravelling. Other forces that became Tzu-Nyen, who,althoughunabletojointhebiennialinperson, Lee Weng-Choy evokesinhiscollaborationwithfilmmakerHo Its energyisrelatedtoasenseofintimacy, ascuratorandartcritic often situated on the fringes of visibility of this book,testifytothis. Robert Menasse, andEyal and Ines Weizman, included here in Ackbar Abbas,SaskiaSassen,PascalGielen,UlrikeGuérotand system thinkerssuchasYanis Varoufakis, MarianaMazzucato, dressed bymostofthedailykeynotes.Texts fromprovocative Moscow. day ofthebiennialwithhisletterswiredfromalocationoutside too didLiamGillick,whosurprisedusininnovativewayseach without directlyproducingorenablinggatheringassuch.So came throughasparticularlystrongwithhergenerous and biennial intermsofgathering? with theirextendednetworks, or Fabrice Hyber taking over the Soviet hall as if it was a public arisen from. Think ofLiMu’s subtlecontractasanemployee, Gathering isrelational.Itbeginswiththediversepluralityof Gathering isfleeting.We sawartistsexercisetheircapacity Gathering , asad time our of Wechallenges engagedwith thesystemic Yes, gatheringinvolvespeople,butitalsoengagement What didwe,asthreeorganisers,andtheinvitedparticipants, absence, people’s presence happens. Thewaysinwhichitdoesso,however, are . Keren Cytter and theirwithdrawal.KerenCytter learn fromtheexperienceof gathering as a theme. presence, - - -

7 moments andthreadsthatcametoconstitutetheexhibition.In is thatofothers. Pistoletto’sParadise thatisnothis,itshared workThird park for drawing the faces of seas of people; or Michelangelo and woventogether, canworktogenerateadecentmultitude. that sense, it proved how a series of small events, when collected dence, ofOccupy and‘grassroots’movements, oftheIndignados that notwhat wedreamofwhenspeak ofactivismanddissi - agents mighthavebeencalled peopleandgroupsofgoodwill.Is past, when religion determined the conventionsof society, these relating topublicspaceand commoncapacityallthesame.In issue orproject,takingup stakes often cameclosetothatof contemporaryactiviststakingonan domains and theirproject’s contours.The attitude that prevailed each participantastheytookchargeofnavigatingtheir respective in thenotionofgathering time, thesensethatallwasoutofcontrol a keeneyeonenablinggenuinemodalities.Andyet atthesame merely asidetoherpraxis. Central Pavilioninthedarkofnight,biennial wascastas relations. Assuch,whenElenaKholkinasituated herselfinthe and goings,instantiatedwovetogetheradiverse nexusof surpassed all expectations. These actors, through their comings their own space, as did the catering team whose inventive food tographers, andbloggersofthemediamachineeachconstituted woods at the far end of VDNKh. The video crew members, pho- by externalgroupslikeSergeyBratkov’s posse,whooccupiedthe MEL Spaceandthedesignersproducerstheycalledin, participants, bythe acrobats of the Moscow circus school, by tual workouts,bythevastgroupsofvolunteersandpaidprotest the caseforspacesconstructedbyphysicalandintellec- rienced them. are outofreach,concealedinthememoriesthosewhoexpe- crew workingwithBirdheadandElsDietvorst artist KonstantinZvezdochotov, forexample,orthededicated ible corner. Whilesomemomentsofgatheringwereoutwardlyvis Here, languagefallsshort:itfailstodescribethebiennial’s every Over thebiennial’s tendays,thereweremanysuchinstances, The biennial was centralised here and there and operated with The biennialwascentralisedhereandthereoperated with Much ofwhatwasvisibleremainedontheperiphery. Suchwas — the ever-growing constellationofpeoplearoundrenegade — was actively felt, asdemonstratedby — partial andidiosyncratic but — another keyelement — other moments — it - Bart De Baere, Defne Ayas, Nicolaus Schafhausen — Background 8 to takethebiennialfurtherwiththispublication. been part ofthis, and we have enjoyedeachstep and opportunity and globalcitizenship?We aregrateful,wefeelprivilegedtohave Director, KunsthalleWien Nicolaus Schafhausen, Director, Witte deWith CenterforContemporaryArt Defne Ayas, Director, MHKAMuseumofModernArtAntwerp Bart DeBaere,

9 Editorial Marie Egger—

Otto Snoek, 22 September – 01 October 2015 Marie Egger — Editorial 10 sity for a biennial that could facilitate ways of doing that. This to thesequestions.Backthen, theyquicklybroughtuptheneces- How can we speak together? We are still trying to find answers good life?Howcanwebe together?Howcanwecome project, especially to the artists we invited. What do we consider a came a rich source of inspiration to everyone involved with the to livetogether. Aseeminglysimplequestionatfirst,itsoonbe- our curatorialapproachintheveryfundamentalquestion ofhow hausen, whotookupthebiennialasasharedendeavour, rooted into togetherness.BartDeBaere,DefneAyas andNicolausSchaf could itevolveintoagoodexampleofgathering? in Moscowanexclusive,elitistorshieldedevent?In whichways gathering? How would it be possible to not Biennale. Was mysummerschool, ultimately, awrongwayof of 2015,tenyearslater, Istartedthinkingaboutthe6 structured eventsorsuchintellectualgatherings.Inthebeginning speak together. Asa result, I became suspicious of academically name: academydepression. experience. Apparently, thiseffectwassocommonitevenhada superior, and excluded people around me whohadnotshared my then clashedwithmyfriendsandfamilyathome.Ifeltspecial believing thatIhadfinallymetotherswhowere‘likeme’— close togethernesswithstrangers.Idoveintothecommunitythere, foster adolescentsandletthemunfoldinacommunalsettingof mer schoolwasarelativelyexclusiveprogrammewiththegoalto the peopleandinspirationIhaddrawnfromcamp.Thesum- another andforeverappreciatetheweekswehadspenttogether. tears atalocaltrainstation,withthepromisetoalwaysmissone danced onstage.Intheend,everyonedepartedfromeachotherin a volleyballtournamentandrevueshowwherewesang that time, we also formed sports clubs and achoir, organised place ataboardingschoolwherenoonekneweachother. During which wetheninvestigatedtogetherinstudy-groups.Thistook everyone subscribed to courses on specialised academic topics, take classes like Math, English, Chemistry or History, but where In 2005,Iparticipatedinasummerschoolwherestudentsdidnot away fromthe tendaysoftheMoscow Biennale2015. publication is a witnesstoand a probe of what we have taken For me,theMoscowBiennale2015becameaninvestigation What Ilearnedfromtheexperienceishowyoushouldnot The timeafterthesummerschoolwasdifficultforme.Imissed make the biennial th Moscow and -

11 document tendaysofgatheringinMoscowandtomakeacces of it. What youare holding inyour hands isan attempt to both further. It is the result of the project and at the same time a part the issues of the biennial, and offers a new proposal to think and assuchmaynotproposeamanualtoanswerthetitle,but platform thatnowreachesitsprintedstage. also come together in person and to remain in touch through a of acollectiveefforttonotonlythinkaboutgathering,but publication isanoutcome(oracontainerofintermediatestages) when the organisational work on the biennial had just begun: This The mostcrucialdirectiontothisbookwastakeninearly2015, sible anopenforumthatlivedonintheaftermathofproject. of theEUsanctions, orbenefittingfrom arubleratethat made that thesupermarket shelveswereout ofFrenchcheesesbecause or whatIfeltwerereservations towardsourprojects;realising with Russianartistsandthe artscenebecauseoflanguagebarriers colleague Katya’s place;difficultiesinmeeting upandconnecting accommodation or plan what to work on next; crashing at my experiences fromthetrips: arrivingatMoscowairportwithno not haveexperiencedathome. Inlaterconversations,Isharedmy little supportforcontemporaryartthuscreatedchallenges Iwould freedom ofopinion,confirmedonlymodestbudgets andoffered to face: Realising a project like this in a country that oppressed at home who pointed out the difficulties they thought I might have the country, I took seriously the remarks of colleagues and friends and variousplacesintheEuropeanpartofRussia. trian andinternationalartists,Isplitmyweeksbetween Moscow project withtheAustrianEmbassy. Together withRussian,Aus- the adventureoftravellingtosixindustrialcitiesfor a biennialside Europe. Travelling toRussia,forme,alsomeantembarkingupon I wasusedtoaday-to-dayworkandlifeexperienceinWestern partly basedinBerlinwhereweoccasionallymet.Thatistosay, from Belgium,theNetherlands Vienna whereIwasworkingat the time. Our curatorialteamcame my take-awayfromtheadventure:ItravelledtoMoscow affected a comparison of Western Europe vs. Russia to remain as We dosoasindividual beings.Mypersonalway-intothetopic much ratherrecognisesthenecessitytoassembleorjustmeet. How to Gather? consistsofvariousindividualcontributions, to How How to Gather? to How Without knowledgeoftheRussianlanguageoranycontactsin — The titleofthisbookgivesananswerto / Turkey andGermanywas - Marie Egger — Editorial 12 in Russian,andalsotoconfrontthemwithprejudices andhave because ofthat.TheChinese writerMiánandNicolaus but someconversationsare allthemoreworthhavingprecisely Perhaps itisimpossibleto alwaysfullycomprehendeachother, difficulty ofspeakingto each otherwithnomisunderstanding. how youencounterthose aroundyou.Thismaypointtothe and visitors, just as I would like to invite you to think about gate afundamentalconditionlikethis,weinvited participants relation. Toindividual andin publication athand,the investi surroundings comesbackinthefirstandsecondchapters ofthe an animal,aplantoranotherkindofentity. her environmentwheretheOthermaybeanotherperson, adeity, Buber, whoseestheindividual inadialogicalrelationtohisor the conceptofdialogueasproposedbyphilosopher Martin conversations “in avery Buber sense”— Biennale, VDNKhPavilionNo. ed to make active use of her presence in the venue of the Moscow speaking tooneanother. book becamethatoftheOther, ofmomentsencounterand that wouldcreateexclusion.Thatishowoneleadtopicforthis solved wholeheartedlynottoletthebiennialbecomeanevent I discussedcuratorialmatterswiththeparticipantsandhadre the task of programming the biennial on site and from abroad. tion tomeetoneanother, tolisten,create,andspeakfreely. conversations. Notwiththegoaltocolonisebutinten- encounters; wherepeoplecouldexpressthemselvesandengagein one tojointogetherandcreateanopenspacefordiscussion seemed tomakesensetryandbuildanenvironmentforevery- a wishtomakevisible,or visualise, what these irritationswere. It things Icouldnotresolveirritatedmeconsiderably. Itshiftedinto travelling. My unnerving urge to pick sides and to try and resolve ernment anditsdecisionsfromwithinthecountrywhileIwas relations (withtheEU)directlyaffectedeverydaylife. was surprisingtoseehowinternationalpoliticalandeconomic some expensesinMoscowseemunexpectedlycheaptome.It show (p. Schafhausen bothexercisedthisbrilliantly intheirdailyTalk Together withmycolleaguesinMoscow, Iwasentrustedwith The ideaoftherelationshipbetweenindividual andits Anastasiya Yarovenko (p. Also, I observed rather little open critique towards the gov 119). Their conversation showshow somethingnew 148) sharedthisapproach,andwant- 1.

She decidedtotalkvisitors

meaning torefocus on - - - -

13 Zhijie, whodrewtheMap of the Third World (p. uanian artistAugustasSerapinasandtheChinesepainterQiu of confrontation. and fruitful,attimesevennonsensicalorjustfun,mayariseout project Kakhidze. In retrospective drawings (p. atmos multilingual conversation (p. sitting atthetablediscussedinRussian.Ihopethatincluded about theteaceremonyandtryingtounderstandwhatothers wonderful half-hourlaughingwithhiminthelittleroom,learning As heinsistedonmyjoininghimaswell,Iendedupspendinga ticipants andvisitorstojoinhimforaChineseteaceremony: Serapinas builtatearoomtowhichhecontinuouslyinvitedpar ideological conditionsofourworldtoday. is asemi-fictitiouscalligraphyonthetopological,politicaland people during those ten days. From a curatorial perspective, ing everyone presentandinconveying afeelingforwhatmoved directed atgeopoliticalevents, herscreeningssucceededininvolv ate aseismographforthe biennial’s goings on.Notprimarily editing thisbook. the biennialinmaking, butalsoduringitsaftermathwhile ing anexampleofthedefence politicsthatnotonlyinfluenced developments thatstilldominatenewsbroadcasts today, provid- intervention in Syria and thus set intomotion the global political day ofthebiennialmarkedbeginningRussia’s military years andhappenedduringthetendaysofbiennial. Thelast New York attheendofSeptember2015washisfirstforseveral However, VladimirPutin’s speechattheUNGeneralAssemblyin biennial wasofficiallyoneofceasefireforthewarin theDonbass. among participants,guestsandorganisers.The period ofthe Also, forexample,inUkraine. was goingoninthepavilion,Russiaandworldwideattime. Her in thecaféatmainentranceofpavilionthreetimesaday. of thebiennial,screeningfivetotenminutelongnewsbroadcasts With hernewsbroadcast, Alevtina Kakhidzemanagedtocre- Another exampleofthisistheencounterbetweenLith The conflict between Russia and Ukraine was vividly discussed The conflictbetweenRussiaandUkrainewasvividly discussed Another ofthemanyartistsworkinginpavilionwasAlevtina Behind this map, inside the scaffolding we had set up, Augustas Future News, Present News andPast News phere ofthatpartthepaviliontoyou. All Times News — a newschannelsetupfortheduration 140) conveys some of the lovely 307) shereflectsonher dealt withwhat 137). Thismap All - - -

Marie Egger — Editorial 14 Times News becameatokenfromwhichtosensewherethedaily culture. His text, which forms a personal reflection on his presence culture. Histext,whichforms apersonalreflectiononhispresence of the pavilion to challenge the opposition of liberal arts and high which he publicly took daily ballet classes in the Central Dome discusses thiswithaneye ontheRussiancontext. ery inlocalsocialconditions. Anna’s textincludedhere(p. freedom of assembly, in addition, it also pointed to a certain mis- ing her work: Meant as a commentary on democratic rights and different layers of interpretation I had not expected while curat- this publication(p. chime in:Iinviteyoutofindthemanualofhisperformance in West. ItisinthisrealmthatIseeSaâdaneAfif’sOpposite Play public toreferwhenarguingindichotomieslike Eastversus public thatyouaddresswhenthe andwhich acting publicly, forme,promptedquestionsonwhatexactlyisthe express dissent with activist actions. These and other thoughts on how onemaysubtlyactasanactivistthroughdissentandto conflict whereInesandEyalalsoproposecasestudiestoshow They juxtaposetheseastwomodelsforencounteringapolitical Eyal Weizman’s duo-contribution the politicalingeneral. to approachapoliticalconflictordefect,thatseekdefine either defendadistinctpoliticalpositionormakewaysbywhich gestures initsthirdchapterarecontributionsthat to aspolitical of the contributions in this book. What this publication refers work onthisprojecthavefedintotheeditingandarrangement things IdiscoveredaboutRussiaandWestern Europeduringmy as itscurrentpoliticalimmediaciesandinterests,manyofthe geographical conditionsofRussiainthisdelicatematteraswell for the Moscow Biennale. Taking into account the historical and carefully consideredayearbeforehand,duringthepreparations a juxtapositionbetweenEastandWest anew up onlater. and alsowhichtopicsdiscourseswouldbeworthfollowing programme of the biennial might be headed and accentuated, unfolds in this book between some of the keynote speakers, artists unfolds inthis bookbetweensomeofthe keynotespeakers,artists and workin Russia (p. Anna Jermolaewa’sExtras developed performance Political The notion of dissidence appears most prominently in Ines and Further, the global proxy war in Syria has become symbolic of For the biennial, Leon Kahane conceived a performance for 246) andtore-enactthepieceasexplained. 237), isanargument toadiscussionthat on (p. 292). dissent and activism — something we had something wehad 225)

15 of systemicshapes. Eastern valuesversusWestern valuesthat,forus,ledtothenotion of the biennial by the V-A-C Foundation: The juxtaposition of and youngRussiancurators,whowereengagedinapost-reading is conceived with thatinmind. discussion. Iwas, again,failingtospeak together…Andthisbook a trainofthoughtsothat itbecameimpossibletoevenbegina on thestage.Itfeltlikethere weremutualpresumptionsblocking for metorecognisethetrench betweenmeandthepeopletalking fence ormisunderstanding towardsEurope.Itwasmoreshocking thought, thesewordsare not primarilytobeheardassignsof- criticism towardsenlightenedEuropeanthinking. on Eurasiathatproposesleavingtheconceptbehind whilevoicing 419 offersinsightintosomekeycommentsand aperspective in economicterms.Theextractofthediscussionincluded onpage than asaculturalorgeographicalentity, theydiscussedEurasia knowledge Ihadbeforethepreparationforproject. Rather proposed verydifferentviewsontheideathanthose from thebasic of thebiennial.SomeremarksonEurasiamade onstage, cally commentedonbyfellowparticipantsduring theinception a panel on the concept of Eurasia, the invitation was already criti spokenly entrustedwithsuchexpectations? But how does it affect artists and cultural producers to be out the potentialandattimesassignedtaskofreformingsociety. ciologists andtheoristsreferredtoartassomethingthatisgranted to preservediversity. Thecontributionsbypoliticalscientists,so- proposals toabandonthenationstateorinitsdefenceasameans on thenationstateduringbiennial.Theyunrolledeitherin — reprinting andtranslationintoRussianoftheiressayEurope Crisis (p. Yanis Varoufakis shared the story of how he experienced the Euro- about theeconomicsofinnovation(pp. of reference:SimonDennyandMarianaMazzucatobothspoke inter-cultural circumstancesinordertoanalysedifferentsystems boundaries towidenourperspectivefrompoliticalgestures points ofviewthatoverarchformalhistoricalorgeographical The ReconstructionoftheFreeWorld (p. 375). Chapter fourofthispublicationreferstothesesystemic shapes; This stillmovesmealot. DifferentfromwhatIhadfirst When weaskedtheeconomistEvgenyGontmakhertoconceive It waswithanervousearthatIlistenedtotheargumentations 360); UlrikeGuérot and Robert Menasse allowed the 328 and 345 respectively); 328 and345respectively); - -

Marie Egger — Editorial 16 was vividlydiscussedafter theawardceremony. Atamoment valued amongGermanintellectuals andCarolinEmcke’s speech peoples andnationsofthe world.Thepeaceprizeisrenownedand commitment topeace,humanity andunderstandingamongall Trade. The prize has been awarded since 1950 andpromotes a author CarolinEmckewon thePeacePrizeofGermanBook underpinned inOctober2016whentheGerman journalist and liberal democracycurrentlychanging? human rights?Whatdoestheword‘liberal’entail? Andhowis Are they equal to Western values? Are civil rights the same as stand upfordemocraticvalues,whatactuallyare thesevalues? formation ofnewmovementstofacetheEuropean crisis. of thecurrentcivicconditionsaremetwithideas revoltorthe neighbours contributionssuchasUlrikeGuérot’s, whosecriticism activist movements(p. Pascal GielentiesbacktoexamplesofEuropeanandinternational and duties,hertalkinformedthenotionofglobalcitizenthat and citiesthatshouldactuallybetheirs.Anappealtocivilrights ments wherecitizensarelosingtheirrightsandpoweroverland citizens? the we, are from aglobalperspective,tacklesthequestionWho made me return to the biennial keynote of Saskia Sassen who, appears tobeupforitatall? and figureouthowtomeetoneanotherwhennobodyaroundus mark anactualfailureofhumanistideals.Whyshouldwetry the riseofpopulismandfundamentalisttendenciesthatseemto had beenanexperimentontoosmallascaletoactuallyhelpface Biennale seemredundantandpointless made whatIhadtakenawayabouttogethernessfromtheMoscow and pessimism, as well as to a certain melancholy and sadness. It buses and trains,alertedme to atensed atmosphere of mistrust understood thelanguagepeoplewerespeakingonstreets,in had also seemed very far away. Returning to two cities where I only witnessedthisfromthenewsinRussia,whereproblem wave ofrefugeeshadarrivedduringthesummer2015.I Carolin Emcke’s statements oninclusionandexclusion provided when it is all the more important to argue one’s political position, Driven bythesecall-outstobecomeactive,organise andto Recently, mythoughtsaboutthebiennialwerewonderfully For me,thisbroughtuptheissueofresponsiblecitizenand After thebiennial,IreturnedtoVienna andBerlinwherea (p. 384). Sheelaboratesonascenarioofglobaldevelop- 405). Hiscritiqueofneoliberalpolicies — as thoughthebiennial

17 belonging tosociety, toagroupofpeople,community. This or tofitsomewhere.Referringminorities,hertalkwasabout She askedwhetherbelongingimpliesownershiporparticipation, aggression, nationalismandresentmentin(German)society. by law, butpossessesbybirth.Shearguedthisinregardtoincreased grant theindividualwithhumanrightsonedoesnothavetoearn defended liberal,seculardemocracyandthehumanistidealsthat a meaningfulcontributiontomyconcernsonhowgather. She of contemporaryarttodisruptorholdsocietytogether. right ways to speak together and to possibly activate the potential just act,butalsoessentialtoshareandreflectinorder tofindthe its preparationsandtheten-dayhappening.Itisnot enoughto possible inanexperimentalsetting versations weregiventhetimeandspacetheyneeded.Thatisonly two yearslaterisamutuallong-termendeavour. Ideasandcon- ten-day meetinginRussiafollowedbyacomprehensivepublication chasms orwhatmightliebetweenusandothers.Itsformatofa together, togatherandtryovercomemisunderstandings, multitude and to create a space where it was possible to speak background. Thebiennialaimedtomakevisibleappearancesof Other asdifferentcannotmeanperceivingitunequal. do notconstituteavalidreasonforexclusion.So,toencounterthe requirement tograntthemthesamerights;justastheirdifferences share identicalpointsof view, Carolin Emcke said,isnotavalid as discussedattheBiennaleandinthisbook.Peopleneedingto is closelytiedtothenotionsofnationstateandcitizenship Her speech stemmed from an analysis of the word to I experiencedthe6 In thisregard,theaftermathofbiennialisasimportant as th MoscowBiennaleasaprojectwiththis — like alaboratoryontime. belong:

Part

The Individual Part I: The Individual 21 Note from Bed Keren Cytter — the daybeforeyesterday. To behonestIamdeadforovernine I woke up dead today. I was also dead yesterday. I was also dead was cancelled. paragraph. I feltsorryformyselfwhen Irememberedmyplay mind. Andthat’s exactlywhatcrossedmy mind.Mydeath. do that,Ineedtoclearthe tableandwritewhatevercrossesmy to dosomethinganalogue. Write anideaforamovie.In orderto it didn’t match. I slowly got used to the idea anyhow. So I decided room holding two adaptors. I picked the one with three holes but reception andaskedforanadaptor. Afatbaldmancametomy phone’s chargeratthebiennial.Afterthatwasclear, Icalledthe (long story) tonight and then I remembered Iforgot it with the I shouldn’t usemyiPhonetonight.Iwasplanningtoedit a movie want totakenicephotosofLeninandStalin’s gravetomorrow, writing?) Because I forgot my adaptor at the biennial, and ifI ing now?(IfIjustsaiddon’t likebooksmightmeanIdon’t like Sentimentally sweet.Ihateit.Itdisgustsme.Sowhy amIwrit sweet aboutit.Likecompote.Agrandmotherkind ofsweetness. book aboutlovingbookscanneverendbadly. Thereissomething afraid itwillendbadly. Iknewtheendingisgoingtobesweet.A man who loves books. Mymother read this book too. She was in books.Ihardlyreadthem.Thelastbookwasabouta it. OnceIwantedtobeawriter, aRussianwriter, butIlostfaith this one.Therestofmybodyisarock,nomatterhowyouturn My sensitive side. I have no sensibilities on any other side than soft side.MylivekindIt’s myexperiencedside. immigrant lives inside me,or dead insideme. Anyhow that’s my per centwhitefemale.Acorpse.mummy. Ascared,hunted morning. IamhalfEuropean,Mediterranean.Onehundred would wakeupdeadandrotten.NotwellpreservedasIwokethis I wouldalsobedeadbynow. Iguessinadifferentposition,too. If IhadmovedtotheUSasactuallywanted(insteadofEurope), Europe I would endup dead in Israel,but a different position. move toEurope.Ican’t sayIregretit.Ifwouldn’t havemovedto process of decay. The cause of this consistent state of illness is my process that started in 2003 and went on for 3 years. A slow years. Iamdeadsince2006.wassufferingfromalongdying I havetearsinmyeyes.They appearedafterwritingthelast -

Keren Cytter — Note from Bed 22 She committedsuicide.Ineedtodrinkwater. ago. IlookatFacebookandreadChantalAckermanjustdied. the sheets.Lifeisbrighter. Thesunisshining.Mybodywarm. dead. MaybeIwasneverI’mjustrestinginpeacebetween sleepy. Again.I ammorepleasedandpleasantIdefnot a differenttime.Sameplace.I’mafterbreakfastandgymbit Physically. It’s 3amandIwanttogosleep. Moscow rightnow. Lying inbed.I’manartist.alsoverytired. feather blowninthewind.Byway, forgottomention,I’min and itwillbemucheasiertocarryme.Mybodylooklikea My adaptor is found and I type what I wrote a couple of nights My adaptorisfoundandItypewhatwroteacoupleofnights I couldn’t fallasleep.Istayedawakeuntilthesunrise.Nowit’s Maybe I should stop eating? It would save me lots of money

Part I: The Individual 23 Here’s it Hanne Lippard — but they didnotlisten. Her ears werepresent, Female thoughts. Here- hesaid, toher. Them, never. Or those. What bodycaresaboutits own? What doothersthoughts think What doothersthink What isthatburdenfora bird What dobirdscare When isabodyjustburden What doesabodytosomebodies Or isthatbodyjustsomebody Does somebodycareaboutthatbody Pain isastainonanycomplexion. Or theexactopposite. When doesitfeelliketimeleft When doeslovelivelife When doeslifeleave When doesabodystopleaning When doesanearstoplearning Said, nothing. She? Herself? What didshesay? What istheretosayabouther? It is.Andher. Hear, hesaid,hearis my ear. Nothing but. A package. Three dayslater, upon arrival. Air mail. Male thoughts. A cutmadeinthemiddle. Pain isindividual. When doesitreallyhurt? When thisabodydoessome When doesabodydisembody When doesanindividualbecomeabody Hanne Lippard — Here’s it 24 Moscow Biennale, 27 Hanne Lippard,performance during th September2015

Part I: The Individual 25 Predictions ontheMoon Sergey Bratkov — Natalia Kogan has no idea that she’ll be spending her honeymoon Furqat Palvanzade doesn’t realise that his portrait will be reproduced in a blue capsule on the edge of Mars with a view of the Milky Way on the holographic banknotes of Mercury in 100 ME Luda Frost doesn’t yet know that she will invent a vaccine Taus Makhacheva doesn’t suspect now that she will win that prevents universal network aggression the Saturn Ring-Racing Grand-Prix It hasn’t occurred to Ivan Erofeev that soon he will take a famous picture Bart De Baere still doesn’t know that he will become director of a group of aliens at the space recreation base at the Museum of Futurery Art Mars (MoFAM) 33 Liam Gillick — Letters from Moscow

121, Prospekt Mira, Moscow

Letter from Moscow Monday September 21, 2015

There is an old saying here that in the future there will be no difference between waste and energy. What used to make sense no longer has any traction at a time when discourse has replaced action. The weather is clear right now. But it will get warmer throughout the week. Talk on the streets has been of the re-election of the Greek government. Tsipras have played a smart game. I leave my apartment here every morning and head down to the café on the corner. I have gotten to know the girl behind the bar. We attempt to talk about political strategy but I know she is laughing at me - though a strange pity shows in her eyes. She told me the other day that her boyfriend thinks I am a fool. That European progressives see something in this Tsipras thing that is merely a reflection of their own weakness and lack of control. Tsipras for him means nothing. And as a result - it means I have no grasp of the inherent corruption of the European Union. I need to find a new café but the pity in those eyes keeps me coming back.

I made a list of varied “izations” on the paper table cloths that they love here. "Virtualisation", "containerization", "orchestration". I was on a roll. The girl came over to see if I needed more coffee or a shot of something to pick me up a little. Fury for a second. Then she deliberately spilt my cup across the table. Fussing around and talking to herself under her breath she furiously wiped the paper - smearing my notes. It took a second to realize that she was talking to me - not to herself.

Part I: The Individual “What?” “Beat me gat thu delta quake.” “What?” “Sorry?” “Meet me at a data snake” “I am really sorry. But I can’t understand...”

My Russian is still rusty and not up to snuff...

Reeling she dropped the cup to the ground. Bending to pick it up she spoke clearly into my left ear.

“Meet me at the Data Lake.”

I grabbed my book and my phone and left quickly for the apartment.

Until tomorrow...

Take care of yourself...

Береги себя

Liam

Maria Terekhova can’t even imagine that she’ll become a G.L.Y.W. model with a lifespan of 250 years Liam Gillick — Letters from Moscow 34 Береги of yourself... care Take tomorrow... Until off. write a is Today Liam Math of numbers. Four letters. Ten letters. Ten Four of numbers. be tested and and mapped like no It feels problems. these has keeps churning along. I am desperate to find some peace here. A systemic peace. systemic A here. peace to some find desperate I am along. churning keeps . I want to put something in my my in tosomething put . I want center city could remember where I am supposed to meet the girl the to meet supposed I am where could remember Bull guest guest crossword a on Focus bar. to go a You to sleep but it is impossible when you feel this bad. So what do you do do you do So what bad. this feel you when impossible itis but sleep to There My feet blue. look My skull is loose and my teeth are fine teeth are my and loose is skull unleash I woke up a up I woke Tuesday Moscow Letter from 121, Prospekt Mira, Moscow Mira, 121, Prospekt

Pond? Pond? ’ workers like me workers s a hole in the front of my face where my mouth should be. How do How be. should mouth my where face front of the my in hole a s the Russian equivalent of Mountain Dew Mountain of equivalent Russian the

себя across

September 2 September t and watched 5am the sun comeup

- one owns this city. It has systemic edges. edges. systemic has It city. this owns one

the street. I can street. the

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2 and can be bought from the traditional octagonal that stands news dot the

, 2015 fully realized. fully realized. across. A landlocked body of water. of water. body landlocked A across. ’ t think .

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in a decent direction decent a in -

the easiest ones here are designed forsemi designed are here ones easiest the I motioned for another drink. Six down. An accumulation accumulation An Six drink. down. for another I motioned drink to take the edge of it. But there is nothing nothing is there But it. of edge the take to drink feels inside out. The lining of my brain brain of my lining out. The inside feels . I belong to no one. My teeth are loose. I wish I I wish loose. are teeth My one. to no . I belong in

the city. city. the

from the café the from But in the center it center the in But . Saw I think one of my teeth is lo is teeth of my one I think

twenty year old year twenty Four letters. Four .

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you Rem Koolhaas Rem is mute. mute. is

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Part I: The Individual 35 know what the Data Lake. love health I may have pushed it too far tonight. After After it tonight. too far pushed have I may stories. airport with earth to down things bringing sentimental in paradisical a They have fantastic brandy. you And can talk about love and sex and money. They get abit very faint but unmistakabl but faint very This evening I think I will go out. Igo will I think evening This League Universities. Universities. League I how about anecdote the them Itold laughed. We him. I misunderstood maybe But mode. online in that to achieve Pond Math a need I would that replied tall the one sure pretty up. I am mix shooter insurgent and soccer of a idea the tothem trying sell Otherwise they play PlayStation all day. CSKA v Spartak v Dynamo v Torpedo v Lokomotiv. saying accusation they so don’t quite take offence. But I am that sure be cannot they that clear It’s going. me gets frisson resulting the about Something in Russian must be coming out wrong. I think they think saying I it am is just an“accusation”. “observa I pronounce way the about Something observation. just an its that to them explaining upstairs. I think they think I think they would use adecent Mosque if they had one a is here need they What home thetown. untiltrash away Wash old the in square the down hose would they night every Nice In flowing. water the keep and drains th that carpet and wood of bundles little the coveted Ialways boulevards. spent many years inspent many Paris cute pet Russian names, soccer players and school yard taunts focused me it But keeps changed. it gets password the I guess time wi the use to trying Iam incoherent. is connection stayed home and watched the normal mix of poverty baiting I today. apartment my near off closed were streets the All me. to back coming all It’s Lake! Data Wednesday Moscow Letter from In Moscow they love to wash the streets. It’s an important gesture gesture important an It’s streets. the to love wash they Moscow In Liam Береги 121, P Take care of yourself... care Take tomorrow... Until Nostrovia! s

! .

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rospekt Mira, Moscow Mira, rospekt

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September September

23, 2015 they stopped laughing andwent backinto their apartment. !

e decent Mosque. I keep going on about it to the two guys who live who it guys about to two on the going I keep Mosque. decent To our friendship To - . -

utopian after way afew but I have jetlagged and up early to witness the ritual cleansing of the the of cleansing ritual the witness to early up and jetlagged At this time of year of time this At it As I As slowly dried out the following morning it’s and made back way of of location the about something know upstairs guys the think

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and news and news

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tion” tion” Liam Gillick — Letters from Moscow 36 Tretyakov Gallery on Krymsky Val. Damn security checks everywhere, but I have a good route. good I a I but have everywhere, checks security Damn Val. Krymsky on Gallery Tretyakov struggled down the stairs with the plants. Piled into the trolley towards way I the my made borrowed a trolley a borrowed here by the previous owner. I went to the I went owner. previous the by here abando were that plants potted various the to hide for somewhere looking I was morning This . together shit my simple bed. In this vast city just I am biological a cell in body a that I cannot control Liam Береги of yourself... care Take tomorrow... Until Thursday Moscow Letter from away away to pile everything me leads things of existing the design the irritation with my and I arrived since Scandinavian a becoming is room My Troitskoye, Mytishchinsky District, Mytishchinsky Troitskoye, “ of their back the logo on the I saw around again around cards name the moved and documents studied then chairs, some on me young handsome were back Running Shit. Kittens. machine in the of shape unl them saw I off Iwalked As asked. questions pushing the trolley ahead of him. He aplace has with museum the off into walked But answer. didn’t He misunderstanding.” Mosque the about sorry am Well, “Sure.” “OK. OK?” is this you sure “Are trolley inside. my I pushed and doors from ofguys the one ofmuseum, the back the At trolley full of plants. my pushing ahead rushed and back right be I would her I promised sleeping. were kittens The box. the into looked and away itrolling stop to trolley my Iparked born”. were kittens five died, mother my day hello. “The to say I stopped box. small a with wall low a on sitting was café my girl from The on rest for a stopped Moscow Mira, 121, Prospekt Data Lake

where I can find I can anywhere

себя

September September ”

. Training.

with a wink and a

Ordynskiy 2 4

Getting ready for for ready Getting , 2015 a

some space. space. some Buddha. n to to

dressed for waiting dressed oading aBuddha Ordynskiy Tupik there no sign ofwas the girl. In the park there T upik

shirts. Moscow Oblast Moscow

swift , prison cell. I haven’t been able to buy any new furniture furniture new any buy to able been Ihaven’t cell. prison in This

the little park little the staged events staged Azbukha Vkusa purchase of purchase

has left me with a monk’s cell. A table, a chair and a a and chair a table, A cell. monk’s a with me left has , M

moving cha moving the apar achine. I can’t think what else to call it. It was a a it.Itwas call to else what think Ican’t achine.

everyone else’s everyone . A

r future and planned. As I turned for home for Ihome turned As planned. future and borio rice borio

tment supermarket on the corner and and corner the on supermarket irs around. They placed cards name upstairs opened the loading bay bay loading the opened upstairs . It’s been hot here. And I And here. hot been . It’s

plants, under the stairs. No No stairs. the under plants, . Then moved them them moved . Then

thanks. I And

so I better get so

ned ned

Part I: The Individual 37 card... business a dropped the towards fast walked immediately as soon as he soon noticed as as noticing me noticing him me the hall. Therewas che in on the large black void where the the where void black large the on in

pressures of flora and fauna. I took out my phone and start and phone out I took my fauna. and of flora pressures world build a can we love it where underground, ought to pole be. north the where void black large a on centered of world the image an showing Liam Береги of yourself... care Take tomorrow... Until Friday Moscow Letter from 121, Prospekt Mira, Moscow Mira, 121, Prospekt Troitskoye, Mytishchinsky District, Mytishchinsky Troitskoye, “ Ireally What there. present the of managerialism the about Center Shopping Ryad to Okhotony the to itself. walk I decided will resolve something while for a here if stand I just Maybe here. from way long a is Troitskoye And headache. a I have there. stood pitched attractiveness of dialectics the So parsing Itried sportiness. or weakness, smartness, aspiration, and current jeans between correlations decent any I couldn’t make jeans. at people’s looked there and fine as as is weather the for when that good is Moscow there. And I need myself. excused ballet amethadone as “ a as to train here come actually Ihad law. in brother my with golf play to used who guys two into right ran and stop next the at off got I direction. Kropotkinskaya at Metro the Ion got I squeezed onto one the the one onto I squeezed and skip th Don’t escalator. the of parts all blocking there stand just all fools the while economist attractive tall a like stairs the down skip can You escalators. two the between in staircase large diamante thongs Data Lake nomenclature ck the image. When I looked up I looked When image. the ck

to get to Troitskoye to get to September September

ey realize that you should stand on the right and move on the left? I practiced my hop up up hop my I practiced left? the on move and right the on stand you should that realize ey себя

down the central staircase for a while. Then moved over to have a little a down. to sit over have moved Then while. for a staircase central the down ”

” . One of them IS a psychologist. And the other a ballet buff (actually Opera but but Opera (actually buff ballet a other the And IS psychologist. a of them . One

poking over white jeans white over poking 2 no expression beyond compassion. There was no judgme no was There compassion. beyond expression no 5

no idea what to say to them. them. to say to what idea no , 2015 -

like mar .

replacement). But I need I need But ble benches in between sneakers, sneakers, between in benches ble B allerino

Moscow Oblast Moscow against economic consciousness. consciousness. economic against

an attractive, slim young Imam Imam young slim attractive, an North Pole should Pole North

main entrance and immediately realized heading I was in the wrong better better .

Hit the button onphone my that it makes

and stared up at the glazed cupola , move Wrong information of philosophy and art So So

. Moving quickly after him I saw that he had had he that I saw him after quickly . Moving -

he too looked up at that black void and and void black that at up looked too he I told them I was I told them

be . especially using such anarch I like cities where you can just stand stand just you can where I like cities

and ed to photograph the world. world. the toed photograph

like about it is the way that there is a a is there that way the itis about like hunched down over my phone to phone my over down hunched race team logo shirts logo team race

it is was staring at me from across across from me at staring was

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unencumbered right now. So I just stood So stood I just now. right m viam aparadoxical -

psychologist but had had but psychologist

of painted glass glass painted of looking to the world to world looking the nt in his eyes. But But eyes. his in nt ’ t help so I just Ijust so t help - fake

and . It’s all all It’s . by the the by I zoomed I zoomed r ing and

I Liam Gillick — Letters from Moscow 38

Liam Береги Take c tomorrow... Until cruised past. past. cruised c that distractions with time lights “Data Lake” Lake” “Data the him t the and street got to my We for. listening be it might what precisely express longer no can if they even ear” “third of the conscious more are they think I here. neighbors my from apart me keeps that of lucid cynicism state a I live in I fear Sometimes was this All clutches. Saturday Moscow Letter from

“ the street. handed reach “We large brotherhood It little Achie of Exhibition The VDNKh. the past drove We reply. didn’t He 1006?” RAL painted is car this know “You enjoyingwas Mandarin. But you really have to be in the front seat and paying attention if you want to do that. idea where it Thankfu was. name street the pronounce I to tried when me understood never drivers the because front the in sat I always but apparently, three next the to order where pecking a is there driver. Then, the opposite back the in to sit supposed fare. discount huge a negotiated and to taxi airport, the the I drove seats, swapped car approached the hit and slower and slower driving started cabby The Orly. to flight evening I ago years inI a was taxi It Moscow Mira, 121, Prospekt the home fo way Ciao ’ I am going to take a taxi to Troitskoye taxi a to take going decided. Is am didn

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to pocket beer after a few drinks had multiplied into the necessity to keep the taxi window open all all open window taxi the keep to necessity the into multiplied had drinks few a after how he managed to get back home? back to get managed he how got

shared

me. that had

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left

. He looked up at the meter and tapped it with his finger. “ finger. his it with tapped and meter the at up looked . He “OK”

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business card I immensely.

26, 2015

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in Mandarin, and even if they understood correctly, they often had no axi pulled over. I looked at the driver and he looked at me. I handed I handed me. at looked he and driver the at I looked over. pulled axi

apartment

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Part I: The Individual 39

Sunday Moscow Letter from Liam Береги Moscow Mira, 121, Prospekt Take care of yourself... care Take tomorrow... Until mind. I don’t at window the of out city.” the in best the considered rightfully is here served salad Caesar food. The delicious and prices low for its renowned restaurant a as operates Propaganda day, the During Moscow. in parties gay best the hosts club the Sundays, “On calmly. Isat missed.” to not be treat a is for dessert spread sweets huge a and champagne juice and fresh wine, East Far the from exotic dishes sashimi, meats, roast crab, Kamchatka lobster, oysters, including items food of gourmet Mountains scene. culinary Moscow of the highlights of the one undoubtedly is brunch Sunday luxurious “A first: walke and door the just opened I could have outground multiplehalts. blurted we as city the toat look I decided speak. not and calmly to sit I decided forever will take This center. the from away me driving are know not do mired. I have lost energy. my It isSunday and one in Moscow person I barely know and another and swamped is caring of question The me. lulled have Iarrived since time first the for skies Grey a up going superstructure oval an by topped office block brick banal a at up I looked away drove we As guard. bore it she reached we time the By running. engine the with distance heading towards she building the left we As to her. follow me asked and She smiled package.” ous suspici a be might café the girl from the It there”. was jacket your leave can’t “You stare. my from me removed voice familiar A wall. the I turned towards rooms. the around limply me. beside bench a on put it down and jacket off my Nescaf fueled by Fuck there. walked and down I went early. opens that corner the around place a There’s returned. driver taxi the before weather The early. I woke

cross thecross street. I had nothing asked and expected nothing.

Sunday. So I So Sunday.

себя September September

é We didn’t speak. But I could see a taxi in the middle middle the in taxi a see could I But speak. didn’t We Boulevard. Strastnoy . The guards were goofing off and checking their phones. I walked inside. I took I took inside. I walked phones. their checking off and goofing were guards . The

went over to the Museum of the Revolution. It opens early to sweep up tourist tourist up to sweep early Revolution. of the It opens Museum to the over went

27, 2015 ads for Lof ads

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then I Liam Gillick — Letters from Moscow 40

Monday Moscow Letter from

Liam Береги brain. my in burst just Something Ka girls droppi and hustlers the at winking of Cosmos, Hotel lobby the across floating elevators, in newspapers reading visas, rackets, tennis Plastic fragments. up Picking now peace at Iwas least At back with face the in me ha took a We t- Gagarin “Yuri Googling been “I’ve life. my in hard so laughed Haven’t wrecker” “Stone foot sandwich Hysterical. man.” zipper wash “Liquid hog lou a of style the in but Russian in our into heads came that of words sequence any Saying laughing. all were we Then pacing. said I laughter they both looked at me. I couldn’t stop laughing. They couldn’t not laugh. Through tears my and like machine.” awashing strayA thoughtlaugh. me made saying toWhatever was the she driversounded like,“Shaghai requests to buy anything at all T window. the towards head my Iturned noticed. throttler even ormy driver the I think don’t tocry. LG I her began on out number a tapped she As apologized. traffic Moscow the considering funny pretty was driver the at yelled she there. “Drive faster!” sat just and throttle me to do. Iand let try her it coming see I didn’t neck. my Sheat lunged Moscow Mira, 121, Prospekt Take care of yourself care Take tomorrow... Until youngermany Russians talk soun - .

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Part I: The Individual 41 Tuesday Moscow Letter from 121, Prospekt Mira, Moscow Mira, 121, Prospekt Liam Береги of yourself... care Take tomorrow... Until side. the over and Up goes. Here complexity. session Data Lake. I rich have many quer Actually all. at here not am - to take backinto me it.Actually the about center laugh of the and city drink can allandwe a have Best be. to up cracked its all not is Lake Data bridge. concrete large rabbit punch swift toa akidney. Neel? Alice lake. a of lip the I face. my in drops Cigarette ash gravel. fe their I hear ground. the from lifted me has assured and energetic Someone to do. to flee or what where meet, to where about instructions the understand Iwould Idoubt phone the answer to way a find could day of the end the by return I didn’t me meet and to come driver for a Russian best my in note leftclear a I had town leaving Before food I want wandering belly dancers. I want wild singin bands costume. in waiters I want back. decor extravagant the I want mode. full in Orientalist restaurants off. pulled thumbs their had people me left who care Iwouldn’t Dawson. in job nice a found have can’t IMaybe can som pay open eye one of keeping exhaustion the from I eye. right my through can minutes, Within nutrients. and oxygen of tissue T

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s eventual , and September September . Alice Neel was married to Gerhard Richter. I should have gone to the Yukon. I could Yukon. to the gone have Richter. I should to Gerhard married Neel was . Alice

That can’t be right.

What areWhat they waiting for?

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can . I want strong and eventual consistency. consistency. eventual and strong . I want - hear feet and smell Karelias smell feet and hear my

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if if Liam Gillick — Letters from Moscow 42 skates on it will be dissident style, figurative sculpture, cheese, cold fries and and fries cold figurative style, cheese, sculpture, it dissident on will be skates move. the on I was it and over Liam Береги of yourself... care Take eschewed the bridge and ran for the shore. Time for Time shore. for the ran and bridge the eschewed Fucking Fortune300. Ruinart champagne, hors d’oeuvres. backstage And another shit the span. gentle other Instead Spetstehs Derways, Kamazs, Uazs, Gazs, Mokvichs, Zils, Volgas, Ladas, only... Looking back at the launch. Empty and bobbing gently on the lake. I looked up at the bridge. If minutes late. That the late. minutes Original Gold Original spare table cloth pulled from the back of the van just mildly obscured by by obscured just mildly of van the back the pulled cloth from table spare me. approached driver the in stuck street the across flung was body my Rather bus. the by decapitated I wasn’t megapixel Mobile Fly fucking Wednesday Moscow Letter from I hit the water a water Ithe hit Had I logged onto Rusavtobus.ru I Rusavtobus.ru onto I logged Had igniting suns ma the by recreated motions flowing the In spheres. planet the on sun the engulf courses, spheres’ celestial the structure controls that f meteoric for way the laying and summer light of a mood the bringing repulsion, and of attraction forces earth the charging forces, solar of Ithink Chekrygin. of Ithink dissent. and exile between to home go love it I want here. corner the on man light. A green throttle. the on back Pulling off flaking Plaster bridge. of UT Bits I As window. ribbon good a loved I always building. Narkomfim for the Yelena and wine from Abkhazia. And Moscow Mira, 121, Prospekt shimmied

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Part I: The Individual 43 The Labourer Li Mu— No. Li Muinfrontof the6 1, September2015 th MoscowBiennale venue,VDNKhPavilion Li Mu — The Labourer 44

45 Li Mu — The Labourer 46

Part I: The Individual 47 Li Mu — The Labourer 48

Part I: The Individual 49 Li Mu — The Labourer 50 scaffolding as possible. was hurrying back to work, so they tried to eat their lunch as fast cookies, cheap tangerines, sparkling water, and coke. Everyone ting rightonthefloor. Thefoodwasverybasic:bread,sausages, full of people; some of them were standing, the others were sit wrecked roomatthebackofexhibitionhall.It wasalready smelled stronglyofalcohol. the onewho carried out the most difficult ofthem. His breath It washimthatElsgivingalltheinstructionsto, andhewas clear fromthebeginningthathewasleaderamong theworkers. would payhim. he didn’t know temporary. WhenIaskedhimhowmuchhewasmakingsaid labour but thenlosthisjobandnowhastoearnbreadbymanual degree atMoscowStateUniversity. Heusedtoworkasalawyer ever wehadabreak.23-year-old FarrukhisaTajik. Hegotalaw seemed to be very outspoken yet a bit shy. We would chat when- of thefigures. the guests.Atsametime,shewaspokeringwoodenfaces out instructionsandwassimultaneouslytalkingtothepress the skull;smallwoodenfiguresrepresentedteeth.Elswasgiving a giantskull.Otherassistantshadalreadybuiltthestructureof that goodsoIdidn’t reallyunderstandwhatIwassupposedtodo. seemed tobeacompletemess,andwhat’s more,myEnglishisnot I evenlikephysicallabour?Whatmademeparticipateinallthis? this feignedgreatness,Iconstantlyfeelitspressure. ings I don’t likeMoscowatall;withitswideroadsandtall build 22 so Iwenttothe canteenandfetchedhim acupofespresso. nd Later in the afternoon we heard a voice from the top of the It wastimeforalunchbreak.We allgatheredinasmall Farrukh’s cousin Sukhrob seemed very sophisticated; itwas I got to know a worker in a red t-shirt called Farrukh. He I wasassignedtotheartistcalledElsDietvorst,whomaking I arrivedatVDNKh10amandmetwithDaria.Thisbiennial Why didIdecidetobealabourerattheMoscowBiennale?Do September2015,Tuesday. Sunny — so hugebutfaceless — just likehiscousin.Hekeptsayingthatitwasonly — it belonged to Sukhrob, who asked for some coffee, it belongedtoSukhrob,who askedforsomecoffee, — he wouldearnexactlytheamounthiscousin — it remindsmeofBeijing.Idon’t like - -

Part I: The Individual 51 were tobemade. of thefiguresandplacingthemintoskull. poker-work tome,soIspenttherestofdaypokering faces of needles;thecarpetlookedlikeashoesole. my mother. With her bare feet, she walked on a carpet stuck full expensive herethaninShanghai. and aglassofwater. Itallcostme1130rubles and decidedtoeatdinnerthere.Ihadpilawwithlamb,asalad, write mydiaryandleftVDNKh. there. Iwasexhaustedandhungry. SoItoldElswasgoingto At 6:30pmIrealisedthattherewasnothingelseformetodo Once Igottomyhotel,droppedintosleep.dreamtabout Els wasverybusyallthetime;atsomepointsheevenleft By evening,theteethwereready, andonlythebrowbones I cameacrossaMuslimrestaurantnearthesubwaystation — it isevenmore Li Mu — The Labourer 52 I wouldread astoryaboutLenineating apieceofbreadafter to meyetstrangeatthesame time.Isayfamiliarbecauseasakid, eyes arefixedonsomething far, faraway. Hisfigureissofamiliar supported byahugepedestal. Leninisholdinganewspaper;his gone. Neartheexhibition hallthereisatallLeninmonument Soviet Union,andthedust suggeststhatSovietgrandeurislong the wallshere.Thereliefsreflectformergreatness ofthe week butwhatisthepointofit? figures/teeth represent?We havebeenworkingonthisprojectall mistakes. to takeitpieces.IcomfortedElssayingthatart isaseriesof time onputtingthewholesculpturetogether, andnowhehad parts. Elsgotreallyembarrassed about it.Isaidthattherewasnootherwaybutto removethose which madethejawslookround-shaped.Elsasked me whattodo covered thatthewoodenpartsofjawsweresemi-circular, seem very easy to create such a thing but it is actually very difficult. wire andthenwithalinencloth.Itis7metrestallnow. Itmight were madeofwoodtomakeitmorenatural.We covereditwith sculpture withhisphone. be the best at it. He constantly takes pictures of the unfinished world. Heseemstoenjoyhisjob,andhe’s tryingveryhardto published in a Moscow newspaper. Sukhrob was on top of the somewhere else. world? learning it, dothese people turn their backs onthe rest ofthe English isauniversallanguageforcommunication,andbynot and everymyattempttoaskfordirectionshasfailed.Nowadays don’t understandanything.PeopleherespeaknowordofEnglish, 23 dipping itin ink. Leninwaseverywhere his firsttooth.AndImissedit! This morningIgotamessagefrommywife:oursonMontycut rd I couldn’t help noticing dim inscriptions and dusty reliefs on Farrukh wasnotheretoday. Hiscousinsaidhewasworking All thesignsinMoscowsubwayareRussianonly, andI Why is Els even making this skull? What do those little wooden Why isElsevenmakingthisskull?Whatdothoselittle wooden As wewerecoveringthejawsofskullwithlinen,Elsdis- Today we continued working on Els’s skull. Some parts of it The photographsthatSukhrobhadbeenhelpingElswithwere September2015,Wednesday. Sunny — Sukhrob had spent so much Sukhrob hadspentsomuch — at home,school, in

Part I: The Individual 53 taste. Hereallybrokenewgroundinart,gaveameaning at schooleventrue? him, can’t relatetohim;arethestoriesthatIlearntabouthim the streets. Yet he is a complete stranger to me: I don’t understand some moneyandnotwasteitinrestaurants. supermarket tobuysomepastryfordinner. Thiswillhelpmesave of reflectionandself-discipline,XuTan’s artmeansalottome. delighted tohearabouthisfriendshipwiththisChineseartist.Full to things.HementionedthathewasafriendofXuTan’s. Iwas I metanartistcalledBabiBadalov, amanofthemostrefined In theevening,beforegoingbacktohotel,Istoppedbya Li Mu — The Labourer 54 workers haveaday-off. Today MuslimscelebrateEidal-Adha,soSukhrob andtheother experiences, andtheyareequallyprecioustome”. “I amgettingtoknowRussiathroughbothpositive andnegative happy inmyhomecountry. Iamverysorryaboutthat”.replied: “Reading yourdiary, Igotanimpressionthatyouareveryun me shudderwithhorror. my camera,theysmiled.Butthosesmilesweresinister. pictures anddeletedthemonebyone. vigorously hitonearmagainsttheother. ThenIshowedthemmy beautiful. OneoftheguardsmadeanXshapewithhisarmsand to explainthatItookphotosofplaceonlybecausefoundit Russian. Hegesturedtomeshowthemmyphotographs.Itried was supposedlytheirbossandtoldhimthatIdidn’t speakany leave buttheyblockedmyway. Theybroughtmetoamanwho what theyweresayingbutlookedveryangry. Iwasgoingto ing tome,soIstayedtheretakesomepictures. coloured brickworkofthewalls,thatcornerseemedveryinterest backdoor of the exhibition hall. With its motley doors and multi police, andevensomesubwaystationswereclosedforafewhours. 24 th In themorning,areaaroundmyhotelwasinundatedwith In theevening,IreceivedanemailfromTaya, mytranslator: Once theguardsmadesurethattherewerenopictureslefton A vision of their grinning faces hasn’t left me since, making Suddenly twoguardsapproachedme;Icouldn’t understand During thebreakinafternoon,Iwaswanderingnear A terriblethinghappenedtometoday. September2015,Thursday. Sunny - - -

Part I: The Individual 55 Today IcontinuedtoworkonEls’s sculpture. this timeIamworkingforanotherartist.Whilewearecreating 25 being people andoften turninto wildanimals. stop they backdoor), gallery’s a or hall dormitory a to limited manner too) German was I thought (he Russian and the guard was very rude to him. Once he heard me speaking my German friend at the dormitory of Moscow State University, visiting was I ago days two And me. at shouted guard security a airport, the at you for waiting was I While too). policemen, (and guards security our among common very is behaviour rude Unfortunately,unacceptable. such is you treated they way The me decisively. “IammovingtoBerlinnextmonth”. that Ican’t liveinChinaanymore,Ihaveto leave”,she saidto every decisionmadebytheartistandtomeether demand. am not anartist buta worker who is getting paid. Ihave to respect in myartwork. on Iwouldmentionthenamesofallworkerswhoassistme assistant hasgonethroughthisinsomeway. tions getverycomplicated. is done,shegetspaidandhastoleave,atthispointheremo- the child,getsverymuchattachedtohim.Eventually, herwork sence ofherjob,andshenaturallydevelopsstrongfeelingstoward look aftersomeoneelse’s child;takingcareofthiskidisthees leave to dowiththispieceanymoreandthushaveturnaway And then,oncethe work isdone,whenIseethathavenothing from theartIhelpedcreate,willstill feel deeply attached to it. worker, Iwillreceive mypayment,anditwon’t disconnectme its creation,mynamewon’t beonthelabelofproject.Asa once theartworkisfinished,itasifIhadnevertakenpartin this pieceofart,theartistandmeareone,weequal.However, th This ishowTaya commentedon myyesterday’s mishaps: This experienceisveryunique,andIthinkthateveryartist’s I wouldcompareittoababysitter’s work.Ababysitterhasto I am also an artist and I am used to working for myself, but In Russia, if people get to taste power (even if this power is power this if (even power taste to get people if Russia, In I met with Mián (a Chinese writer) today. “I realised While workinghere,Ihavetokeepremindingmyself thathereI After having experienced it all myself, Idecided that from now September2015,Friday. Sunny — — a setofverycomplexfeelingsarises. he immediatelychangedhis attitude. — and in a very polite very a in and - Li Mu — The Labourer 56 By theendofeachdayIamdeadonmyfeetandhavenoenergy received alotofkindwordsfrommyfriends. let everythinggo. entertainment there,andwhenIseeallthesehappy faces,Ijust it are swarming with people. There are plenty of all kinds of fills myheartwithjoy. to feeleverynailgoinginsidethewall,andtheneachhungpicture work isreallymediation-like,oneshouldnotdoithastily. Ihave sound ofthehammerhittingnailsistooloud.Thiskind the Biennale,soIhavetotakeabreakfrommywork,since photograph butstilltheworkisgoingveryslowly. now, andfrom time toavolunteercomesbyhandme cell phones,andtheyalsoruinedsixpictures.Iamworkingalone helping mebuttheyweretoooccupiedwithconversationandtheir small butofgreatquantity. Inthebeginning,Ihadtwovolunteers will gettoworkwiththematthisbiennale.Thephotographsare Birdhead inShanghaimanyyearsagoandIamveryhappythat veloped, Iamtohangthephotographsonwalls.hadmet parks andmuseumstakepictures.Nowthatthefilmisde head. EverydayBirdheadwouldwalkaroundMoscow’s streets, get toitnextmorning. left to write my diary. Only after a sound sleep do I eventually 26 th It isthedayofMid-Autumnfestival,andIhave already It isaweekenddaytoday, soVDNKhandtheparkaround The afternoon isthe time oflectures and performances here at Today IambeginningtoworkwiththeChineseartduet,Bird September2015,Saturday. Sunny - -

Part I: The Individual 57 boy. Iwasveryhappywiththeresultandlefthima100-rubletip. I wasservedbyayounghandsomefellow, averyskilledMuslim I finallygotahaircut.Itwassmallbarbershopbymosque,and 27 my sincerest apologies! he didn’t drink.ItseemsImadeamistake. Sukhrob,pleaseaccept wrote thatIsensedastrong smellofalcoholfromhim.Hesaid ently myworkisnothing likethat. exhibit ithere.Thisismy powerasanartist. interesting anddeeperthanmine,butunlikeme,they don’t getto workers ofthisbiennialmightbewritingadiarythat isalotmore this biennial;manypeoplereaditeveryday. Iassumethatother of anartist. the biennale,workiswork. him atallbutBirdheaddidn’t wanttodeclinetheinvitation to the citytheytriedtoshow. HesaidthatMoscowdidn’t interest the Birdheadphotographers)ifhethinksthatonecould reallyfeel ally see when we lookat their work? I asked Song Tao (one of other streetphotographers?No,theydon’t. Sowhatdoweactu- And dotheirphotographsdifferfromthecountlesspicturesof could takewiththecameraofamobilephone?Thereisn’t any. their randompicturesofMoscowstreetsandtheanyone and couldn’t help but wonder: What is the difference between their photographs. heritage, thereisalsoaslight‘political’tastetoit. filled withenergy, andsincethisenormousbuildingistheSoviet process ofitscreation,andgetstotalktheartists.Theplaceis the audiencedoesnotonlygettoseefinalpiecebutalso the shortestbiennaleinhistory. Ireallyliketheideaofthisevent; finishes (intendays),alltheartworkwillbeready. Ihearditis tures, performances, films, and concerts. By the time the biennial their artaftertheexhibitionhadopened;therearealwayslec th True meditationrequiresbeingfreefromthought, andappar Sukhrob gotreallyupsetabout whathereadinmydiary. Ionce I can say the same thing about myself. My diary is a part of And whatdoIseewhenlookatthesepictures? thepower I examined each of their black and white pictures very carefully Today IamstillworkingwithBirdheadhelpingthemhang This biennialisveryspecial.Theartistsstartedworkingon September2015,Sunday. Sunny - -

Li Mu — The Labourer 58 It suddenlygotcolder. many days. father sittingthereallalone. Hesawthathehadn’t shavedfor empty. Thedoorofhishousewaswideopen, andBabifoundhis he couldn’t understandwhyhisaunt wasn’t happyforhim. saw him,turnedawayandjustleft.Babiwasvery disappointed; her. To Babi’s astonishment, his aunt changed countenance asshe with hispurchase,Babihurriedtoaunt’s tosharehisjoywith and fortheremaining14heboughthimselfaredT-shirt. Delighted He gave him24dollars; 10 dollars Babi spent onhis way to Baku, father sent him to Baku (the capital of Azerbaijan) to Babi’s aunt. old things. One day ily: theycouldn’t evenaffordtobuyclothesandhadpatch their an 18-square-metrebasementinParisfor500euros permonth. doesn’t spend much anyway because he lives alone. He is renting he explained.Babiinsistedontreatingmetodinner;says and gavethem150rubles.“Theirchildisill,theyneedmoney,” understand whattheyweresaying,butBabitookouthiswallet people holding balloons approached us in the park nearby. I didn’t art andthosewhocreateit,whichIhaddescribed. she couldrelatetotheemotionalconnectionbetweenpieceof body’s name interjections. AfterElsreadmydiary, shedecidedtoputevery nobody can speak English. We communicate via gestures and been workingtirelessly. Allofthemareveryfriendly, eventhough herself. We shouldallbeverycareful.Sukhrobandhisteamhave ends of wires under the linen cloth, and Daria has already hurt clay the enditshouldgiveimpressionthatisentirelymade of final stagenow, whenwearesupposedtocoveritwithclay. In didn’t breakforlunchuntileverypicturefounditsplaceonthewall. 28 finally continued.“It wasmyelder sister…” tears. th When hereturnedtohisvillage, itwassuspiciouslyquietand “When somebody dies in our family, men stop shaving,” he At thispointBabistopped totakehisoffglassesandwipe Babi sharedhisstorywithme.Hegrewupinavery poorfam In theeveningIleftexhibitioncentrewithBabi.Two young In theafternoonIwashelpingElswithskull.Itis In themorningIwas hanging the photographs of Birdhead, and September2015,Monday. Cloudy — except forthewoodenteeth.Therearenailsandsharp — including mine

—

Babi was 14 years old at the time — on thepro ject’s label.Shesaid

—

his - -

Part I: The Individual 59 heads, andoneofthemnoddedinreply. Theysithereinthis greeted theguards:“Goodmorning!”Theyslowlyraisedtheir Today I entered the exhibition hall through the backdoor and 29 stood itsbeauty. Ialmostlikeitnow. you willsoonseeitsbeauty.” has bothgoodandbad,”onegirltriedtocomfortme, “Iamsure me andtoldthatmydiaryhadmadethemverysad. “Moscow gesture centre ofthestageandgavemusiciansasignwithanabrupt entire performancelasted20minutes,andintheendIgotto and playedaccordingtothepatternIcreatedwithbuoys.The climbing upthescaffoldaroundstage.Theystartedplaying body’s namesoutloud.Atthesametime,severalmusicianswere those werebuoys).Avoicebehindthestagewasreadingsome round metal objects on the stage (later they explained me that used tosuffocateme,Ihavehadsuppressalotofmyemotions. drew fromthevillageshegrewupin;myvillage,oncontrary, figures insteadofteeth.IcanimaginehowmuchinspirationEls ings, andIevenfoundthesketchofskull while workinginsuchaplace. them; onecaneasilygrowglumanddevelopsomesingularities wrecked darkcornerallday, timemustberunningveryslowlyfor art groupu/nmultitude.Inthebeginning,Ihadtolayoutsome th And Ithinkfinallydidfeelthewarmthofthiscity and under While Iwasworkingatthisbiennial,a lot ofpeoplecameupto In the evening I participated in a performance by the Russian Els gavemeherbookasakeepsake.Itisfullofdraw September2015,Tuesday. Sunny — and themusicstopped. — with littlehuman - - Li Mu — The Labourer 60 metal buoys,mywholebodywasaching. Because oftheperformanceyesterday, whenIhadtocarryround spunk myself up witha cup of coffee I spentthemorninghangingphotographsofBirdhead. this, Iwillgetveryfat. no choice but to gratefully accept his presents. If I keep going like afterwards. Onecannotpossiblyresisthishospitality soIhave to reallyunderstandit,”Ireplied. lady saidtome.“You don’t likeitbecause younevertooktime don’t getit.Ipreferprettypictures,”aflamboyantlydressed young they don’t understandartatall.“Idon’t likethismodernart, I observing thesepeoplecarefullyandcametotheconclusion that and thereisachanceoneofthemmightbuyourartworks. Iwas time. Ievenhadtwoglassesofwhitewine. time I was surrounded by my new artist friends and had a good to thesepeopleandingeneralfeelveryawkward.However, this ally, Itrytoavoid sucheventsbecauseIdon’t knowhowtotalk the glass. might seeit. anybody toseeitscontent.Orhewasevenscaredsomebody it because he liked my diary so much. He probably didn’t want took mydiary?I am prettysure that whoever took it didn’t do of thediarylieunderglassthatisscrewedtotable.Who and theotheronedescribesincidentwithguards.Thepages diary weremissing.OneentryisaboutwhyIdidn’t likeMoscow, 30 th In themiddleofdayIsuddenlyfeltverytiredandtriedto There wasapartyforthesponsorslaterinevening.Usu- I amoutragedbysuchbehaviour. I had dinner with Babi, and again he treated me to some sweets I haddinnerwithBabi,andagainhetreatedmetosome sweets Babi keeps saying that evenings are the time of well-off visitors, We hadtoprintoutthosetwopagesagainandputthemunder In theeveningIwassurprisedtodiscoverthattwopagesofmy September2015,Wednesday. Sunny — with no success though.

Part I: The Individual 61 she sawhowtwoguardshadtakenthepagesofmydiary. the situation. This time it was the part about the guards and Taya’s opinion on my diary. Itisunbelievable! Somepartsofitweremissingagain! The firstthingIdidwhengottotheexhibitionwascheckon 1 tomorrow Iamcollecting mywages. and prosperity. traditional Chinesedream interpretation, my dream signifies luck foot tryingtogetridofit butitwouldn’t falloff.Accordingtoa ing andimmediatelysteppedinyellowfaeces.Iwas shakingmy large group of people carried a coffin past me. I started walk it seemsthattheword‘performance’suitsbest,”he agreed. Which formofartcoulddescribeitbetter?Idon’t know.” “Yes, absolutely agree,”Isaidtohim,“butwhatelsewould youcallit? my artworkatthisbiennalecan’t becalledperformanceart.“I mances orlectures. be able to seethe artists ortheworkers,therewillbeno perfor morrow thedocumentaryexhibitionprojectstarts.Visitors won’t crowded intheevening.Everyartworkisnowfinished,andto to makethesmallerimagesserveasabackground. try,” oneofthe visitorstoldmeafterhereadmydiary. exposed tothepublic. them whowerescaredofme;theydon’t likethattheirdeedsare look. It made me feel really uneasy but Itold myself that it’s to preventfuturetheft. and placedthemwheretheybelonged.Itapedtothetable like wildfire. In the evening we printed out the missing parts again st October2015,Thursday. Cloudy I told Defne, the curator, about what had happened. She said Translation: Taya Reznichenko It wasthetenthdayofBiennale,andgallerygotreally Birdhead placedthebiggerphotographsoversmallerones As Iwaspassingtheguardstoday, theygavemeaverymean You don’t believe me,doyou?Well, youshould,because I dreamed about my village last night. Crying with grief, a Bart, anothercurator, toldmesomepeopledon’t agreethat “I amsoashamedofthefactthatsuchpeopleliveinmycoun The newsaboutthedoubletheftspreadalloverexhibition - - - -

Li Mu — The Labourer 62 Li MuandElsDietvorst workingtogetheronSkull , MoscowBiennale 2015

Otto Snoek, 22 September – 01 October 2015

63 Transportation Curation isAlsoaFormof Ho Tzu-Nyen &LeeWeng-Choy — Lee Weng-Choy walkstowardVDNKhPavilionNo. Contemporary Artisstaged. … wherethe6 th MoscowBiennalefor 1.

64 65

As he passes before Lenin, almost instinctively, he pauses before Lee Weng-Choy stares at a blank screen. A woman enters from the statue. a passageway on the left. She seems to be in costume, and is reading a script. Lee Weng-Choy is oblivious to her presence. … Is it out of sincere reverence, or because the figure has now become an icon of ironic … I sit for several minutes in the auditorium curiosity? Maybe I am interested in the stature and don’t notice occasional passers-by. as a work of art. Perhaps it is all of these I arrived at the pavilion early, which explains feelings. The moment is fleeting as I move on why there aren’t many people walking around towards the pavilion. at this moment. Somehow, upon entering the building, I quickly gravitated to reflecting on the empty screen. Staring at it seems to be the perfect way to prepare myself, before looking at any art. The entire space leaves an impression on me. It feels intimate and hospitable. 66 67

Perhaps the woman is merely a figment of Lee Weng-Choy’s Two women appear on screen, and a light shines on Lee Weng- imagination. Choy.

… I ask myself: What is it about biennales … I begin to survey the various art works… and their scale? How would I respond to a performance such as this somewhere else? Why is it that in Moscow I seem much more open to these kinds of gestures and interventions? 68 69

Lee Weng-Choy is transported. Lee Weng-Choy traverses a large hall, moving towards a death’s head. … I once imagined a large-scale, long-term curatorial project, envisioned not by a single … The large skull by Els Dietvorst is in the architect, nor built up from a grand design, process of being constructed and installed. but constructed through a series of layered interventions by various contributors. It could be called: ‘On Being Curated.’ As part of the research for it, one would obtain stories from artists, curators, and a whole range of persons, on what it is like to be curated. Indispensable as that material would be, something else would be required. Maps may be important — they are necessary for navigation — but navigation is not sufficient for representation. There is something else that can happen in curating that goes beyond storytelling or cartography. Curation is also a form of transportation. 70 represented. Then hefindshimselfinaroomfullofheads,both realand with crudeoil. the Biennale,isdrawingportraitsofvisitors Hyber, who,fortheentire10-daydurationof … IjoinasmallcrowdinfrontofFabrice

71 activity. Lee Weng-Choy staresatthreefiguresinthemidstofaphysical the Biennaleparticipants. … Itisoneoftheregularexercisesessionsfor 72 Then, LeeWeng-Choy istransfixedbyreflectionsofadance. duration oftheBiennale. attempts tolearnballeteverydayforthe … IwatchtheartistLeonKahaneashe

73 Lee Weng-Choy walkstowardsadrawnmap. … IstandinfrontofQiuZhijie’s mural. 74 voice ofawoman,gettingincreasinglylouderand closer… Lee Weng-Choy walksbehindthemap.We heartheanimated room. room, IapproachAugustasSerapinas’s tea … Climbingupthescaffoldingtoahidden

75 attention isdrawntoLeeWeng-Choy’s ear. An imageofakeynotespeakergoesoutfocus,as our who isdebunkingmythsofthefreemarket. … IlistentoeconomistMarianaMazzucato, 76 splits himintotwo. Lee Weng-Choy standsbeforehisdistortedreflection,which his balletlessons. partition whichwasusedbyLeonKahanefor … Iamstaringatthelargemirroredmoveable

Part I: The Individual 77 Singapore, March 2016 Desire, Drive and Disappointment Three Degrees of Intimacy: Lee Weng-Choy — focused onthe thirdofthefourepisodes. Wu — The Most Radical Gesture isamaking-of/behind-the-scenes Coincidence and Relation: Art Criticism and Heartbreak, 4 x 4 I havethatwithTzu-Nyen: so tospeak,intimaterelations withtheirpracticeoversomeyears. encounter. WhenIwriteaboutartists,it’s usuallyafterI’vehad, opinion aboutsomethingsolargeandunwieldyafter onlyabrief uncomfortably disingenuouswhenIhavetooffer anextensive is write reviews of biennials. I’m the kind of writer who feels oil. I may be an art critic, but one of the things I like to do least large map-likepainting,toFabriceHyber’s drawingswithcrude ballet piece and Augustas Serapinas’s tea room behind Qiu Zhijie’s The worksthatcaughtmyattentionrangedfromLeon Kahane’s as wellVDNKh,theparkinwhichpavilion wassituated. that Iwouldwalkaroundandobservequietly. doing that.InMoscow, withnospecifictasksassigned,wedecided and participatedinoneofitsdiscussions.Alocalcrewfilmedme event either. InYekaterinburg, I spokeat the Biennale symposium few weeksbeforeMoscow. Tzu-Nyencouldn’t bepresentforthat the Ural Industrial Biennale in Yekaterinburg, which opened a time weengageinsuchanexperiment.Thefirstinstancewasfor to assemble the footage into something. This would be the second mention Ihatebeingcapturedoncamera?)Tzu-Nyenthenwanted members of the Biennale documentary crew should film me. (Did I presence, soheproposedthatIattendtheeventinstead,and vited totheMoscowBiennale.Hisscheduledidnotpermitforhis to Gather?hadonme. cies. IwanttotryandconsiderthecumulativeeffectthatHow purpose here,toreflectontheBiennaleintermsofpublicintima some ofthecoordinatesmyparticipationthatpertainto I wasinvitedtoMoscowasastand-in.Letmejustquicklysketch A decadeago,Iwroteabout hismade-for-television series, I verymuchenjoyedwalkingaroundtheMoscow Biennale, Ho Tzu-Nyen — Episodes of Singapore Art (2005).Myessaywascalled Singapore of Episodes — a goodfriend,andanartistIadmire 2

Episode 3: TangDa- 3: Episode — 1 was in andit - - Lee Weng-Choy — Three Degrees of Intimacy 78 its scale,ambitions,Iwould usethewordpublic. nonetheless. projects asnotimmodest, notoverlyself-serious,butambitious more grandiosethangrand, perhapsonecoulddescribethebetter about grand gestures. Whilesome exhibitions may come across as As aform,asproposition,thebiennialingeneral seemstobe biennial, and this 6 either go ontosayitwasintimateinscale.Modestisnotthe rightword feel ofthe6 claim aboutthisBiennale,anddescribetheoverall underlying found someworksmore interesting than others. Iwant to riska Luc Tuymans, thatmadeastrongimpressiononme.OfcourseI ments, buttherewerealsolargergestures,suchasthe paintingby in thesingularandintimate,universalpublic. and aperformanceofregard,speakingtoarttheother, specific artwork,is,likeTang’s owngesture,bothaprovocation the performance.Episode3,whileostensiblyadocumentaryon the President’s permission to puton the jacketas he commences gesture ishisfundamentalregardfortheother:Tang politelyasks in frontofthePresidenthimself.Fordirector, Tang’s radical the assistantinEpisode3,atstakeisthatTang daredtoprotest the government over-reacted by wanting to suppress the genre. For local tabloidhadsensationalisedaperformancebyJosefNg,and Singapore government’s proscriptionsagainstperformanceart.A of Moscow. Tang’s performancewasdoneintheaftermathof theme ofpublicintimacies,anditresonateswithmyexperience meaning ofTang’s “mostradicalgesture”. assistant trytofilmvariousscenesbutinsteadargueoverthe interruptions, repetitionsandcorrections,asthedirectorhis I amimportant”.Tzu-Nyen’s mock-documentaryunfoldsthrough passed himanotesaying“DearMrPresident,Iamanartistand “Don’t Give MoneytotheArts”embroideredonback,and Singapore atamajorartevent,puttingonblazerwiththewords Singapore artistTang Da-Wu. Tang approachedthePresidentof mock-documentary aboutafamousperformancebytheacclaimed island inEurasia thatIthinkaboutmost isSingapore,where I Eurasia. The of Island the of Heart the in City a in Centre a in How to Gather? includesthephraseActing to The fulltitleofHow I appreciatedtheMoscowBiennaleforitssmaller, quietermo This debatebetweendirectorandassistantisrelatedtothe — true, itwasn’t alargeeventinrelationtoyourtypical th How to Gather? shared these qualities. Toto How describe Moscoweditionasintimate.However, Iwouldn’t th edition was smaller than its predecessors. -

Part I: The Individual 79 is preciousand precarious?Howtorefuse togiveupondesire, drive alone; notfornothingis the mostwell-knowndrive,death can bestavedoff;intimacy isnotpossible,wearedoomedtobe need thepretencethatwe might beinlove,orthatdisappointment a drive:wecannothelpbut gothroughthemotions;wenolonger wanting tounderstanddrive. Thereisanemptinessatthecentreof torment meso?”ButasIhavegottenolder, Ifindthatturnto took theformof“Ohwhydoesbeinginlovewith thisperson cupied withtryingtounderstanddesire.Thispreoccupation often of desire.Asayoungman,likemostadults, Iwaspreoc- towards anygoalorobject:itsreasonforbeingisto repeattheact state willgladlyspendmillionsonthearts,butitdemandsKPIs granted the publicsphereiscertainlysomethingthatcannotbetakenfor and Singaporeareverydifferent.Althoughinbothsituations ing tothinkofRussiaalsoasanisland.ThepublicsMoscow have worked and lived formorethantwentyyears.It’s interest- (or,a). Drive,however,petit forLacan,theobjet isnotoriented then does drive fit into the equation? Desire is always for an object an unrequiteddesireorathatdoesnotquite deliver, how standing isthatdisappointmentarisesoftenasaconsequence of disappointment inawaythatunsettlesme.Ifourcommon under to, mylove.” oh, Istillloveyou/onlyslightly, onlyslightlyless/thanIused The Smithscomestomind:“Nothing’s changed/Istillloveyou, only be slight, but they matter nevertheless. A certain lyric by desire, drive or disappointment? Their differences in degreemay a third-degreeburn.Whichdegreeofintimacyismoresevere— want togowithit.Whatareatstakelevelsofseverity, like purpose orthedesireforsuch. audiences, interactingwitheachothersomesenseoflarger they arespacesforpeopletogather are notjustvenuesfortheconsumptionofcontemporaryculture, to besignificant.Publicsthatareconstitutedbyartisticprojects from largeattendancefigures.Apublicdoesnothavetobebig consistently argueforthevalueofpublicassomethingapart to justifytheseexpenses.InSingapore,therefore,itisurgent How togather? Howtofindintimacy inapublicspherethat Of the three degrees of intimacy, drive connects desire and I’m notsurewhytheworddegreeseemsrelevanthere,butI — — though stopmeifyouhave heardthisallbefore… it isapreciousandprecariousspace.InSingapore,the 3 — individuals, fromartiststo - Lee Weng-Choy — Three Degrees of Intimacy 80 for ahomeand,/Sharethesamespaceminuteortwo…” people /You gotafacewithview/I’mjustananimallooking I believeTzu-Nyenwouldapprove:“Outofallthosekinds questions feellike.Letme closewithasongbythe Talking Heads. disoriented, butonlyslightly, gavemeanexperienceofwhatthese walking around,keepingsomedistance,observingquietly, feeling tions attheheartof6 sceptically andnotcynically?These,Ibelieve,areamongtheques to notresignoneselfdisappointment,andconfrontdrive something incommon. a goodwork?)might have judgements inart (isthis (am Itrulyinlove?) and ing ifjudgementsinlove to artcriticism,wonder from desireandheartbreak on avarietyofsubjects, overstatement; Idigressed “Focused” mightbean edu/WengChoyLee. independent.academia. tralia, 2006.URL:https:// Art CentreofSouthAus- Adelaide: Contemporary 5 No. 1, Vol. 35, sheet, Heartbreak”, inBroad- tion: ArtCriticismand “Coincidence andRela- 2 1 th MoscowBiennale.Myexperienceof

- Speaking inTongues. Harrison, fromthealbum Tina Weymouth andJerry David Byrne,ChrisFrantz, Heads, 1983,writtenby (Naive Melody)byTalking This MustBeThePlace Here We Come. the albumStrangeways, and JohnnyMarr, from 1987, writtenbyMorrissey Before byTheSmiths, You’ve HeardThisOne Stop MeIfYou Think 4 3 4 -

Part I: The Individual 81 Waiting for the Secret (Script) Meggy Rustamova — The Latinexpressionsub rosa or‘undertherose’isusedtosignify the hand. The man on the chair freezes. He stops typing. The last upon him.The woodofthechairconducts thewarmenergyof the handdoesnotrealise is thatthemansittingfeelsitadvancing can bringahandtolifein asculptureorpainting. are sodifficulttodraw. Perhapsthegreatest artististheonewho merely withdrawsfromtimetotime. isolation in company. The man is alone, but he is not lonely. He who canescapeintoadeeplyrootedmonotony. Hehasdetected ting totheexperienceofvoid.Perhapsfree one isthe discovered the potential of freedom. Freedom, he says, is admit- in gestures. I believe he is writing me a message. He says he has the child,parent,friend,lover, thespectator. Mankind ingeneralhasremainedthesame,woman,man, mountains andthemanremainssameboyhealwayswas. ing muchhaschangedduringtheyears;mountainsarestill photographs. Themanperceiveseverythingthroughalens.Noth phone. Nevertheless,sometimeswhenthelightissublime,hetakes tention toitanymore.Insteadhespendshistimestaringat ordinary woodenchair?Thechairlooksquiteheavy. terms, butinamoreintangibleway. tain. Yes, thisishismountain.Hedoesnotownitineconomic said undertheroseshouldremainsubrosa. ings ofrosesonceilingswerealsoavisualreminderthatthings to ensurethathismother’s indiscretionswerenotdisclosed.Paint son Eros,thegodoflove.He,inturn,gaveittosilence, its origintraceabletoaGreekmyth.Aphroditegaveroseher secrecy. Sinceancienttimes,therosehasbeenasymbolofsecrecy, What doesitwant? Whose handisthis? Suddenly, veryunexpectedly, astrangehandappears. The handisonitswayto touchthemaninchair. What The hand is beautiful. I imagine this hand in a painting. Hands The characterspeakstome,notinwords, sound, but The landscapeisfamiliartotheman,sohedoesnotpayat What ishedoingthere?Andhowcomesittinginthis One day, ason mostdays,amanissittingontopofhismoun - - - - Meggy Rustamova — Waiting for the secret 82 thing hewritesis:… Can youseeitisshiveringslightly, asthereisalightbreeze? Now lookatthelightpinkplasticbag. Can youseethevillageinvalley? Nothing particularishappeningtoday. A perfectday;oneofthefew. A lightsunnybreeze. I imaginethefreshmountainsmell. 1

xxx 83 Esperanto. 6 mins.,originallanguage: video, colour, sound, the Secret,(2014)HD Rustamova, Waiting for Script andstill:Meggy 1 xxx 85 Janus Johanna van Overmeir — xxx 86

Part I: The Individual 87 of Pavilion No. took placeunderanarchwayintheaxis prior totheperformance.Heraction a professional trainer for several months physical challenge.Theartistworkedwith Spain. This image was complemented by a scarecrow on the Camino from themomentartistsawalonely Johanna vanOvermeir’s workoriginated 2015 Janus, MoscowBiennale Johanna Van Overmeir,  2015 Janus, personalnotes, Johanna vanOvermeir,   together withagildedSovietsculptureof which housedtheBiennalemediamachine the centraldometospaceatrear 1 at VDNKh, leading from 1 at VDNKh, leading from

Del Norte Del in in

and Europe.[BartDeBaere] Soviet republicsbehindit,betweenAsia female figures representing the former pavilion andthefountainwithgolden with theLeninsculptureinfrontof experience andrepresentation,even, tion andinnovation,outsideinside, forth betweenpastandfuture, restora the swingingbecameamovementbackand tion. In this site both the Janus head and mass paradethatwasundergoingrestora - -

Johanna van Overmeir — Janus 88 Sartre is not limited to astate of aban and disorderofthemind. and precariousnessthatissocialdisorder a reactiontogeneralvolatility, perplexity donment andloneliness.Rather, itisalso comes with swinging. This nausea inevitable dizzinessthatautomatically but oneratheroffearanddespair;the It didnotcreateanyfeelingoffreedom, image ofapermanentstatesuspension. aged hands. cling totheswing’s ropeswithherband- swung withoutanysafetywires,forcedto above our heads. Johanna van Overmeir of a constant threat circulating in the air constant movementcreatedanatmosphere artist wore on the back of her head. Her completed withawhitemaskwhichthe ballet niscent oftheblackswanOdilefrom feathers, whichmadetheperformerremi to andfro,wearingadustydressofblack of movement.Theartistswungfuriously above the floor to provide a large amplitude meir’s swingwassuspendedtwometres The woodenseatofJohannavanOver The performance,however, wasan Swan Lake . This sinister image was Janus Faced Freedom Faced Freedom Janus à la - - -

take theartist’s placeonthatswing? should askthemselves:Would Iwantto nate contemporary culture and mass media with theconceptsoffreedomthatdomi- vidual will.Soallthosewho sympathise circumstances andonsomeoneelse’s indi It means in fact an absolute dependency on precariousness withafeelingoffreedom. high swing, it would be a mistake to link der andassistancetogetdownfromthe Overmeir herself, who needs a special lad super by the neoliberal economy and its auxiliary wellbeing. Itisasocialeffectengendered tion characterisedbyalackofsecurityand Precariousness isnotamereabstractsitua Marina Simakova structure. Just as it is for Johanna van structure. JustasitisforJohannavan moscowbiennale.syg.ma/en. Biennale Blog:http:// unabridged onthe Moscow Extract. Thistext appeared 1 1 - - -

Part I: The Individual 89 Leather Man Peter Wächtler — Moscow Biennale,30 Peter Wächtler, LeatherMan,performancerehearsal, th September2015 Peter Wächtler — Leather Man 90 какой захочу, многовидео обэтих ноянеделаю этого.Есть шкуры длясвоей мастерской ипокрасить ихвлюбойцвет, в что исвященныекоровы тоже умирают, аямогузаказать их это неозначает, чтоэтишкурыплохого качества; этозначит, гдеПакистан, ихизабиваютна нелегальных скотобойнях. Но загружают этихсвященныхкоров вгрузовики ивывозятв запрещено убивать? Точно. Поэтомуони НоневПакистане. в Индиикорова несвященное животное?Разве ихтамне Ха-ха. ИзИндии.Атеперьвы, наверное,скажете:такразве красили всегда, давноуже,еще…каксказать… до нашей эры. ятебетолькосвою бесполезную скажу, жизнь. И чтомеха профессия, аяужнебуду допытываться, начтотытратишь конечно, несчитаяновыхспособовуйтиотналогов? что твоясемья сделала? Твоя семья что-нибудь изобрела? Ну, рецептмоейсемьи. я и «старинный» дело вступаю в кто отказывается от фабричных вещей, от любых, и вот тут запах яблочного уксуса ивсебольше ибольше тех, становится предки инебыливэтомпервопроходцами. Нолюдям нравится закрепления цвета, думаете, янев курсе? И может быть,мои рабы незаказываютцветнуюкожу. миру, иониживуттак,какимнравится, сразноцветной кожей; и приэтомлюбитярко одеваться. Моиклиенты живутповсему повелось, продаю своимеха тем,ктонехочет мерзнутьзимой луковый сок,адлязакрепленияцвета кто начал использовать вкачестве красителей свекольный и поколения назад,ну, или,покрайней мере,онибылипервыми, лучше инехуже. скажу вамвотчто:этотакаяжеработа, каклюбаядругая, не — покрасить кожу, какизменитьеецвет;иесливыподумываете Я крашу кожи, якожевник. Яздесь,чтобырассказать вам,как почему нет, собственно? Что-то ясомневаюсь. Да высмеетесьнадомной! (выглядит самодовольным инемноговыпендривается) (молчит несколько секунд) Вы знаете,откуда берутся шкуры,которые янеиспользую? (замолкает, перед аудиторией) вспомнив,чтоонвыступает Поэтому даймнезаниматься моимделом, этоуважаемая Можешь надэтимпотешаться, ноодин вопросик,умник:а другиеКонечно, я знаю, что существуют способы Моя семья изобрела особыйспособокраски кож четыре — заняться темже,чемия,тоя — яблочный уксус. Я,так

Part I: The Individual 91 it isajobasanyother, nobetter, noworse. of how to dyeleather, likechangeits color, and if you are thinking I amtheleatherdyer, Idyeleather. So,Iam heretotellyouabout blood and dead cows.Ähm.It was adocumentary I saw, by a whatever. Butinsteadoffoamywater andcleancarsyouhave you havetoimagineacar washsite,likedriveinorthrough these abattoirsthatcould give youseriousdoubtsaboutmankind, any colorIwant,butDO NOTdoit.Therearevideosabout order theirhidestomyworkshop andcolortheminpractically just meansthatholycows havetodietooandthatICOULD toirs. Butthatdoesnotmean thatthequalityisallbad,it send themtoPakistanwheretheyareslaughteredin illegalabat- But not inPakistan. So they put the holy cows on atruck and holy inIndia,isn’t itforbiddentokillthem?Yes, itisindeed. They arefromIndia.Andnowyouwillsay:India,aren’t thecows the dawningofourage. tell youthatfurswerealreadydyed,longago,like, ähm,before investigating on whatyoudowithyouruselessdays.Butlet me from taxfraud? What didyourfamilydo?Didtheyeverinventanything?Apart recipes ofmyfamilycomein. production, whateverthatis,andiswhereIthe“ancient” vinegar andmorepeopleturntheirbacktoindustrial not reallyinventinganything.Butpeoplelikethesmellofapple you thinkI don’t knowthatmyself?Andmaybe my familywas want towithcolorfulleather, slavesdon’t ordercolorfulleather. ally. Myclientsliveallovertheworldandtheylife keep warminwinterandliketodresscolorfulthings,tradition the colors with applevinegar. Isellmyfurs to thosewhowant least they were the firsttouse beetroot and onion juiceand to fixate — My family invented that technique four generations ago, or at My familyinventedthattechniquefourgenerationsago,orat (Pauses) (Pause) So letmedomything,itisanhonorableprofession, Iamnot I reallydoubtit. And youcanlaughaboutitbutaquestionforSmartass: But youarejustlaughingatme. (looks proudbutstillinsecure) Do youknowwherethehidesIDONOTusecome from? Of coursethereareothertechniquestofixatethecolor, do why not — doing thesameasIdo,cantellyouthatmuch: -

Peter Wächtler — Leather Man 92 (явно доволен образом). Да,вотчто-тотакое, что-тотакое. молодежный хостел, где подростки курят травку и трахаются. церкви СвятогоДуха, осквернитьее подобрать сравнение) что… да, знаете, то же, что изгнать из если выменяпонимаете, тоже,что…(задумывается, пытается а длянихэтотожесамое, чтообменятьденьгинабумагу, сначала онименяютденьгинавалюту, которая уменявходу, уважаемые люди издалека, ибросаютмнеденьги.Конечно, приходитьи стали ко мне:приходят вмоюмастерскую, не важно, лучше один раз показать вживую. Поэтому люди оттого,что… в зависимости берете шкуру, такую вот, вверх, кладете внутренней стороной так инепонял.Нувот, красный сок.Теперь увасесть вы кажется, потому чтоонсодержит очень многожелеза, аэтополезно, пластиковых трубочках). Ябывалопилеговперерывах, ее, чтобыполучить сок.(показываетнапальцахичетырёх как онипроизводятся, онихотят видеть,какяработаю. моя семья живетужестолько лет, что…мда… шкуры внашейзаброшенной,Богомзабытойпровинции,где на этого фермера, и это благодаря ей я заказываю лучшие в процессе.Онатоже работала уменя,нотеперьработает женой, и в конце концов дело дошло до развода; я сейчас близкого знакомого, чтоонуспел интрижкусмоей завести фермера, своего знакомого.шкуры у местного Настолько шкур, поэтомуянеиспользую химиюприобработке, аберу на свалкерядом сэтимибойнями. ребята изПарижа,аещеониснималидетей,которые живут Мда. Явидел документальные съемки,снималикакие-то мыльной воды машинтамкровьимертвыекоровы. ичистых заезжаете, проезжаетенасквозьивсетакое. Только вместо Представьтев человечестве. себеавтомойку:каквытуда нелегальных скотобойнях, после которых вы разочаруетесь на ярмарке, алюди подходят ибросаютмне игрушечные Так илииначе, онибросают мне деньги,словнояработаю (пытается бодро иделовито начать объяснять) (молчит) (замолкает, вотчаяниимашетруками)… нуитакдалее, Ну чтож,во-первых,надоизмельчить свеклуилиотжать В общем,япродаю шкуры,но это не все. Люди хотят видеть, Ну… такилииначе, люди нехотят химическиобработанных — по крайней мере, так говорят, хотяпо крайней мере, так длячего — и открытьтамтакой — я

Part I: The Individual 93 so that is why Idon’t treat myhides chemically and get them from right nexttotheabattoir. also filmedchildrenlivinginthetrash, they and Paris from team they thinkit is allinclusiveandthatthey foundtherealfur-dyer, beetrootsand they fallout of thecalendarandpeople shredding that local farmer and I want to know where all the years go, once have to think about my wife and wonder if she feels better with and Igetdrunkwasted andsosadevenbeforenoonI worky-work partyandIput sherryandFantainthebeetrootjuice and throwconfettimoney atmeandweareallhavingagood if Iamworkinginthemidst ofsomecarnivalandpeoplecome (happy fortheimage)Likethat,itislikethat. hostel in which teenagers smoke Marijuana and fuckthemselves. spirit outofachurch metaphor) it’s like…yes,youknowwhentakeouttheholy again, ifyouknowwhatImean,like(thinksto findanother which Ithinkinand for them it islike turning money into paper Obviously firsttheychangedthatmoneyintothe currency, in noble peoplefromfarawayandtheythrowtheir money atme. people startedtocomemyplace, workshop, on, does not matter, it is bettertoshowit,likelive.So that is why what kindof… take thehidelikethatwithROUGHsideup,dependingon I will never understand. Red juice, so you have that. Then you much ironandthat’s good,apparentlyorsotheysayforreasons I used todrink thatjuicein every pause,because itcontains so get thejuice.(Explainsitwithhisfingersandfourplasticstraws) how theyareproduced,wanttoseemedoingmywork. district thatmeandmyfamilyinhabitsince a longtime,likeähmn. order thefinesthidesofwholeforsaken,hated-by-god-shit- now sheisworkingforthelocalfarmeranditwithherthatI I amgoingthroughrightnow. Sheusedtoworkformetoo,but had an affair with my wife which ultimately led to the divorce a localfarmerthatIknow. Averylocalfarmer, solocalthathe H-O-W-E-V-E-R peopledon’t wantchemicallytreatedhides, (Pauses.) Does notmatter, anywaystheyarethrowingmoneyatmeas So firstyouhavetogrindthebeetroot,orsqueezeit,that (Tries tostartfreshandpractical) (Pause. Makesaresignedgesturewithbothhands)…andso So Isellmyhides,butthat’s notall.Peoplealsowant to see — yes desecrateandthenputitinayouth

Peter Wächtler — Leather Man 94 трудно делать; чтодобавляют этисложности, чтоонипортят? сказать. Незнаю,что такого важноговвещах,которые очень цвет. и ушласмехом лося,который онапокрасила в нежно-голубой понравилась, ияжелал ее,ноонабросиламнесвоифантики научилась всему, чтоязнаю. разочарована, потому что, по сути, она всего за двадцать минут научиться моемуремеслу, иярассказал ей,ионабылаочень Однажды приехала женщина, черт знает откуда, и она захотела мехов всех цветоврадуги, апотом отвязываютсяотменя. не хочет, ивполне достаточнотого,чтоони покупаютмного хочетдействительно что-топонять,нопобольшей никто части производство кожи. Я провожу если кто-то мастер-классы, ремесло, делюсь своими рецептамиивзглядами на ними обращаться. небросайтемонетывнищих,которыепростая: неумеютс давно. в вечернихсумеркахраннего декабрьского вечера давным- пальцы, пытаясьпоймать сверкающиемонеты, смеяться надегокособоким танцеминадтем,каконобжигал на зажигалках,исовсегоразмаху бросать ихвнищего,и крайней меревначале. подогревать Апотомонистали монеты плясал, по с ними. Он действительно попрошайка вместе рыночной площади, и монеты подпрыгивали и плясали, и монеты нищему, такмногомонетнабулыжниках этойтемной домов надеревеилигде онитамживут. самого, ккоторому ониприехали изсвоихчертовыхвиллили кожевника,все включеноичтоонинашлинастоящего того алюдикак календарныелистки, режутсвеклуидумают, что фермером, икуда ушливсеэтигоды, облетели один заодним, лиейлучшесэтимжене, имнеинтересно,действительно вхлам,идажеутромтакхреново,ядумаюопросто всвекольныйи ядобавляюхерес«Фанту» сокинапиваюсь славненькаярабочая вечеринка, деньги, фантики,иунастут Но когда ониприходят ониговорят: намой мастер-класс, (неловкий смешок) Не знаю,почемулюди думают, чтоэтосложно, немогу этим,ионамне расстроена Она быладействительно Но возвращаясь кмоей работе: да,ядемонстрирую свое В конце концов попрошайкалишился глаза. Мораль Я видел нескольких молодых людей, которые бросали

Part I: The Individual 95 place, the coins were dancing and jumping around and so was the place, thecoinsweredancingandjumpingaroundsowas beggar, so many coins on the copper-stones of that dark market or wherevertheylive. the one they setout for from theirfuckingvillas or tree-houses No, that’s notgood. good to share things just because of the horror that inhabits it. who wouldnotunderstand thebeautyofitanywaysandisnot nected toavery violent anecdote and I will not tell it to you, there wereonlyfourintotal Iwasimpressedby, butthatiscon- around. that thisorcolorfadesintoanotheronethe otherway tremely difficulttodo,whatdoesitadd, ittakeaway? say. Ialsodonotknowwhatistheimportanceifthingsareex- fur shedyedbabyblue. I desired her but she threw her confetti at me and left with the elk I knowaboutthisintwentyminutes. was very disappointed because basically she learned everything and shewantedtolearnhowIdidittoldherthen take off again. Once there was a woman from I don’t know where they buy a lot of furs in all the colors of the rainbow and then they really wanttoknow, but most ofthemdon’t anditisenoughthat and myinsightintoleatherproduction.Ialsogivecourses,ifthey is: don’t throwhotmoneyatpoorpeoplethatcannothandleit. evening longago. ofthatDecemberafternoon coins, glowingthroughthe twilight how heburnedhisfingersreachingoutforthebrightlyglowing really hard at the beggar and laughed at his crippled dance and heat upthecoinswiththeirlightersandstartedalsotothrowthem beggar. Hereallywas,atleastinthebeginning,thentheystartedto I oncesawagroupofyoungmenthrowingtheirchangeat (Walks off.) I sawagooddealoffurs andhideswhatdoIknow Is itreally? (Pauses) I don’t knowwhypeoplethinkitwouldbedifficult,Icannot She wasreallyfrustratedaboutthisandIlikedherlooks (embarrassing laughter) In theendbeggarlostoneeyeandmoralofstory But when they come to my workshop they say, it is fascinating But backtomywork:yes,Ishowwork,sharerecipes

Peter Wächtler — Leather Man 96 ради тех ужасов,которые Нет, внеместь. этонехорошо. очарования; нуисовсемнездороводелиться чем-тотолько равно вамнерасскажу, вывлюбомслучаенепоняли быее но этосвязаносодной оченьжестокой байкой, которую явсе произвели на меня впечатление,четыре из них по-настоящему наоборот. удивительно, кактотилиинойцветпереходит вдругой и (уходит) Серьезно? (молчание) Я видел кучу мехов и шкур, и в общей сложности только

Part I: The Individual 97 Woman of theBistro Peter Wächtler — Moscow Biennale,30 Peter Wächtler, Woman oftheBistro,performancerehearsal, th September2015 Peter Wächtler — Woman of the Bistro 98 в старые добрыеголодныев старые временавокруге Безысходненска. Или хотят знать, каквконечном счетеэтиобычаипоявились которую,простоте, каконисчитают, уничтожил упадок нравов. потому чтохотят чувствовать себяближе кестественной блюд, хотят весьассортимент, либохотят выборизтрех блюд, если вывдруг незнаете. вы вдруг не знаете. Пресная вода Краснопёрка он варитусебяпод кроватью, итриблюда, всеизкраснопёрки. немецкому придурку. Онпредлагаетдомашнеепиво,которое а потом совсем расклеилась ипродала всё одному ушлому Так чтояпродержалась одну очень,оченьдолгую неделю, как я прожила первую неделю вроли владелицы бистро. вообще не проблема, если «быть собранной» похоже на то, без работы расклеиваются, номнетеперь кажется,чтоэто чтоб ясовсемслабачка, ноэтобылослишком. Говорят, люди усталости, правда? Нодляменяэтобылослишком. Нето И заказывалиедуинапитки,официантканеумирала от не привыкла. едва могла резать чертовлук.Думала,япривыкнукэтому, но меня словносвинцомналились,асуставы такболели, чтоя первый деньвсебылопрекрасно, нонавторойденькости у тридцати пяти различных блюд, и этим ониизанимались.В чересчур сложными, илюди могли выбрать изчетырехсот хотела предложить посетителям. Они,такилииначе, были Думаю, дело врецептахблюд, окоторых ямечталаикоторые когдаи ябыласчастлива, открылось. бистро и преломить хлеб. Всебыло в порядке, вместе все могут сесть придумала дизайн,этотбольшой длинныйстол, закоторый в какой янесамаделала цветпокрасить мебель, стены; но ивыбрала,посетителям едуинапитки.Яоткрылабистро примерно четырераза внеделю, еду инапитки.Иногда, когда официантке нездоровится за стойкой, где готовлюедуинапиткидлятех, ктозаказывает побольшей Яработаю Я владелица вбистро, бистро. части (извиняется) (говорит ещеболее зло) Все, ктоздесьсидит, навернякакогда-нибудь ели вбистро? Простите, я слишкомПростите, обобщаю. Я знаю, что вы, если в И люди либохотят выбор изчетырехсот тридцати пяти Но перваярабочая неделя прошлане слишком удачно.

—

это такая рыба, она живет в пресной воде, если — — это которая не морская, я вдобавокиразношу —

Part I: The Individual 99 the customers of the bistro. I founded the bistro and I chose the the customersofbistro.Ifoundedbistroandchose about fourtimesaweek,Ialsobringthefoodanddrinksto food anddrinks.Sometimeswhenthewaitressissick,which the counterwhereIpreparefoodanddrinksforpeoplethatorder I amthewomanofbistro.workatbistro,mostlybehind all Icantellyou. (thoughtful,slow) to benaiveasme. own abistroorwantto found oneandincasetohelpyounot sense atall.Sorry. that at all and that you are also full of doubts if this life makes grow upinthegoodolddaysofpovertyNoChoice Country. by corruptionitself.Ortheywanttoknowhowit musthaveto want tofeelcloserbasicinstincttheythinkwastaken fromthem full spectrum,ortheywanttochoosefromthree dishes asthey is thewaterthatnotsaltincaseyoushould notknow. fish, afreshwaterfishincaseyoushouldnotknow. Freshwater his mattressandthreedishestheyallfeaturered-eye, that’s a very smartGermanFuckfacewhooffersbeerthathebrewsunder very longweekbutthenIfellapartandsoldthewholethingtoa looks likethatfirstweekofmyownbistro.SoIlastedforavery, I nolongerseetheproblemwiththatifholdingyourselftogether was justtoomuch.Itissaidpeoplefallapartwithoutworkand But formeitwas too much, Iamnot weak or anything but it food anddrinkswithoutthewaitressdyingofexhaustion,no? I thoughtwouldgetusedtoitbutdidnotit. so heavyandmyjointssorethatIcouldhardlycutaonion. For thefirstdayitwasfine,butonsecondmyboneswere choose inbetween435differentdishesandthatiswhattheydid. offer. They were all way too complicated and the people could it wasbecauseofalltherecipesIdreamedandwantedto and eatbread.AnditlookedokIwashappytoopenthebistro. designed it, that big long table, where everybody can sit together colors forthewallsofit,Ididnotbuiltfurnituremyselfbut Maybe Icannot giveyousomanytips, maybethatisalready Sorry, thatisallwaytoogeneral,Iknowyouarenotlike (apologising) (more angry) Anyways Icameheretoday tospeakforthoseofyouwho So eitherpeoplewanttochoosefrom435dishes,they wantthe Everybody here surely ate in a bistro before right? And ordered But thenthefirstweekofbistrowasnotsogood.Ithink

Peter Wächtler — Woman of the Bistro 100 то другого. дерьма. Имнеправда пофиг, есливсёбудет символом длячего- никакого значения в миресимволов, вмире символического латыни. Но название этого липкого слизняка, конечно, не имеет называется. Limacus flavus, если хотите знать, Этобылжелтый садовыйслизень,такон открывала бистро. из крана сPilsnerUrquell, которое ясамавыбрала, когда из крана спивомвбаре. вялые и склизкие, как бледный слизняк, выползающий ночью на пикевозможностей этот момент наивысшеговоодушевления, всвободное время, себе это,когда Но дажев унихещебыловремяпредставлять. пользу, когда они занимаютсялюбовью,каконипредставляли когдаОни в восторге, работа, когда у них есть они приносят подобных вещей.Люди фигни. ловяткайфотсамойтупой себелюдей,представлять которые получают удовольствие от Черт!» столько белого вина…итра-ля-ля, итакдалее…Черт! раз, когда ятамбылсдрузьями, ясъел порцийпятьивыпил можно краснопёрки. Онатампревосходная, поесть последний окажешься вТрататамске, язнаюодно отличноеместечко, где скажут (изображает разные голоса): «Есликогда-нибудь например, накраснопёрке. Заэтовасбудут ценить.Люди большим; во-вторых,специализируйтесь начем-тоодном, рассказать. (говорит медленно,задумчиво)наверное,этовсё,чтоямогу была такой женаивнойиглупой, каквысейчас. помочь вамнесделать те жеошибки,которые сделала я,когда иликтособираетсяу кого егооткрыть.Чтобы бистро есть ливэтойжизнивообщекакой-тоесть смысл.Простите. целом, совсемнетакиеичтовытоже всевремясомневаетесь, клиенты-спецы, называют дрофу, если им доведется ее увидеть? Ну давайте!Начинайте! Яготова! (повышает голос) Пару явидела раз такого вбистро слизняка, вылезающего Ну вот, значит. Во-первых,менюдолжно бытьнеслишком (пытается объяснятьпонятно) В любомслучае,ясегодня здесь,чтобыпоговорить стеми, Еще один пример: вызнаетекакэти, такие,понимаете, Я должна вампризнаться: мнефизическинеприятно Не такужмногоя,наверное,могувампосоветовать; — это непроменя! — люди всётакиеже

— да, это по-

Part I: The Individual 101 drank alotofwhitewine…blaFuckFuck.” last timeIwastherewithmyfriendsateaboutfiveplatesand know averygoodplacewhereyoucaneatred-eye.It’s delicious, say: (imitatesdifferentvoice)“IfyouareeverinBumBum-town,I like red-eye and you will be acknowledged for that. People will Enjoy life! havingcustomersthat appreciateeverysingle to openabistro: not changethatandIam sorrytosaythis. and violencecomparison, andtheycangotohellI- satisfied people,Ialsothink ofknivesandimprisonment,steel be whippedoropenabistroforpunishment.When Ithinkof music andhangonthetelephonealltimethey shouldall lems, thatmakethemstroketheirboyishbeardsand listentosad weekend triptoBumBumtown. offer. Take it or leave it, but don’t pretend you can find it on your Дрофа andthereyougo:thisisallthepoetry worldhason situation: Amanmeetsananimalinthesteppeand saysthisisa I don’t careaboutbirdnamesthatisforsure.Buthere isthe if they happen toseeone over there?TheycallitaBIRD. NOW: know howthoseohsospecializedcustomersofminecallaДрофа, a fuckifeverythingwillbesymbolforsomethingelse. of symbols,inaworldsymbolicbullshit,andIreallydon’t give that’s Latin. name. I openedthebistro.Theslugwasatawnygardenslug,that’s its slug creepingoutofthePilsnerUrquelltapIchosemyselfwhen tro beer-tap atnight.SometimesinthebistroIwatchthatwhite are stillasslow, slimyasawhiteslugslitheringoutofthebis free-time, at their maximum of thedumbestshit.Butevenintheirmostexcitedstate, people beingSATISFIED bythesethings.Peoplegettheirkicksout I havetoconfessthisyou:itphysicallyhurtsmeimagine (more euphoric) But Iamsurethesepeoplehaveproblemstoo.Big Badprob- (Louder) So 1.don’t offertoomanyrecipesand2.specializeononething (tries togiveagoodexplanation) Don’t be like that! Don’t be like me, basically. Thank you. And hereisthefinaltipfor thoseofyouwhoreallywant Bring it on, let it roll, I am prepared! Last example: do you But the surname of that slibberyslugdoesnotmatter in aworld Limacus flavus, ifyouneedtoknowandyesareright:

—

I don’t get this myself

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people - Peter Wächtler — Woman of the Bistro 102 слушайте меня! сколько сможете, бороду. отрастите Не говорите сомной! Не Сами ешьте вкусную едуинетолстейте. Занимайтесьлюбовью Готовьте лучше,учитесьновому, читайтеТолстого иБиблию. ценят каждоевашеблюдо, сколько быихнибыловменю. Радуйтесь жизни!Радуйтесь,клиенты,которые чтоувасесть очень-очень хочет открытьбистро: поделать, чтоятакое ипростите, говорю. сравнении, ипусть оникатятся кчерту, яничегонемогу итут людях, ядумаюоножах инасилиио итюрьмах,остали Когдав наказание открыть бистро. я думаю о довольных по телефону редкие бородки, слушать печальнуюмузыку, всевремяболтать ужасные Проблемы, которые ихпоглаживать заставляют свои приехав вТрататамск нагребаныевыходные. вы илинет, только неделайте вид,чтосможете понятьэто, поэзия, которую этотмирможет нампредложить. Согласны животное и говорит: «О, это дрофа!». И вот что птиц, этоточно.Новотвчемдело: встепи человек встречает Они называютее«птица».Ещераз: мненасрать наназвания (поворачивается, уходит) (приподнято, своодушевлением) Не будьте такими! Вобщем,небудьте какя!Спасибо. И, наконец, последнийсоветдлятех, ктодействительно Я уверена, у этихлюдей тоже проблемы. Огромные, есть — да их всех за это нужно выпороть или заставить да ихвсех заэтонужновыпоротьилизаставить

—

это вся

Part I: The Individual 103 speak tome,don’t listentome! don’t getfat.Makeloveasmuchyoucan,growabeard. Don’t learn things,readTolstoy andtheBible,Enjoygoodfoodyourself, one ofyourdishes,nomatterhowmanythereare.Cookbetter, (Turns around,walksoff) 104 A Stone Jimmie Durham— He chipped Had madeintoatool. He leftastonehehadworkedon, And noteventhatatall. I rememberfamiliesslowlyleavingSiberiabetter More thananyofusforalongtime. When heawokemornings,sleepinghabits. His ways We donotremember We donotforget No oneremembershisname. Don’t know hisname: There wasaguy. Humans havemadetools fromchert. In thefire.Forthousands ofyears So thatthefatmarrowcan beroasted Break bonesalso,oflarger animals Chert andhumansmakefire. Flint ischert,jasper, alltheagates. Will sparkifstruckwithiron. Quite abit,asiwrote,ofchert /Quite abitofchert It is.ischert.) An explanationofthekindstone Of thestonewefoundwith So nowbreakintothestory Sixty five,waitingforanopportunity, In mymindsinceaboutnineteen (I’ve carriedthatbirdchirpingphrase

Part I: The Individual 105 Tell him whatwewanttobe. We wantgod’s advice, We livebydeathofcourse Watching alwaysfearfulofthebite. Living todevour, livingbydevouring, And allthekindsofmovinglife, Any coltwilltellyouhorsekindhasfallentoo, Truly, humankindhasfallen. We toldgodwhattotellus,didn’t we? Added morethanallthegramsandkilos- This guymadethisstoneheavy--- With nonchalantprecision We don’t knowhisname. Would offendus.We know For himanditssoftfalsity Speaking ofthat,icouldmakeupaname Taking awayflakesofstonefromstone. To saytheactionofquickly, carefully No, notchipped,carved,wehavenoverb Into alargeroughhand./ Horribly comfortableandfitting It hadbeforethehumanencounter, On oneside,itmaintainstheroundedshape Sharpened toastriking,notcutting,edge A goatoroxformyweakoldarms. Too heavytofightwithorstrike Thousand yearsold,maybemore. And thirtysevengrams.Thirty By weightit’s onethousandhundred This wefoundisoldold. An axeorknifefromstone. Incredible dexterouscraft,making Jimmie Durham — A Stone 106 I knowhowwewant. Still bythisstoneirecognisehim, It wasnottherealpart. His oldname,thisguy, maybe To fitbetterintonewsituations,places. Redbird Smith.,,,usedtobe,everyonechangedtheirnames What imean,HoChiMinh,CrazyHorse, Hell, man,iliveonone. I’ve seen,held,beenheldbackbymanystones. What imean,knowtherockyroad. I’m notsurehowtosaywhatwewant. By Geneva,bypeoplewhowant The LargeHadronColliderbyVoltaire’s oldhouse Dropped mymindimagines,usedjustlike I’ve foundstonetoolsleftoftendesperately In Europe,Mexico,Arkansasandonthebeach Covered likePompeii,triedtofigureout. In Mexicometresaboveacity Of Carraraandstoodonthehardenedlava I’ve beeninthehollowedoutmarblemountain

Part I: The Individual 107 cosmos throughastone.[BartDeBaere] upon cosmism;ourrelationshipwiththe moment in which this book touches later Therefore itmightalsofeelathomea and evenmoresobetweenmanstone. stones tionships, betweenmenthrough And it is definitively apoemabout rela time ago, he might also be about all of us. Eurasia. Becausethismanisfromalong a long time ago, probably somewhere in solitude, sinceitisaboutasingleman, belatedly here. It mightseemtobe about of thebiennial. marvellous poemjustbeforetheopening a pity, because Jimmie Durham had sent a read publiclyanymoreafterthat,whichis of hisfriendslisteningtothem.Hedidn’t form duringoneofthefirstdays,acrowd read poems in Russian on the main plat- every day. So it was agreed upon. Joseph Joseph Backstein to read a poem Biennale asking thecommissionerofMoscow of themtogether, hadtheexcellentideaof Marie Egger, orKatyaSavchenko,both That poem can only therefore appear That poemcanonlythereforeappear - 108 The Cemetery for Bad Behaviours Donna Kukama — WELCOME TO THE CEMETERY FORBADBEHAVIOURS, WHEREWE TAKE CARE We at the Cemetery of Bad Behaviour (CBB) would like to change this miserable state millions ofmemoriesbeastlybehaviourhavediedinsilence,withthosethatremain For centuries,humanshaveshownatrociousbehaviourtowardsotherhumans.Many dwelling amongstus,andtolettherestofhumanityknowthatcertainbehavioursare OF ALL THE NASTY THINGS THAT HUMANSHAVE DONE TO OTHERHUMANS. Any human-causedbadexperiencethatyouknowof,whetherpersonalor historical, All monumentscreatedwillbehistoricisedandkeptattheCBBworldwidearchives, of affairs byoffering youan big orsmall,whetherbelongingtoyou,yourcountry, yourrace,gender, your religion, justyou,orsomeoneelse. The listofhorrendousbehaviouronbehalf Submit amemoryofbadbehaviourtoourwebsite,andwatchittransforminto which willbemadeaccessibleonline. The physical monumentscreatedwillbe For asmallfee,youcanopttohave postcard-sizepictureofthemonument DISCLAIMER: The CBBtakesthe libertytotransform false accusationsinto lostmemories. humans isendless,andwillbemadevisiblethroughthegrowthofCBB. monument thatwillformapartoftheCemeteryBadBehaviour(CBB). NOW GOLET THE WORLDKNOW THAT ENOUGHISENOUGH! Everyone whohasexperiencedorknowsofbadhumanbehaviour. during the2015MoscowBiennalefor Contemporary Art The CemeteryforBadBehaviourcan beviewedlive in publicbecomingtheburdenoftheirsurvivors. on September24, between2pmand7:30pm. associated withyoursubmissionsent toyou. The CemeteryforBadBehaviours at theVDNKhCentralPavilion opportunity tomakeknownthemanyhumanatrocities Who canparticipate? destroyed andburied. How toparticipate? totally unacceptable! What canIsubmit? Donna Kukama Optional

Part I: The Individual 109 want tothrowup I eatatnightandthen I liveinthepast… becomes clearerbytheday. about them.Myaggression me, thinkingbadthings I’m rudetopeoplearound I behavebadlyeveryday. Donna Kukama — The Cemetery for Bad Behaviours 110 I offendedmychild car owner, whowasdressedallinblack to avoidgettinghitinthelightsbyblack conflict. Thewhitecargotawayjustintime and mutualinsultsalmostbecomingphysical of ablackcar. Aslanging match,yelling, the ownerofawhitecarinsulteddriver two carsalmostcreatedanaccident. a busycrossroads yin andyang

Part I: The Individual 111 end oftheexhibitionandgetsomesleep Give methestrengthtostayalivetill Donna Kukama — The Cemetery for Bad Behaviours 112 Behaviours, Moscow Biennale2015 Donna Kukama, The Cemeteryfor Bad  fight withmyboyfriend off theroadandstarta He wantedtoknockme patriot! pissed offbysomedamn Yesterday Igotreally more thanonce I’ve kissedamarriedman

xxx 113 114 during thefirstdaysofbeingon train. light andsoundweremymainoccupations with — be possible,butonlyinasymbolic sense little something The capsuleofthetraindeprivesyoua has changed,eveningcome. the movement of the sun; when the light dow once again. Time is connected with conversation andtolookoutofthewin- traveller, andwhentogrowtiredofthe the window, whento speakwithafellow up an instrument, when to look out of immerse itself in reading and when to pick to sleep, when it is time to eat, when to body. Thebodyknowsbestwhenitis time it inthemechanismofaclock. makes clearthatyoushouldnotlookfor course, anddeceivesyou.Itisasiftime one. Itletsyoudown,disappears,changes has achangeablecharacter, evenawicked be relied upon inthis kind ofsituation. It calendars is not something that should that timeasmeasuredusingclocksand journey on a train across Russia knows Anyone whohassurvivedaseven-day her experienceofintimacyonthetrain: and timezonesofthetrain.We spokeabout this residency, studied the sounds, smells state legislationfordecades. as wellsharedspace,imposedbytheir tolerance ofexcessiveintimacyinpublic sian participantswerefamiliarwiththe privacy asabasichumanright.TheRus- used toanabundanceofopenspaceand ent countries.TheSwedishresidentswere other passengersfrom all kindsofdiffer space, 24hoursadayeveryday, with58 and Russianparticipantsshared4m study ofastatein dency was a bi-cultural anthropological The project Trans-Siberian Migrating Resi invites youto become a witness to their close to strangers. Moreover, the situation A trainiswhere youfindyourselftoo to beablewithdraw. Thisiswhy Nadia Gorokhova, one of the artists in Nadia Gorokhova, one of theartists in You can look for it inside your own drawing and observing the changes in drawing andobservingthechanges in — walks. Walking canstill III. II. I. — a train. Swedish a train.Swedish On Intimacy 2 of of -

working withavideocamerachanged: even fellasleepwithitsometimes.My fitting intothepalmsofmyhands),and (lucky thatthecameraisrelatively small, to myself,awayfromtheeyesofothers or even‘peeping’.Iheldthecameracloser could becalled‘shootingfromadistance’ to interactwiththecamera.This method ask anyonetopose,anddidnotthem I filmedexclusively“undercover”,didnot actions, from onetoanother. is busyonlywithalternatingbetweenthese that everyone(includingmyself) see can I drinking alcoholandwhilenotdrinking. cards, orhavingaconversationwhile drinking tea, listening to music, playing thing wheneveryoulookover wise alwaysconstantlybusywithsome journey. Your fellowtravellersarelike alone living outthehugeamountoftimespent stantly busy, andtoinventnewwaysof tion, thesituationforcesyoutobecon become) materialforyourwork. the sametime,allthisbecomes(orcan have avoided seeingandhearing.Yet at that, mostlikely, youwouldotherwise bodies. You havetoseeandhearthings everyday life, habits, conversations, and I captured this time on camera, repeatedly I capturedthistime oncamera,repeatedly fellow travellers. to bealoneintrain carriagesfilledwith for seclusion,sinceitisrelativelydifficult an instru and listentohowthetrainsounds like most interestingpartwastowithdraw spaces. Thetrainisfilledwithsound. The minded meofventuringoutintoprotected to observethemlikecells. the dispute.Iwantedtoexaminepeople, was notimportanttoknowthesubjectof silent orinthemiddleofanargument.It sleeping, looking out of the window, being the faces of people immersed in reading, glass. FromachosenpointIobserved gaining controloverprivatespace. I wilfully changed the distance between us, I didnotsimplyobservethepersonchose, Working withsoundeachtimere The camerabecameamagnifying Except, that is, during the night, when Except, thatis,during thenight,when You areinastrangesituation.Inaddi 1 — with yourself ment. Yet, youcouldonlysearch IV. — that is part of the that ispartofthe — reading, - - - -

Part I: The Individual 115 — cion andhostility. Astrangecombination railway workers,heorshearousessuspi- For the majority of other passengers and of aresearcher dictaphone) isinaspecialposition instrument (acamera,anelectric guitar, a with sleepingpassengers.Apersonan passing throughdarkenedcarriagesfilled occurred. Each timeyoufindanewmeaningtowhat ing to guess the subject of the whole story. (or finishingitwithyourimagination),try of restoringthatfilmwithinyourmemory distinct scenes.Thenthereisalongperiod ments, casually, onlybychancepausing on ing afilminrewind.You watchitinfrag- of your train compartment, is like watch- train, tolookatitthroughthewindows To travelacrossthewholecountryby where togo. really exists.Andthatyouhavesome have seenonlyongeographicalmaps To understandthattheterritoryyou important isthatyouwillbothreminisce. or notevencalleachotheratall.Whatis you willquicklystopcallingeachother, might evenexchangephonenumbers,but you canmakefriendsalongtheway. You It isbothstrangeandinterestingthat own. another country’s moneyonseeingyour inspect. Astrangeopportunity wanting topushawayand Nadia Gorokhova Maria Kotlyachkova — but onlyforthemselves. VII. VI. V. — to spend to spend — that - -

the island ofEurasia. during atrainride through these conversations, held munity. Thistextisoneof international artisticcom- other, thebiennialand their dialogueswitheach curators tospeakabout C Foundationaskedyoung Museum inMoscow. V-A- tion withtheStateDarwin and raketincoopera- by MariaKotlyachkova rary Art2015,organised Biennale forContempo- Project oftheMoscow Residency wasaSpecial Trans-Siberian Migrating 1 Part

In Relation Part II: In Relation 119 Talkshow Nicolaus Schafhausen — Mián and Moscow Biennale2015 Nicolaus SchafhausenandMiánMián,Talkshow, 26 th September, 2015

Otto Snoek, 22 September – 01 October 2015 Mián Mián, Nicolaus Schafhausen — Talkshow 120 MM: NS: Yes. MM: NS: MIÁN :Hmm.Howdifferent? NICOLAUS SCHAFHAUSEN:Today itwillbealittlebit MM: NS: MM: NS: MM: NS: MM: NS:

We cangetfamousin7minutes Okay, butweonly havefifteenminutes,right? today. Because wehavemany, many, many, many, manytopics different fromthepreviousdays very specialif you’reinthesubway;if youcloseyour it’s complexandwiththisvery strongenergyandalso Oh! (pause)IlikeMoscow sofar, becauseit’s beautiful, What doyouthink? What willbethenewvision forthenewRussiansociety? So, Ilookatyouor atthem…? let’s behypothetical,what’s thevision,whatwillbe because Icouldn’t speakRussian.Whatdoyouthink, in Russia;buttheydidn’t tell…Icouldn’t understandit, Yes. Therewillbeavision.They announcedavisionhere Okay. Yes. Butwehavetofacetheaudience, right? vision — They announcedontheRussiannewsthattheyhave a comment onthenewsandbeourownprivatechannel. …on thenews,naja…(toMiánMián)Nowwehaveto I nevernoticedsuchafaceonnewsspeaker. know startingwiththis also newsspeaker. So, onthenewsthismorning,you playing anchormanandanchorwoman Ja. Justlet’s bealittlebitquicker. (toaudience)We are — — — hahahaha :) — or viceversa, —

Part II: In Relation 121 NS: MM: Vision NS: Vision NS: MM: NS: MM: NS: MM: NS: Vision MM: NS: MM: Dream NS: MM: Vision, The futurevision.Naja,avisionisusuallymaking don’t know, I’mtoosmalltotalkaboutthat. very strong,youknow. SotheversionofRussia,Ireally subway inanyanotherplace.(laughing)Hahaha,it’s very, eyes tohearthesound Without me.(takes shoesoff) Oh, withoutwho? Naja, thiswillbeprobablywithout me. the dramaticlovenexttime whenIamhereagain… keep thebeautyenergyandtobeablebring me Ja. Thenewversionofthevision.Theyshouldcontinue to But it’s good,thenewversionisvision. …vision, Ithink. I understandsohopethenewversion… deliver theirdepressioninabeautifulway. That’s what are, wethesame.Theyarealsodepressed,butthey and the talent; especially the energy. Erm, and I think they I wonder, Iwenttosome artexhibition.Ifeeltheenergy …their life,hm?Makethemmorehappy?Or? Eh, thepeoplechange… ja. — we neverhearthissoundinthe — Mián Mián, Nicolaus Schafhausen — Talkshow 122 MM: NS: MM: NS: MM: NS: MM: NS: MM: NS: MM: Religion. NS: MM: NS: MM: NS: MM: that muchEnglishlikeyou night theyallspeak,speak …and youneedtobehere,becauseit’s biennale.Inthe Nah, Iunderstand Yeah, Ineedtogoout,understandthecity… always goingoutduringthenight. But youdon’t havealotoftimeforme,becauseyouare On thestage. Ja. Here,Idon’t know. I don’t know. We alwaysenduponthe stageright? hotel isnexttothenewlyopenedmosque That’s my…that’s what’s… Iamfeeling;youknow, our (nodding) Comefrom? Here. Somehow. relationship withreligion. One ofthenewvisionsisdefinitelythattheygetanother understand, soIhavetogoout. So it’s sovery, very…It’s stillveryinteresting, butIdon’t No, that’s nottrue What? Why? Why? never happened This is,Ithink,twentyfive yearsback,thatwouldhave Hm hm — — I don’t understand —

Part II: In Relation 123 NS: NS: MM: NS: MM: MM: NS: MM: NS: MM: NS: MM: NS: MM: NS:

I know, Iknow, Idon’t wantto Erm, Iwouldamactuallynotthatold,youknow:) Revolution in China? life nowadays, thanitusedtobebefore theCultural Was itmore hiddenpubliclyandismoreopeninpublic I amtalkingabout I know, butwasit tradition. It’s notlikeareligion. just saying,“I’maBuddhist,”ismorelikeculture or monastery onSunday, erm,togothemonastery. And But thisBuddhistweweretalkingaboutistogo the problems orstressinthedailylifetobecomeaBuddhist. after CulturalRevolution;sowedon’t havethatmany So Idon’t know. SinceIwenttoschoolwealreadywere cal systemandthereligiousinChina… When yougrewup,whenwereachildandthepoliti- Remember what? time, doyourememberthis?You aretooyoung,no? But howwasitinChina?You know, inthecommunist But isit…Is never. Neverinmylife whenIwasyounger. state before,also,inthatcommunisttime,no.Honestly, I… IhavenotbeentoRussiaoraformercommunist Okay. Sohereit wasthesame? And youknowthisaswell. Oh. Naja. You knowthecommunistformersystem. — — ja? — Mián Mián, Nicolaus Schafhausen — Talkshow 124 NS: MM: NS: MM: NS: MM: NS: MM: NS: Hahaha MM: NS: MM:

Pork orpope? the publisherthinkswillmake thepeople… my characterwastalking aboutpork.Butthischapter didn’t talkabouthowtocookpork. Itwasthat pork. You know?Howtocookpork.AndIpersonally parts wouldbecensoredbecause Iwastalkingabout Don’t know. Itwouldbelikemybook;sometimes,some they fear?You know… Yes, Idon’t understandthatitwillbecensored. Whatdo It’s not…itwillbecensored. But that’s interesting:Whycan’t you,Idon’t understand that. Idon’t knowhowtotalkaboutit. fictional text,anybook,pages give therespect,butwecannottalkaboutthatinany They givethespace,theyspaceofrule. China; ifthestateor does thisplayanypublicroleorvisibleinsociety of Christianity, of Muslimsforexampleonly, inChina erm, itcanstandasametaphorforRussia,ifthepresence Okay, butcanyou tellusmaybe…it…also…it,maybe course, ja. tian, canbeBuddhist,butIknowthereisacontrol,of had theirfreedom.Theycanbereligious,Chris- But erm,aftertheCulturalRevolution,ofcoursepeople But erm…Oh,fuckyou… I know(laughing)hahahah I wasnotborn. Before theCulturalRevolution,Idon’t know, because — does thestate — — I cannottalkabout — —

Part II: In Relation 125 NS: MM: NS: Yes. MM: NS: MM: NS: MM: NS: Why? MM: NS: MM: NS: MM:

now thestate intheUS,it’s using…” Whatdoesitmean? was alittlebitshocked.You know, Isaid,“OhmyGod, And thisislike…Ithought, “OhmyGod.”Honestly, I Ja. (adjusting themicrophone)BecausePopeisthere? Yes, exactly. Butuseyourmic. Oh really, becausethePopeisthere? The NewYork Pope , notpork. York Times.) TheNewYork Postfromtodayit’s called Post (Thereisanotherone.TherenotonlytheNew today, thismorning, Ireadaninteresting…theNewYork every Believe me,it’s worldwide back tomycountryandgetintrouble.Hahaha. a thirdpersonintheair. Idon’t know, Idon’t wanttogo know there’s alwaysathirdearthereright?There’s always I don’t know. Maybethereisacensorthere.ForallI You’re makingmenervousnow. No, no,Iunderstand.Butlikeourlittletravel… rules andI’mverycarefulwiththat. Muslims. So,Idon’t know…Ireallydon’t knowallthese So, thepublisherthinksthatthisisverysensitivefor Not pope.Please! Not pope. Pork. Meat. where. Inthenews,inEnglish-speakingnews — censorship ishappening

Mián Mián, Nicolaus Schafhausen — Talkshow 126 NS: MM: NS: Ah MM: NS: MM: NS: MM: NS: MM: (voice fromaudience,inaudible) MM: (voice fromaudience,inaudible) NS: (voice fromaudience,inaudible) NS: (voice fromaudience,inaudible) Naja okay. Idon’t wanttobe… about it. I don’t feelgoodthatwemixthese twowords.You joke respect. Let’s… don’t mixtheporkwithpopetogether. Ifeelno so… Naja, becauseIwasfirstreadingNewYork Pork.And Surprised. Okay, whysurprised? positive word,ne?Okay, Iamshocked,surprised. Yes, no.ButIamshocked,shocked. Shockedisalsoa I agree,agree It’s afreedomofthepress,yes,Iagree. Yeah, thereisnoreasontobeshocked.Yeah. Can youtellusyouropinionaboutthefeelingshocked? Rabbi; Theyneverwoulddothis,Ithink. York Post,NewYork Pork,NewYork Pope,NewYork Yes, it’s onlybecauseit’s arhythm,rhyme,no?So;New York… What? It’s freepress,butwouldtheyallcallittheNew ja, okay.

Part II: In Relation 127 NS: Yes. (both laughing) NS: Hahaha. (audience laughing) NS: (laughing) MM: (silence) NS: …Yeah… MM: NS: MM: NS: MM: Pardon? NS: MM: NS: MM: NS: MM: That’s yourturnthen. Okay. Let’s talkaboutfeelings. But… erm… So, yousee?It’s becauseheisapopstarsomehow, no? (smiling) Pop comefrompope?…Poppope Pop, pop,doesitcomefrompope?Maybe… Does porkcomefrompope? We can’t playwithwords. No, butnowyoubringmetoanotheridea. No youdidn’t makeajoke,butyouplaywiththewords. I don’t want tomakeanyjokes,butitisgoodthat respect — Please

— part of. — Mián Mián, Nicolaus Schafhausen — Talkshow 128 NS: MM: (pause) NS: MM: NS: MM: NS: MM: Yeah. NS: MM: (silence, laughter)

Okay. Then Iam… No? Oh. dialogue soearly. I reallyshouldnotbringthe feelingsasthetopictoour Hahahahahaha. :D think. Hasthatsomethingtodowithfeelings? the stateisonlyrepairing,repairingimageofwhat we of powertore-buildtheimage,thatnowadays,politics or in away, orhadalittlecrack.Andthentheyneededlot to save…Or, theimageofUSinthattimecollapsed for example:After9/11,thepoliticsandpeople tried correct meifIquoteyouwrong,hesaidthattheimage me very…thinkaboutwhatcanshapeourfuture. And, he mentionedsomethingvery…Somethingthatmade it’s aboutfeelingsbuthesaidsomethingvery, very, erm, So. Theintellectualworkshopisalso up this;Ithinkit’s yourtitle.“Theintellectualworkshop”. tual workshoptoday. AndthereisTom, ja.Whobrought I waslisteningintotheso-called,it’s notmytitle,intellec- And you’reverygoodintalking. Okay, myemotions. show yourfeelings. Really? Okay. You showedyouremotions.You didn’t I showedalreadyallmyfeelings,here. What, me? You certainlymakemehavenowordsonthestage. —

I don’t know if

—

Part II: In Relation 129 MM: NS: MM: Imagine. NS: MM: NS: Mmhm MM: NS: MM: NS: MM: NS: MM: NS: MM: What doyou thinkaboutChina? from China?Fromoutside ofChina? Or whatdoyouthink kindofimagedopeoplehave (pause, silence) Ja butimage. happening now. I thinkit’s averyuniquesituationofmycountry;yeahit’s What Ithinkaboutmycountry? I askyou. ask — you What istheimageofChina What istheimageofChina? …for theaction,ifwearetalkingabouttheirbuilding tion for… Yes, motivation.Butthat’s interesting.What’s themotiva- these images. they have…whatisthemotivation.Motivation?For tion, right?It’s theideas,it’s, hm,becausetheydepend… feelings ifwetalkabouttheimagesforthiskindofsitua- I don’t think so.Itbringsthefeelings.It’s connectedwith (puts awaymicrophone) Then wehavesilenceforasecond,okay. No, no,it’s averygoodquestionyouask.Iamthinking. What elseshouldwetalkabout?Whenisartgood — but thisdependsonwho — — Mián Mián, Nicolaus Schafhausen — Talkshow 130 NS: MM: Yes. NS: MM: NS: MM: NS: NS: MM: NS: MM: Hmm… I alwaysthinkaboutfantasticarchitectureontheone Only twice. Yes, yes. And notsooftentoShanghai. Many times,acoupleofmanytimestoBeijing. Yeah noproblem,too,butwhatisBeijing? hai, andIhave because IhavetravelledfirsttoBeijingandnotShang- Also Ihavetobehonest,myfirstimageisalwaysBeijing the firstorsecond? contemporary Shanghai,what’s theimagesyouhavein if we’regoingtowriteastorytogether, makeafilmabout If wewalktogether, whatdoyouthinkaboutChina; are alwayspackedandfull… architecture? Whatdopeople…youknow…thestreets people canthis…withhowmanyyoufill this For example.Andthenit’s like,myGod,howmany Yeah, youmeanTiananmen Square? speed theybuildthosehugemega-buildings. …and ontheotherhand,Ialwayslookinwhichkind of — 1 watch?v=A5IiVMUwVs0. www.youtube.com/ Full episode:https:// 26 Schafhausen, Moscow, Mian &Nicolaus Extract from:Talkshow 1 th September2015. —

Part II: In Relation 131 Both participantstriedtofindcommon Chinese writeronaTVtalkshowstage. European curatorspeakingwithafamous bility ofmeeting:anestablishedWestern were basedontheprincipleofimpossi laus Schafhausen and writer Mián Mián The dailytalkshowsledbycuratorNico- phers callapurelanguage languages arepreceded bywhatphiloso each otherinwhat they want tosay.” All of allhistorical connections, relatedto another, but“apriori,and,independently aren’t completelydifferentfromeach According toWalter Benjamin,languages Yet, this failure sparks new potential. globalised artworld,aredoomed to fail. become thevocabularyofacontemporary that peripheralbiennials,whichaspire to this circumstanceunderlinestoothefact a flawlessdialoguewiththeother. To me, of thetragicimpossibilityestablishing Schafhausen and Mián Miánalsospoke possibility ofdialogueintoquestion.Thus, their differentviewsoflifeputthemere guage only obstructed the conversation, practical problemsofusingaforeignlan- dissensus anddisagreement.Whilethe both talkshowhostsinteractedthrough alism, integrationorculturalmediation, “I’m laughingatwhatyouare.” replied: “Butyouarelaughinganyway!”— such jokes,”saidMiánMián.Schafhausen are so European! We Chinese don’t make standings onthelevelofhumour:“You talk showexperiencedculturalmisunder discourse. Alsobothparticipantsofthe to resistbeingembeddedinatheoretical compassion, death,etc.,anddidherbest turned tosuchabstractnotionsaslove,life, courses of critical theory, Mián Mián intellectual, generallyreferringtodis spoke fromthepositionofaEuropean logical disagreements.WhileSchafhausen of their different world views and ideo and answers. had toconstantlyrepeattheirquestions misunderstandings, sothatbothspeakers pronunciation, grammar mistakes, and stuck, stumbled over slips of tongue, false tempts failedmiserably. Thedialoguegot com points andtracedtheirquestforsuch Their conversation also failed because Their conversationalsofailedbecause Contrary totheidealsof multicultur mon ground,butquiteoftentheirat- Communicative Failures and Defeats — an ahistorical an ahistorical - - - -

sia thanthelecturesthemselves. us muchmoreabouttheimaginaryEura- Schafhausen andMiánprobablytell ings anddisagreementsbetweenNicolaus with difficulties,whilethemisunderstand of-sync-ness’ revealsalinguistickinship ing, valuationandreaction.Their‘out- manners ofmeaning,processesthink conflicts betweentwoculturesemphasise understood by the interlocutors. This is how ing assuch,butalsowhathasnotbeen to somehowconveynotonlythemean sian byasimultaneoustranslator, whohas and thenrecodedafurthertimeintoRus- of thinking,aretranslatedintoEnglish, and Chinese,twodifferentmodes/logics municative failuresanddefeats.German part translation,dramatisedwithcom Mián’s talkshowwasbased ona three- nally orintensively.” relationship, insofarasitrealizessemi- however, translation can represent this reveal orproducethishiddenrelationship; lation,” Benjaminsays,“cannotpossibly language with new significations. “Trans of itsintention.”Heattemptstoenrich ings thatwererealisedinother“modes complement onelanguagewiththemean to transmitthemeaningofawork,but translator, accordingtoBenjamin,isnot kinship ofvariousdialects.Thetaskthe Nicolaus Schafhausen’s andMián Andrey Shental 1 ------

132 Honoré ‰’O, Telepathic Drawing, 2015 Telepathic Protocol Honoré δ’OandFabriceHyber— Fabrice Hyber, Telepathic Drawing, 2015 Honoré δ’O and Fabrice Hyber — Telepathic Protocol 134 scène d’objets. principale estledessin. et explicites. une excitationprêtsàrecommencer. ent leursdessins: des bribesdeformesapparaissentetnous sentons signale ledébutetlafindes5mn. accompagnés de2cameramenpendanttoutletemps. Unarbitre pendant 5 mn et essayent de dessiner ce que l’autre pense. Ils sont suivante: percipient essayededessinerledessinchoisi. trouver l’imagechoisie. choisit une image et le percipient qui ne voit pas l’agent essaye de Généralement lestestsdetélépathiessonttrèssuccincts:l’agent tiquement mais régulièrementàdifférents moments! ine simultanément les mouvementsde Honoré ‰’Opassystéma- Honoré La troisième,lesdessinssont complexes. A la première expérience les 2 agents se retrouvent et compar Après visionnagedesvidéos synchronisées,unconstat:jedess Une constatation: je suis l’un des agents et mon expression A lasecondeexpérience,lesdessinssontunpeuplus nombreux 2 personnessecroisents’échangentdespapiers, séparent Dans lemême ordre d’idée, j’ai pensé mettre en place l’expérience Sinon defaçonplusludique:l’agentchoisitundessinetle ‰’O estl’autreagentetson expressionestlamiseen - - consistently, butregularlyat differenttimes! vation: Isimultaneously drawHonoré‰ himself isbystagingobjects. of expressingmyselfisby drawing. more explicit. are excitedtotryitagain. and compare their drawings: Fragments of shapes appear and we signals thebeginningandendoffiveminutes. cameramen accompanythemtheentiretime,while a thirdperson five minutes and try to draw what the other is thinking. Two and thereceivertriestodrawchosendrawing. tries tofindthechosenimage. chooses an image and the receiver, who cannot see the sender, Generally, tests for telepathic ability are very brief: thesender After viewingthesynchronised videos,Imadeanotherobser An observation: Iam one ofthe senders and my main means The thirdtime,thedrawingsarecomplex. Honoré The secondtime,thereareafewmoredrawings whichare In thefirstexperiment,twosenderscomeback together Two peoplemeetandexchangepapers; theythenseparatefor In asimilarcontext,Ithoughtofdoingthefollowingexperiment: A more entertaining method: The sender chooses a drawing ‰ ’O is the other sender and his main way of expressing ’O istheothersenderand his mainwayofexpressing ’O’s movements,not Biennale 2015,videostill Experiment, Moscow Fabrice Hyber, Telepathic Honoré ‰’Oand - Honoré δ’O and Fabrice Hyber — Telepathic Protocol 136 Moscow Biennale 2015 Honoré ‰’OandFabriceHyber, Telepathic Experiment,

Part II: In Relation 137 Map of theThird World Qiu Zhijie— creasingly beingchallenged. [DefneAyas] to comprehendtoday’s complexitiesisin things inatime whichone’s capability suggest areadingofrelationshipsbetween tion ofglobalpoliticalcontextsaims to concepts of global thinking for the future? knowledge informanewviewor spark What coulditbecome?Howdoes our questions What is the Third World today? of thepastandpresent,thusposing on theoretical,rationalandpoeticanalyses rivers. Thisishowtheartistsetsemphases interrelations becomevalleys,mountainsor unfold inahypotheticallandscapewhere and fictitious connections. They visually that entailspolitical,historical,realistic Zhijie proposesamodelviewofourworld cise manner. Acartographeratheart,Qiu World fromaholisticperspective,inpre nale. ItdealtwiththenotionofThird a muralonthesiteofMoscowBien Qiu Zhijie’s Map of the Third World was Qiu Zhijie’s comprehensiveinvestiga - - - -

Otto Snoek, 22 September – 01 October 2015 Qiu Zhijie, Mapofthe ThirdWorld, 2015

xxx 140 the Third World Conversation BehindtheMapof Augustas Serapinas — the MapofThird World, 2015 Augustas Serapinas’ installation,Behind Artists Mián andQiuZhijiein

Part II: In Relation 141 MM: QZ: QZ: MM: QZ: MM: AS: MM: QZ: MM: QZ: MM: MM: QIU ZHIJIE:自然花草的巴洛克画是维多利亚时代弄出来的。 AUGUSTAS SERAPINAS:Yeah! MIÁN :这里的墙纸像是老的苏维埃时代的，但是很布尔 (背景音乐是很好的白茶。一个工人来了！这是他的工人。个茶，它出不来这个香味。其实这个茶我从上海带来了， This tea[here]is But it’s averygoodconceptthatyoubought thistea. No, it’s 5months.闻是闻不出来的，但是不可能吧。 No, it’s 5years. But hesaidthisteais15yearsold,doyoubelieve it? one isfromYunnan… to buydifferentkindsoftea?WhatOkay, nowthis So wheredidyougetthetea?DidgotoChinatown 我发现我包里什么都有。我匆匆忙忙出门，但什么都有。 I willchargethephone. 人家还年轻嘛！他给搞复杂了，其实没必要这么复杂。西。你天天在画画哦！么复杂吗？发现在这里喝茶确实挺复杂的。弄那么多东我跟他说我们中午喝茶，他就一直在弄啊弄啊，我想有那对！他(Augustas)还弄得挺可爱的啊！好美啊！乔亚，很布尔乔亚。 FM3 唱佛机里的) 做不了的，这里没有很烫的水，所以这 Augustas Serapinas — Conversation Behind the Map of the Third World 142 QZ: MM: QZ: MM: AS: QZ: AS: VISITOR: Этогеополитические событиябудущего, AS: QZ: AS: MM: AS: QZ: MM: VISITOR: Нет, яхочу посидеть. AS: 对，我在这里画画，有两个人在那里议论，我听着还挺那你昨天本来是以为会有意思的？莫斯科有很多穷艺术家，美院的学生，赚点钱。这里的工人也很有意思，还会问艺术啊！ видение. В общем,этонепробудущее, аего персональное point. It’s normallyaboutthefuturebutsomepersonalview- situation? Is itlikefuturegeopoliticalaccidentsbasedonthe current основанные насегодняшнем дне? нуикакбыреальнаяситуация… Это история, World. It’s likethehistoryandrealityofso-calledThird something? What doesitmean Oh, it’s veryserious,你要回答他（工人）。 He wantedtoaskaboutthemap,yourwork. 来看见我画画就邀请我。但是他们很无趣，一群学习国际政治，国际关系的。他们我昨天其实去了一趟西南角，跟一群中国留学生过中秋。你这两天出去玩儿了吗？ Хочешь присоединитьсясчаю? — what youdraw?Dotelllike

Part II: In Relation 143 QZ: MM: QZ: MM: Oooh, QZ: QZ: QZ: 闷。变的。所以昨天跟这些年轻人在一起蛮失望的。他们很沉我来的话我的状态肯定是一个寻找者，随时都有可能会改经都setle了，他已经不是一个寻找者了。我在想如果当时究国际关系，来这里交换。就是明显的有些人的人生已中，然后直接去美国，在一个很好的学校，在那种地方研邀请我的那个人是最棒的，他中学读的就是外国语的高邀请你的人应该是可以的吧？当翻译的。种人是外交部排来的。北外的研究生。他们准备进外交部后中俄贸易的兴盛，准备做物流，做国际贸易的。另外一对，这里有两种人，一种人是世家子弟，他们看重的是今法。中俄贸易。有很多本科是学国际金融的。 forward togoingintotradebetweenChinaandRussia. national Affairs.Andbasicallyallofthemarelooking come tostudyinMoscow, attheUniversityofInter engineering, everysubject.Andtheseyoungstudents cate. Someofthemstudyphilosophy, someofthem smart, verylogical.Theywerereallywillingtocommuni- I usedtodrinkwithaChinesestudent.Reallygreat, 我在德国跟一群中国留学生喝过酒。(explains inEnglish) 因为已经不是苏联了。过去，就是如果当时我来了会怎样，其实什么也找不着。的。其实昨天后来我也在想我为什么会去，其实是在寻找是被中国文化部派来这里留学的。我对苏联有一点情结再加上我比较有情节，我曾经差一点来这里留学，当时我的。是在美国读书来这里交换的，研究美俄关系，来这里交换其实那个比较有水平的，我听着比较靠谱的那个，其实他系。会，我看他们是学国际关系的，那跟我画的地图比较有关有水平的。他们看我是中国人，就说明天有个中秋节的聚所以他们不是理想主义者，也不需要那种革命的看 - —

Augustas Serapinas — Conversation Behind the Map of the Third World 144 QZ: (all laughing) MM: QZ: MM: AS: MM: QZ: MM: AS: MM: QZ: MM: Just dirtymeans justnothing. idea! dress dirtyandseewhathappens.” Isaidit’s averygood Russian toseeifit’s true,andhe(Qiu)said:“You canjust I saidwhatisthatsupposedtomean?shouldask a Dress dirtymeansjustnothing. Dress dirty. If youseewhat? dressed dirtypleaseletusknow. the announcementinsubwaysaidifyouseesomeone 没法穿得不整洁啊！That’s verygoodidea.Nicolaussaid 你明天自己穿得不整洁一点嘛！再查一下是不是这样的？他说真的。Can youbelievethis?我说我明天找个俄国人你看见穿衣服不整洁的人请通知我们。我说真的假的？ thing inthesubway, anannouncementitwas.他说，如果 Yes. Very, veryloud.Nicolausnoticedainteresting Yes, it’s veryloud.You can’t talkthere. of thesubway. It’s verydifferent. Shanghai askedmetoclosemyeyes and listen the sound 没有一个地铁是那种声音。Birdhead, theartistsfrom 候，他让我闭上眼睛听地铁的声音，那声音太厉害了，太厉害了。太heavy了！我跟宋涛他们一起坐地铁的时义遗产啊。其实我也不需要带啊，我自己逛地铁站就很好，拍共产主去玩儿？我以为你出去玩儿了，我以为你在这里找到了一个人带你

Part II: In Relation 145 QZ: MM: QZ: MM: Why? QZ: MM: QZ: AS: (all laughing) QZ: AS: QZ: QZ: QZ: MM: QZ: MM: MM: 文化旅游？了。转也就是很知识分子地转，一边一边解释，很快就转完那我明天9点还是在weichat 里找你。我们出去转转，我们我就是去红场之类看看。可以，哦明天我要工作！吗？我这个朋友在问我们，明天晚上会带着我们去玩儿，你去 I don’t know. What’s behindhere? That’s theonlyplaceyoushouldstay. Thebest. which place? What doyouthink,wherewearebehindyourpainting, 我对苏联早期的海报很感兴趣。你说的那个24小时书店我还是很想去的。没有，我自己去。这里有人带着你去还是你自己去的？对。你后来还去哪了？美术馆吗？ Garage? sense. I thinkshemeantyouseeabeggar. Thatwouldmake 你不出去玩吗？ Augustas Serapinas — Conversation Behind the Map of the Third World 146 MM: AS: MM: (Qiu left) QZ: QZ: Okay, MM: QZ: AS: MM: her daughtertoo.Cutenessoverload) one ishelpingherfatherpaint.Miánshowsthepictureof they takealotaftertheirdad.Inoneofthepictures,younger (Qiu isshowingthephotosofhisdaughters.Miánclaims MM: AS: QZ: Okay. MM:

here. Inever go tothetoilethere.Ialways gohomeearly to gothebathroom, Iamsoscared ofthebathroom cool, hepaintslikealow profile, hedoesn’t care.Ineed He’s thecuratorofShanghaiBiennale. Buthe’s so Like AiWeiwei? worker. Butheisreallybig. He’s verybig.Buthe’s socalm,hejustpaintsherelikea He’s suchaniceguy, he’s themostfamousoneinChina. And freecigarettes! artists. make asmokingplace,itwillbeverywelcomedby the He istrulyavant-garde,hewasrevolutionaryforme! I thinkwemetin1995,so20years. So you’veknowneachotherforalongtime? When wefirstmeteachother, weweresoyoung! “local feeling”. quite interesting,Iaskedhimtotakeusout This guy, Spider, heworksfortheART BASELVIP, he’s What islocalfeeling? local feeling,带有feeling的文化旅游还是可以的。我要去抽烟。Next timedon’t makeateathing, — I wanthis

Part II: In Relation 147 (Everybody leaves) AS: MM: AS: Yes, sure. to thetoilet? Really? ShallwegotoMcDonald’s, eatsomethingandgo Well ,youcanalwaysgotoMcDonald’s. because ofthetoilet.It’s soscary, right? 148 HowTOgether Anastasiya Yarovenko — Anastasiya Yarovenko, Sketch forTheTrap ofHabit , 2015 Vienna, January2016

Part II: In Relation 149 undefined andinseparablemassofwe. Officially, back then, there was no afraid thatisstillthecasetodayinmanypost-Sovietcountries. In the USSR, no kind of public dialogue was really possible. I am weather.” catastrophe.” Nobody was notified about the danger coming from the Chernobyl How wereothersimpactedbythat?WhowasIinthisprocess? entered andleftthebubbleofBiennalepavilioneveryday? those Iwillrememberforalongtime: behind. Thesedialogueswerenottheonlyones,butdefinitely spot, tryingtoleavedebateandattemptsconvinceeachother thoughts andapproaches. have endedthere.Butthebiennialstillresonatesinme;my process ofcreationandreflectionhasstarted.Forsome,itmight happened. Adynamicmulti-dimensionalandcontext-dependent 7.5 milliondied ofhunger.” Socialist Republic.According tovariousdifferentsources,2.4 “Why?” “It wasnecessary.” I stayedinMoscowfortendays.Whathappened,when “ “ We talkedfrom ourownexperience,spontaneouslyonthe Looking backfromadistance,Inowfeelthatanexchange “What happenedonMarch1,1986?” “That isnot true.” “1932 “What arethenumbers1932 “At leastwedidn’t knowandhearaboutit.” “Do youthinkthiswasn’t happeningintheUSSR?” “Now Russiaisfullofmurders,violence,abuse.” “Why?” “Everything wentdownwiththefallofIronCurtain.” Everybody in Ukraine and Belarus went to the Mayday parade. Everybody inUkraineandBelaruswenttotheMaydayparade. People would panic. Instead they were enjoying the sunny –1933 was a man-made famine in the Ukrainian Soviet ——— ——— ——— – 33?” I and 1 others; there was an

Anastasiya Yarovenko — HowTOgether 150 in twodays.” asked youtocomehere!” much? TheSoviettimeswere really great. Go back home, nobody very unreliableTatars.” then.” 18 Crimea wasorderedbyJosephStalinandcarriedoutonMarch these friendswereimprisonedafterwards.” diversity.” fordable.” and neighbourhoodtriedtosurviveinUkraineduringthosetimes.” amount ofvictims ofWWII…” th “22.” “How oldareyou,ifImay ask?” “Were thosepiecesproducedduringSoviettimes?” “That’s nottrue,allmyfriendshadexquisiteoldfurniture.” “Yes, butSovietconsumergoodsdidn’t haveabigrangeand “But… theamount ofvictimshis regime outnumbersthe “Stalin wasagreatpersonality. Hedidhisbest forthecountry.” “Why doyoueatourfoodandstayhereifdon’t likeit so “I don’t, Ijuststatethenumbersfromhistory.” “Why do you come here to tell us how bad the Soviet times were?” “I had some business in the Crimea in the ’90s, I met some “What havethesepeopledonetoyouthatwishthem dead?” “It wouldhavebeenbetterifStalinhadkilledthemallback “The forcibledeportationoftheCrimeanTatars fromthe “No, myfriendsboughtthematthefleamarkets.Someof “Soviet timeswerethebest,everythingwassoeasyandaf “In Russia.” “Where didyourgrannyliveinthosetimes?” “Mine too.Nothinglikethathappened.” “My grannytoldmequiteafewstoriesabouthowherfamily “What isthis:18.05.44?” in1944.Atotalofmorethan240,000peopleweredeported ——— ——— ——— ——— -

Part II: In Relation 151 Anastasiya Yarovenko, TheTrap ofHabit , 2015 Anastasiya Yarovenko, TheTrap ofHabit,2015

Otto Snoek, 22 September – 01 October 2015 Anastasiya Yarovenko — HowTOgether 152 there.” eastern Ukraineregion).” the performance?” The Cemeteryfor BadBehaviour Russia, andneverMoldova.” war andpeacetime.” earth’ principle.Inmyopinion,thisstrategyisefficientinboth Ukraine? IfinditsimilartothatofTransnistria.” “Only thechildren?” “I knowit.Theyhave drug rehab clinics,and wedon’t.” “Why doyouthinkso?” “Moldova isfullof drugaddicts.” “Why?” “Well, they announced on TVthatkidsarebeingmurdered “Well, they announced on “I want to stopthe killing ofthe children of Donbass (the “What didyouwriteinyourmessagethatwillbeburied (Talking Kukama’s toaparticipantof Donna performance “I amfromthere.Iwouldbegladifwecouldapartof “He dideverythingright.Ipersonallysupportthe‘scorched “What doyouthinkabouttheTransnistria conflict?” “What do you think about the current situation in the eastern ——— ——— 2 ) e page 108. See tions and prejudices. examination ofpreconcep - lectively. Theyallowthe of thinkingtogethercol- conversations asaprocess and man”.Iregardthese relationship betweenman requisite ofanauthentic them as“theverypre- reach conclusions.Isee without anyattemptto Buber sense)happened These dialogues(inavery 2 1

Part II: In Relation 153 September22 Birdhead andDaniilKolchanov — –01 October 2015

158 Art Novels) Untitled (AnArtStory in Three Gleb Berg reflection. The impeccably smooth, glinting glass of the window- The feverishcommotionhadabatedandIfoundmyselfdeepin Švejk). Every now and again he casts cunning and moderately don’t knowiftheRussianshave something liketheGoodSoldier the back.Thecabbiehas faceofaherofromSlavicfolklore(I slam of the boot. I wipe the dirt from my fingers and take a seat in I giveadetaileddescription oftheinteriorandpeoplethere. cent. “Your taxiiswaiting.” having lost?)anelusivenaturalcoarseness. line, stultifiedbystrictmanagement,butstillpossessed of(ornot voice, aradiantgirlontheedgeofwomanhood of tobaccoinfusedwithforest-herbmouthrinse. was now officially history, if still present in the lingering aftertaste burg? Here’s StPetersburg!Iplayedpeek-a-boowiththecity. opposite mylipswasmistingoverandthengrowingclearagain. and strengtheningthewill.With eachbreath,thewindowpane longer thanusual trajectories andbreathedevenly, holdingtheairinmylungsabit cast skyandthemurkytonesofStIsaac’s Cathedral.Itracedtheir dow. Theirraincoats wereformingaspectrumbetweentheover temperature whenI’mhungover. ably to around thirty-seven degrees Celsius. I always have a slight pane againstmyfurrowedbrowhadatlastwarmedup He doesn’t look like a contemporary artaficionado,soit’s unlikely curious glances atmeintherearviewmirror. Whywouldthat be? My suitcaseisloadedwith athump,followedsmartlybythe “You’re welcome.” “Thank youverymuch.” “Good morningMrCurator,” shesaidinathickRussianac- Little greyfigurespatteredalongthepavementundermywin- I descend to the lobby with my suitcase. I check out of the hotel. I descendtothelobbywithmysuitcase.checkoutof thehotel. The receptionist rang. She was, to judge from the melodious At that moment I was saying farewell to Russia. Manifesta-100 Where’s StPetersburg?Here’s StPetersburg!Where’s StPeters 1 — — it’s aspecialexerciseforcalmingthenerves Moscow, October 2016 THE CURATOR — whipped into — presum - -

Part II: In Relation 159 neck andsensiblejacket. I’m notwearingahat.JustanordinaryEuropeanindarkpolo with that.Whatelse?Ihaven’t anyscars,noskinirregularities. you canhardlysurpriseataxi-driverinmodern-daymetropolis thing unusual about me. Only the fact that I’m a foreigner. But he wouldrecogniseme.Ibegintowonderwhetherthere’s some- became, the more fluid andgracefulseemedthose ofthelady that house track.Others,mainly Russians,lookedonbemused. was dancing, to the delight of the international art crowd, to a gender expression dancing theLezginka,anationaldancebrimming withpurposeful fake (presumablyfake)silver gazirs was beginningtoswell,butIcouldn’t stoptouchingit. picking at a sore hangnail on my index finger. The tiny wound with ityet.Now, too,IobservedMagainsilence,occasionally as aquestion,proposal,orremark.Ididn’t knowwhat todo in hiswork.ButIhadn’t quiteformulatedthatinterest,whether probably mark my interest both in this youngster’s persona and a coupleofyears(wewerevaguelyacquainted)and Ifeltshould sian’, identityandissues.IhadbeenawareofMaga’s existencefor young artistwhoworkswithsouthernRussian,so-called ‘Cauca and anItaliancuratorwhenIcaughtsightofMaga ‘theStone’,a the partyguests,andsparingafewwordsforlighting. palace, puttingwordstosmells,ironicallydescribingtheattireof nights’, evaluating,asanart critic, the interior andexteriorofthe a defttransitiontopoeticdescriptionofStPetersburg’s ‘white of that gloomy October night and their opposing sides, then make tioned battle,cynicallyexpoundingmyownattitudetotheevents in alltheiryouthfulpassion,toseeoutoaththedeath. strike battalionandbythefresh-faced‘yunker’cadetsprepared, viks andrevolutionarymasses,defendedtothelastbywomen’s the lastbastionofProvisionalGovernmentagainstBolshe ter Palace.TheverysameWinter Palacethathadonceservedas (the artcommunityanditsapologists)haddescendedontheWin its string. Wearing ablack, slim-fitshirtwithahighcollarandrowof To resume,IwasstandingatthebarwithanIndian collector The previousevening,theguestsofManifesta’s closingparty Next, I give a passionate and detailed account of the aforemen I fix my gazeonthe fir-tree-shaped air-freshener dancing on The more vigorous, energetic, and choppy Maga’s movements — explicit for men and implicit for women. He explicit formenandimplicit forwomen.He 2 acrossthebreast,Magawas - - - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 160 and touched him ontheshoulder:“Hi! HowcanIgetintouch?” honest! Itjusthappenedthat way.” shrugs totherefereeand the crowdasiftosay“Ididn’t meanit, surrender, moreinthewayafootballerwhohas committedafoul the gunandraisedhishands intheair Maga. Evidently realising that he had gone too far, he put away crowd, pressingfingersto theirearpieces.Theystartedrestraining guards inill-fittingblacksuitswerealreadypushing throughthe power wasenticing. The guests scattered; shaven-headed security open field,hecouldquiteeasilykillmeifwanted to.Butthat inexplicable glee.Iknewthatifmetthismanina darkalleyor spirit of this youngmanturnedtopalpablefear merged withan right onMaga’s head.Awe atthestrength,power, andprimitive just flashed inthedarkness;then splinters of the ceiling fell down, the ceiling.Theshotsweredrownedoutbyloud musicand inarticulate shriek,pulledoutapistol, and started shooting into saw howMaga,concludinghisdanceinastateoffrenzy, gavean became worse. their ownright. worthy exhibitsatManifesta,eitheralltogetherorasin shoes, andthisdance,Magahimselfwouldallhavebeen strove valiantly for infinity. I caught myself thinking that these underfoot totramplewiththeirstrange,pointedshoes,whosetoes ity withtheirbarehands,rippingoutclumpsandthrowingthem trapezium. NowitseemedasifheandMagaweretearingupreal and madewayforayoungmanwithfigurelikeaninverted directed asheepish,ironiclaughtowardsMagaandtheaudience letting herancientmaskdissolveintolivelyfacialexpression,she raising hereyes,fullofgentlehumilityand,atonce,dignity. Then, tions integraltothistraditionalspectacle.Shedancedwithout beautifully imitatedboththemovementsthemselvesandemo- along apre-determinedtrajectory. arts, sliding hishandsandelbowsintoplacelikepistons,asif landing quick,explosiveblowsintheairlikeamasterofmartial Japanese outfit. joined himinthecircle,ayoungOssetianartistfuturistic They begantaking Magaaway. Isqueezedthroughthe crowd His charmingandseeminglycompletelyemancipatedpartner “ASS-SSA!” Magashothisarmsoutonewaythentheother, The strobe cut every other second out of the flow of time. I By somesillynervousimpulse,Ibitoffmyhangnailbutitonly — not somuchinanactof -

Part II: In Relation 161 but itshouldn’t be forgottenthat the boywasfromaperipheral, ought tohavecondemnedsuchalackofrestraintinyoungartist; him mybusinesscard.“Emailme.” He lookedatmelikeabaffledchildandjustsaid“Hi”.Ithrust short: Iwasinvited byacertainartfunctionary tocuratethe6 bobos (all in tasselled or ‘bearded’ shoes). To cut a long story Eventually adefinitivebreakfast tookplaceinarestaurantfor ing, enquiry, and scheming through friendsand friends of friends. exciting creative developments. There followed aperiodofwait- encounter at theopening of an important exhibition promised rative tookplacenotlong after NewYear, inearly2015.Achance kitten SofiaII.Thechainofeventswithsignificance forournar cat died and my sister gave her a kitten. They decided to call the was full,soIforcedtoslumitupinbusiness. Mymother’s vember, Ihad to fly toLondon on urgent business; economy class tor hisartisticservices.] take me’.Itwasavideo.Idouble-clickedandbegan towatch. noticed amessagefromMagatheStonewithsubject-line ‘please there inmyinbox,nestledamongotheremailcorrespondence, I I got back sated and immediately sat down to a report on… and Omar onmywayhome(hehasasmallkioskthecorner),so my eyebrowsinsurprise.Ihadgrabbedakebabfromone-eyed justification fordwellingontheinsandoutsofmywork. first hand or thanks to massculture;nor can Isee any narrative daily life in western Europe, which everyone knows about, either land. Idon’t intendtowastetoomanyofmyallottedwordson their uniforms. with ascarletblushandvanishingunderthedullgreencollarsof their unkempt mousey-brown hair and milk-white skin kissed the procedurespriortodeparture,Russiancustomsladieswith Pulkovo airport(becauseI’malreadygettingoutofthetaxi),all Dagestan and its numerous mountain peoples, then, in detail, the has anentirelydifferentculturalidentity. turbulent region,which,althoughgeographicallypartofEurope, Moscow Biennale. I thought it over and decided to take a chance. Moscow Biennale. Ithoughtitoverand decidedtotakeachance. My housemaidcameonTuesday, likeshealways does.InNo- One evening,however, Ireceivedane-mailthatmademeraise I’ve spentthelastfewmonthsinEngland,Belgium,andHol- Of course, from the point of view of common sense and ethics, I Of course,fromthepointofviewcommonsenseandethics,I [Description of song and dance by Maga, who offers the cura Here I provide a lengthy description of everything I know about th - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 162 less beenheld uponthewaythrough customs. It’s theyounglad,myneighbour fromtheflight,who hasdoubt- stewardesses, formano-nonsense queueintheaisle. gage from the overhead lockers, and, ignoring the protests of the reach astandstill,clamber outfromtheirseats,fetchhandlug bour, applaudebulliently. Then,withoutwaitingfortheplane to courtyards andpalacesseeminglytippedfromasack. capital, grewforcenturiesaccordingtothesame principle,its need for rigorous planning. And even Moscow itself, the ancient when thisenormousnationwasformingthatthere was neverany birthmarks ofhumansettlements.Somuchland was available with themouldofforests,eczemafields,and amorphous by andagreatfrozenplainrisestomeetus,vast backriddled Russian counterpart.AswedescendtoMoscowthe cloudpasses seemingly drawn with a ruler, has been replaced by its chaotic spend behindabook.WhileI’mreading,theDutch landscape, period oftimelessnessor, rather, ofextra-historicaltime,Iusually point ofarrival,atneithermiddaynortwointheafternoon the language,butamicabilityneedsnotranslation. “Barbarbar!” he babbles in Russian. Unfortunately, I don’t know licks theunfortunatefinger, andgivesmeapatronisingsmile. container and burnt his hand. He vigorously shakes his wrist, unteered topassmytray, hehasbrushedthehottin-foilof signer hadintendedtoparodytheveryroleofstewardess. official smile.Herreduniformiscompletelyabsurd,asifthede- deep inmygut. Russians andI’mhopingforthebest,butIcanstillfeelfear from crumbling.I’mnotentirelysurewhattoexpectthe style designated exhibitionarea from thebudget,there’s alsoacomplicationwiththewalls:in rally, theRussianfinancialcrisisistoblameforeverything.Aside my bag,andsomethingtellsmethat’s nottheendofit.Natu to Moscow. Thebudgethalvedinthetimeittookmetopack “Barbarbar!” somebodyhails meinthedesertedarrivalshall. “Chicken,” Ismileback. “Chicken or fish?”asksa Russian stewardess,smilingastale We finallyland. Almostallthepassengers,includingmyneigh The hoursintheair “Ai!” burstsoutmyathleticyoungneighbour:havingvol And hereIamontheplanetoRussiaagain,onlythistime — nothing can be done to stop the centuries-old plasterwork nothing canbedonetostopthecenturies-oldplasterwork — at neither the point of departure nor the at neitherthepointofdeparturenor — a majesticpavilionintheimperial — this this - - - -

Part II: In Relation 163 league tothatofhisfriend. at MoscowUniversity. They’reonlytwenty. gangsters nice fellow. Iaskwhattheguysdoforaliving.Theysaythey’re tions, crowned by slanting soot-black eyebrows. He seems like a jacket, while his face is dominated by a nose of cartoon propor nine outoftenthewords.He’s dressedinaflashynavy-style friend, Nose,singsalongquietlytoAmericanhip-hop, butgarbles house; awatchthesizeofanalarmclockjangleson hiswrist.His his middle finger, emblazoned with the logo of a major fashion dried breadandstartstofingerthebeads.Agold ring glintson been turnedinsideout,thenproducesaprisonRosary madeof his thickstubble,thenofbrokenear, whichlooksasifithas ping fromhisbulgingbicep.Hehasalong,thoughtfulscratchof very musculararm:thetautwhitehemlooksindangerofsnap- it onthewidepanelbetweenhimanddriver’s seat.Hehasa edging framingthesleeves.Heleansonhisleftelbow, propping coloured short-sleeveshirtwithawhitecollarandelaborate an ovalmetalbucklewithrhinestonesintheshapeofarevolver. at me ironically. He’s got an identical object in his own socket: between thebackseats.“That’s tostopthebeeping!”hesmiles box, leans into the back and plugs it into the seat-belt socket seat andpromptlyfastenshisseatbeltbehindback. blacked-out windows. Kazbek sits in the front, in the non-driving ing eachotherintotheair. Somepeopleturnandlook. again. his ear, says“Allo!”,then laughs,thenstartscursing,laughs “What’s that?” “Contemporary art.” “What?” “I workincontemporary art.” Despite the winterfrosts,Kazbek is wearingatight, brightly “Barbarbar?!” snapsbackKazbek. “Barbarbar,” saysNose, whoisdriving. “One minute!”Heraisesasignificantfinger, liftshisphoneto “No,” Ishrugandsardonicallyshowthescreenofmyphone. “No taxi?”heasksinbrokenEnglishandwinks. “And what about you?” asks Nose, whose English is in another “And whataboutyou?”asks Nose,whoseEnglishisinanother “Bar!” Nosepromptlypullsashinyobjectoutoftheglove The threeofusgetintoapresentableGermanSUVwith His friendappearsandtheygreetebulliently, huggingandlift — then laughandadmitthat they’resociologystudents - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 164 The Unbound,GreaterCaucasianPavilion,2015

Part II: In Relation 165 you knowartist becomes animatedanddictatesthetextofanewquestion.“Do Biennale.” Moscow tumn —the yet,” Ianswer politely. “But I’mimpressedbyMaga’s work.I’d be grateful.” ing toneedwork.Take himforyourexhibition.Hisfather will you puttogether.’ direction. Butwe’rehappy tohelp,you’reagoodlad.” probably still be waiting for your taxi,” grins Nose mischievously. ended upthere. sorted soon.”Iansweranddecidenottoaskhow exactly Maga Nose castsmeasly, smilingglanceintherearviewmirror. car windows in Russia,so he wasforcedtoexploitthisloophole. dinary transparentones.Noseexplainsthatit’s illegaltotintyour double windowpanes:theinnerpanesaretinted,outeror to throw outachewing gum wrapper andInotice that the car has thicket: theMoscowsuburbs.Kazbeklowerselectricwindow districts oftowerblockssuddenlyriseupouttheimpenetrable of giganticshoppingmalls.Ontheothersideroad,shabby forest flashby, occasionallymakingwayforthegiganticcarparks off. It’s notabigdetourforyou,Ihope?” Beyond theforegroundofwide,illuminatedhighway, milesof “He’s prettyinterestingandoriginal.” “Ah, weweretheretoo…He’s awhackartist,eh?” “We bumpedintoeachotherinStPetersburglastsummer.” “Yes. Wheredoyouknowhimfrom?” “What astrangecoincidence!” “He isourfriend.” “Yes, we’reacquainted.” “Oh! Art!It’s likepaintingsandstuff,yes?” “Listen,” saysNose.“Soon they’llreleaseMagaandhe’s go- ‘Lad?’ Ithinktomyself. ‘I’m tenyearsolderthanthetwoof “It’s ashamehe’s inprison,but I’mgladtohearthingswillbe “He’s inprison.Buthe’llbeoutsoon.Hisrelativessortedit.” “And what’s Magauptonow?”Iask. Nose translatesourconversationforKazbek,whosuddenly “I’m here to arrange Moscow’s biggest exhibition this au “I haven’t decided exactlywhattheexhibition willbeabout “Well, totellyou thetruthweweregoinginatotallydifferent “Yes, it’s goodthatImetyou.Thanksforoffering todropme “Hey, you’relucky youmetusattheairport,right?You’d — Maga theStone?” - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 166 as knives,AOOVEOO!” can’t taketheireyesoffourbrothers, allboldandstrongsharp Gauls But thegenesoftheirancestors after-party. show itmyAbubakarsomehow. SoItookhimtotheManifesta from theregion.Petersburgisaforeignlandtome, butIhadto my number, they gave me theirs. My cousin Abubakar was up and there.AgalleryfromBerlinwasrightintome. Igavethem exhibition wentgood.Spoketosomepeople,kicked about,here “Dear diary, open shoulders,isbusybummingacigarette. lose touch.” from mynumber. monogram. Thedisplayofthegoldenphonelightsupwithacall ised engravingwherethelogowouldotherwisebe,evidentlyhis made ofgold,isstuddedwithpreciousstones,andhasacustom- and entersthenumberhimself,thenproduceshisownphone.It’s but I fumble with the buttons. He grabs the phone out of my hands gesture. I get out my mobile and start taking down Nose’s number, glance. “Take mynumberaswell,”herespondssternlytothis ness card, which he stows in his pocket without so much as a my bag. drawing uptomyhotel. the twoofthemlaughandmakeobscenegestures.Bynowweare of itasacasting.” be happytochathim.Ican’t promiseanythingthough “You’re high!” “Yup! Icouldn’t help it,Iletoffabanger.” “You actually writethat,‘aoo-veoo’?”laughedKazbek. I’m makingthisentrywithaCaucasianaccent.Basically, my The guys get outof the car to saygoodbye and help me with The word ‘casting’ amuses Nose. He translates to Kazbek and Europeans, Idon’t meannoharm, they’redignifiedmen. Kazbek, meanwhile,withanincrediblystraightbackandwide, “Now I’vegotyoutoo,”clarifiesNose.“Sowedefinitelywon’t “So, whataboutMaga?”asksNoseagain.Igivehimmybusi- — you feelit,they’renotwhat theywere.That’s whythey THE ARTIST — all thoseVikings, Goths,and — think think

Part II: In Relation 167 sofa. Ihadtostandontopofhimreachthewindow. “Gai! in theflickeringwhitelight.Abubakarhadpassedouton but really, what else?! You in myhand.“Onlyblood canwashawaysuchadisgrace…No, looking dumblyathismatt blackbusinesscardasIturneditover a completeanimalwhenI drink… shooting, thedaybeforeyesterday, attheafter-party. Iturninto the Bolsheviksandyunkershadkickedoff…when I haddonethe replayed theshootingatWinter Palaceinmyhead. Notwhen flip-flops andhuddledwitheverytoke.Thatwhole morningI getting allmysmoke.That’s nofunformeeither.” the faceofolddoorman. smoke anditwasimmediatelytakenbythewind, straightinto carpet retractedintothegloomofahallwaylikelongtongue. from thedrizzle.Afive-starsigngleamedsamovargoldandared ing over the front door. To either side the pavement was black my chestandalittlehigher, inmythroat. nothing waswhereitmeanttobe.Ihadagurglingpainin cigarette. Thecontentsofthehotelroomwerestrewneverywhere; then openedthemverywide,leaptup,andbeganlookingfora zbek, werestillasleep.Iclosedmyeyesforacouplemoreseconds, plastic presenters. Abubakar and those two animals, Nose and Ka curator. Clustersofcrystal glinteddimlybeneaththeceiling. previous nightintheWinter Palace andthe expression ofthat were alreadydrooping. big spoon,straightfromtheplasticpot.To behonest myeyelids tled backintothearmchairandstartedeatingice-creamwitha Gooy! savage, and I’m not. Well, just a little bit savage. There is that…” society… Now hemustthinkthisMaga theStoneisacomplete energetic shakesofthehip. “Now I’mashamedtoring thatcuratorallsober,” Ithought, I shuddered. I woke in the armchair to morning TV and the fake smiles of “Now hethinksI’mcool” The roomwasdark,apartfromthetelevision.Smokehung “He is,bro.”Nosegraciouslycockedhislegandgaveseveral Yes, itwasanothingsummer. Ishuffledmybarefeet inmy “Eyu! Colonel!”Icalledout.“Eh!Sir!Let’s swapplaces,you’re I feltashiverrundownmyarms.exhaledpuffof slate-grey There wasarectangleofdry, palegreyasphaltundertheawn — shouted thecontestantsofaJapanesegameshow. Iset- khaivan! — as Idriftedoffrememberedthe 3 To screw up like that in polite - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 168 The Unbound,GreaterCaucasianPavilion,2015

Part II: In Relation 169 brogue bootswithleather soles,Alishka’s wearingredloafersin of arms. cotton-wool faces,tracksuitsandflip-flopswiththeRussiancoat puddles onthe pavementforceusonto thecarriageway. suede, or‘shaggy leather’ashecallsit. For athirdtime,enormous You’re wasted onpainting and says:“Whatkindofa beefcakeareyou?You’re areal stone! you now, oneserious pieceofkit!” were bornjustforajokeandonlyfiveminutes, butlookat laughs Ali,achildhoodfriend. life hereyoucanalwaysreadAlisaGanieva.Shesays itlikeis. people intheRepublic.Besides,ifyouwanttoknow aboutdaily describe that.Sufficeittosaythatit’s agoodfamily, respected thousands. My parents, family life, thedaily to-and-fro roque, Rococo,andsoon.Inthelasttwentyyears they’vebuilt Makhachkala’s fullofthemnow, ineveryimaginablestyle:Ba a three-storey gothic mansion with turrets and all the rest of it… suitcases. Idescribethejourneytomyhomeand house itself, los andgoodbyes, theshawls, theoriental knapsacks, the branded describe the taxi drivers, the friends and relatives saying their hel in honourofthetwo-timeHeroUSSRAmet-KhanSultan.I call home. it was:mysweetnativeland,thebelovedcornerofworldI aircraft windowatwhitepeaksfringedwithcotton-wool.There ness. IsuddenlylongedforMakhachkala. needed to reflect, to reboot, to somehowfill this nagging empti- were likeglassbuttons. one onourhandshere.” this?” I ask him, and he tells me it’s a triceps. Got a dangerous “This? It’s atriceps,bro.” “What’s allthis,eh?”Kazbekpokedmygoose-pimpledarm. We hugonthecornerofabusystreet;Alishka feelsmybicep It was still drizzling. The lads came downstairs We sashayalongthesidewalk “I’m alright “ Here IgiveadetaileddescriptionoftheUytashAirport,named And beforelongIwaspeeringthroughtheplasticoblongof And thatwasthestartofit…depressionorsomething…I “Uhuh…” answeredNoseandgaveamuffledsnigger. Hiseyes “Nose, hearthat?”saidKazbekwithalazylaugh.“What’s all Le-e-eh! 4 You’re stillalive,bro!Whatbrings youhere?” — much moresurprisingthatyou’restillalive!You — you shouldhavebeenacage-fighter!” — Ali andI.I’mwearingwhite

— all crumpled, all crumpled, — I won’t - - Gleb Berg — Untitled (An Art Story in Three Art Novels) 170 him straightaway. and thenIwasawayfor a longtime.Buthe’s afinelad,Iliked met, becauseGamzatbekused toliveinavillagethemountains lamp. We canhearmusicfromaroadside bar. We’ve onlyjust drops awaylikeFjords,and everynowandthenwepassastreet along thedustyroadside. Theedgeoftheasphaltcrumblesand leopard skin,thelips,eyebrows,youknow. ‘bomb’. It’s ourCaucasianversion:allthoseRhinestoneUggs, Bombita. It’s liketheMexican‘Chiquita’,onlyit’s fromtheword here too. almost alltheCaucasianladsinMoscowarewearing, anddown wool beanieswithnoturn-upandabiglogoonthe foreheadthat the tempoinbackground.They’reallGabihats, thosethin in, theirhairlikeRingo’s inthegoodyears. beautiful songinmyownlanguage. but thenIpullmyselftogetherandstarttosingoneveryold, me inonsomeproject.Iwarmupmyvoiceandgetthespirit. tor, tomakeajokeof thewholesituation.Maybethenhe’llget up andenjoythemselves.Idecidetorecordasongforthecura- local store.We passaspliffaroundandeveryonestartstoloosen out atthehump’.Thatmeanshangonalittlepatchoutside horses tocars,butit’s thesameolddzhigitovka.” low-rider almost touching the ground, huh!” Alishka nods approvingly as a dzhigitovka. past assomeladthrustshimselfoutofthewindowinavirtuoso “Gogydi-gogydi-gogydi-gogydi!” joininthebaritones, lifting Alishka filmsitonhisphone.AtfirstI’mabitself-conscious, No, no,thisisKavkaz! Yes, yes,thisisKavkaz! “Some ladsdo.Notoftenthough.Thelocalsnever.” “Do theygetuptotrickslikethatinMoscow?”asksAli. “It’s notanoptionnow,” hesaysandclicks histongueforlornly. “Don’t you want to move to Moscow then, brother?” I ask him. It’s alreadydark, andGamzatbekmearemeanderingback People disperse around midnight. Alishka drives off to some I’ve hardly got going before the impromptudrummers come We meetupwiththelads,apropergangofusnow, and‘patch “Tradition adaptedformodern reality…we’veresaddledfrom “Damn, checkthefoolout,isheimmortalorwhat?Hisback’s “ Leh! Want tokill me, eh!?” Alishka shouts atacar that blasts Lada Priora speedsawaycarryingthedaredevilwithit. 5

Part II: In Relation 171 and offertohelpifeverheneedsanything. my youngerbrother’s justaladstill.We haven’t gotanyoneelse.” “My mother’s old. She’s notwell.Myolderbrothergotshotdead, style, moreAladdinthanMulan.Waiters ingold-embroidered oriental façade.Behinditthereisarestaurantingeneric Eastern The blackbonnetsofexpensiveSUVsshimmerbeside agarish off. each otherout,especiallyyourneighbours. alive… We’re allfamilyintheCaucasus:it’s thedonethingtohelp away for a very long time. And that’s if he even makes it there brother, theirgrief, tears him upthereandthen.Ipicturehispooroldmother, hisyounger stab someladinafight.Theyhandcuffhimandstartbeating gusto. with, commander?” ing homenow, me andmyfriend…Sowhatisitwecanhelpyou silently flashesfromaroundthecorner. ones, toweringstonealljumbleduptogether. Apolicesiren we’ve prettymuchgotallweneed.” dernity, we adapt its achievements to our own customsand tradi apple, strawberry and melon, coke and lemon, sushi and shrimp… specially cooledpipes.There’s everyflavour underthesun:double deftly brandish their tongs, blow on the coals, and serve the guests machine: the Abus stokeup the aromatic hookahs on themove, keeping withthetheme,they’reallcalled‘Abu’.It’s awell-oiled waistcoats scurrybetweenthetablesdelivering hookahs;in accompanied byNoseand Kazbek. I wishhisoldladygoodhealthfromthebottomofmyheart, My dad will get me off, I hope; but nobody will get Gamzatbek My dadwillgetmeoff,Ihope;butnobodyGamzatbek “It’s myknife.Letthemango!”Ishouttocops. The patrol squad check ourdocuments.They search uswith “Like Isaid,I’vejustarrivedonlyfewhoursago.We’re walk- “Thanks brother, appreciatethat,”repliesGamzatbek.“But “My mainidea isthatweCaucasiansdon’t integrate withmo The curatorandartistare sittinginaseparatecompartment, They find aknife on Gamzatbek, which he allegedly used to The housing blocks end and the fences begin: tacky wooden INTERCULTURAL DIALOGUE (FROM THEAUTHOR) — their fateifthismanissentfar - -

Gleb Berg — Untitled (An Art Story in Three Art Novels) 172 back onthesofaandspeaks toNoseunderhisbreath: It is a very important conversation for both of them. Kazbek leans nature.” Because they’refragments ofrealformslife.They’reapart essence. Iwanttousethemexposetheethos behind them. over withamurkyhaze. charged atall.They’remeaningless.” Russian birches, German beer… On their own, these things aren’t table. adds Nosegravelyandbringsdownthebackofhis handonthe and theirpricelessjewels…” show offtheirbeautifullycraftedweapons,goldenfabrics, neighbouring states, all so they could go back to their auls and risking theirliveshijackingmerchantcaravansandplundering the most important virtues, ours restraint inthedemonstrationofwealthandsawthatasone with loopedtoes.” while Kazbek’s were struttingtheirstuffinthree-leagueboots ago yourancestorswerewalkingaroundinsturdyleatherboots, is wearingredloafers with gold buckles?Eventwohundredyears ment. Whyareyouwearingsimple,understatedshoes,whileKazbek elaborate shoes,andIthinkthatcomesfromournationaltempera the waitertobringabowloffruitsotablewon’t lookempty. of smokeescapeshisnose.Thefoodanddrinksarrive.Noseasks going tobeaboutinterculturaldialogue.” intently. “Because, themainthemeofBiennaleisspecifically his walkwithAlishkathroughMakhachkala. tions. Take thedzhigitovka,”saysMagaStoneandrecounts fear inhiseyes.” “And becausetheywerehot-bloods…theunbounded ones!” “And whyisthat,inyouropinion?” “That’s interesting,”nodsthecurator, whohasbeenlistening “No, he’s justthinking.” “Maga’s a hot shot. But this guy seems to be scared. There’s The artistandcuratorare bentoverthetablenow, facetoface. “Yes. ButIwanttoshowtheauthenticity ofthesethings,their “Just symbolsofthemselves…”thecurator’s eyeshaveclouded “And it’s not justnationalcolour. It’s notjust Easternrugs, “Because whileyourforefatherswerecultivatingthriftand “Or shoes,” continues Maga. “We always wear flamboyant, Maga takesalongdragofflavouredshishaandthickstream

—

dhzigity and abreki

—

were -

Part II: In Relation 173 Art. NoseandKazbekare overjoyed. rings itneveris.” graving onarealsignetringneedstobemirrored,buttoday’s one. Actually, it’s obvious when you look at the history: the en- of arms and youdefinitelywon’t find anyone sealingletterswith Caucasus wearone.Butwhy?Very fewpeoplehaveafamilycoat index finger, andasksMagaaboutprison. tor brings his fist to his chin, screws up his eyes, bends back his wink. hand andshootstheair, thengivesthecurator a good-natured ‘Kavkaz’ pavilionatthe6 Maga andhisgang,‘theUnbound’artcollective,will presentthe ditional argument.” any more.The‘sandwich’isanextrastringtomy bow… anad- reotypical phraseswithcolourfulgesturestomatch. mitre andsceptreinthehandsofatsar.” same reasonKazbekwearshisring.” they allcarrythisartefactaroundintheirhands,forexactlythe “The ‘Caucasiansandwich’,asIcallit.Young lads,grownmen… smartphone, andcar-keys arrangedinapyramidonthetable. prets Noseforthecurator. kebab andanswersinRussian. practical meaning.SowhydoesKazbekwearone?” a signet ring isjustpartofthedecoration.Itdoesn’t have any wear themwiththeengravingoninside,facingpalm.” consider signet rings an anachronism. That’s why they mostly “That’s right,toleavetherightimprint.ButtodayEuropeans The shishacoalsburndown. Noseasksforthebill.Thecura- “See? It’s asubtlepsychologicalthing.I’mnotempty-handed Maga picksupthe‘sandwich’andpronouncesaseries ofste- “Exactly.” Maga posesthisquestiontoKazbek,whodiligentlychewshis “Look atourfriendKazbek’s signetring.Manymeninthe Maga goeson. “It’s justlikethey’re playingchessorsomething.” “Bang, bang, bang!” Maga the Stone makes agun with his And soitissettled;thedetailsarelaidout;theyshake onit. “So ultimatelyit’s astatussymbol,sortofregalia…like “Or takeanotherphenomenon;”Magapointstothewallet, “He saysit’s to showhe’s fashionableandsuccessful,”inter “But notintheCaucasus.Because,forus,engravingon th MoscowBiennaleforContemporary - Gleb Berg — Untitled (An Art Story in Three Art Novels) 174 the houses are squinting in the bright, slowly brightening sunlight. the housesaresquintinginbright,slowlybrighteningsunlight. turns towardsthepanoramic windowandthestreet beyond,where ence. Very soon. people andalotofsavages.Somethingwillcomethisexperi- about it. NowI know how it worksfrom the inside. I met a lotof prison fromwhatotherpeopletoldme.PlusI’dreadsomething looks thecuratorstraightineye.“Before,Ionlyknewabout wistfully stirs the green tea in the bottom of his tea-bowl, then “And… howdoyoufeelnow?”— “Well, howtosay…It’s spring.” Spreadinghisarms,Maga “It’s alright,moreorless.Nottheworstyearofmylife,”Maga asks thecurator. Cossacks. sian mountainpeoples and nally practicedby Cauca- on agallopinghorse, origi- special stuntsperformed Dzhigitovka —various ‘Hey!’ to theEnglish‘Eh!’or an exclamationequivalent ing (generallyformen)or greet- Dagestani Leh! —a mal’ intheAvar language). word originallymeans‘ani for afooloridiot(the slang Khaivan —Dagestani dress. costume andCossack rated intothelocalfolk across thechest,incorpo- worn inacartridgebelt gunpowder cases,typically Gazirs —Caucasian The Unbound. text uponinvitationby Gleb Bergcontributedthis 5 4 3 2 1 The Unbound,GreaterCaucasianPavilion,2015 176 About Ezgin Altinses Konstantin Zvezdochotov —

Part II: In Relation 177 degree ofdiscomfort. and since I was no longer used to working, I was experiencing a to mynewjob. On onecoldautumnmorningIwashurryingalongtheboulevard touch ofroutine-ness toit. other eventof theinternationalcontemporary artscene,alight what enliventheatmosphere ofVDNKh,whichhad,likeany that theycomewithmeat once. showed anextremedegree ofquicknessandbrazenlyproposed them before. these twounknowntomeforeigners.Ievenfeltlike Ihadmet altın sesintranslationmeans‘goldenvoice’. name but Icannotrememberitnow. WhatIdorememberishisstage well respectedpersoninhishomecountry. She toldmehisname, that hernamewasAigul,andfriend anextremely tanbul, wheretheyhadmetandbecomefriends. Ifoundout Through her, IcouldestablishthattheybothcameherefromIs- bushes. She turned out to be the musician’s friend and translator. my way. using eitherRussianorEnglish,andwasabouttocontinueon only repeated,“Turkish-Turkish.” Icould not establish contact on ourstreets,whichiswhy or anarrivalfromCentralAsia. in hishands. small, andtoputitmildly, veryplainlydressedman,withasaz ated allthemore. people, so the singing that filled it sounded clearer and reverber boulevard, accompaniedbysomesortoffolkinstrument. It seemedtomethattheappearance ofthispairwouldsome- For somereasontherewassomethingfamiliarand homelyin Street artistsofeverypossiblekindareacommonoccurrence I thought to myself that he must be some kind of Caucasian, For this season I was working as an artist at the Biennale, Though ordinarilybeing anindecisiveperson,Isuddenly But then,alittleKyrgyzwomancameoutfrombehindthe I came up to him and attempted to start a conversation, but he When I came up level withthesinger, Ifound that hewas a The boulevardwasfilledwithfogandrelativelyfreeof Some gutturalsingingechoedalongthe whole length of the But then,somethingmademeturnaroundandgoback. — Ezgin Altınses,evidentlybecause,asfarIunderstand, — at first — I didn’t stop. - Konstantin Zvezdochotov — About Ezgin Altinses 178 described thatputtingtogetherthewholebiennial was worthit. and areforgotten,perhapsitwasonlyforthe sake ofwhatI being. slightly stunnedbythisreception.Thepoorfellownearlywept. welcomed our new friend with all tenderness of heart. He was even thought to be German, turned out to be Turkish, and she likewise and attention.OurcuratorDefneAyas, whomIhadunthinkingly emotion. MyoldacquaintanceBabisurroundedhimwithcare to facenewchallenges. common cause. ing thatIventuredtoinviteourstrangerstakepartin is theright,andright age (thatis,everythingistheotherwayroundthere:lefthand as a kind of continuation of Russia, while Turkey is its mirror im Turkey. in EuropeandAsiaatthesametime:Russia,Kazakhstan there areonlythreecountriesintheworldthatlocatedboth give our projectgreater‘Eurasian-ness’,since it is no secret that I haveasuspicionthatthe‘FingerofFate’exists,after all. In all,anunusuallywarmandintimateatmospherecameinto What happenedafterwardswasverysweetandtouching. And you know, Idare say that all our exhibitions come and go The public receivedthe artist withbothcuriosity and tender To my surprise they quickly agreed, and together we rushed And besides,KazakhstanfeaturesintheRussianconsciousness Moreover, theappearanceofadistinctiveTurkish notewould So, itisprobablyonthebasisofthishighlyprofoundreason- istheleft). -

179 Performance ofEzgin Altinses,MoscowBiennale,1 st and2 nd October2015 xxx 180 Inventing Ritual

xxx 181 as materialandequipment.[MarieEgger] ments, performers’requirements,aswell rider withinstructionsonspatialrequire- the MoscowBiennalereceivedatechnical duration is40minutes. performances andvideoprojections.Its tation. The presentationmainly consists of stituting acontemporaryartritualpresen shown as a specificroutine, and thus con gathers togetherworksby20artists, Pingyuan andZhaoYao, Inventing Ritual Conceived by MadeIn Company, Lu In ordertorealisetheperformance, - -

Inventingxxx Ritual 182

Partxxx II: In Relation 183 Inventingxxx Ritual 184

Partxxx II: In Relation 185 186 MurMure Gabriel Lester —

xxx Gabriel Lester — MurMure 188

189 Gabriel Lester — MurMure 190

191 Gabriel Lester — MurMure 192

193 Gabriel Lester — MurMure 194 be known,torecognised. versus theinnatedesirewithinselfto that weusetoperformthesepublicselves, anonymity of the producers of the objects ously hintsatacontradictionbetweenthe methodology. The performance simultane mance attemptstouseconcealmentasa management ofourprofile,theperfor worked reality. Incontrasttothisconstant of selfwemaintainandenactinournet- ubiquitous, almostconstantperformances born from an interest in thinking about the the MoscowBiennale2015,workwas They wear, asitwere,awall.Performedfor which musiciansplayfrominsideawall. MurMure / Shopot isaperformancein - -

195 The TenCommandments Honoré δ’O— (01) 02 03 04 05 06 07 08 09 10 11 12 13 (01) 02 03 04 05 06 07 08 09 10 14 15 16 17

Exodus 20:2-17

01 22/09 I am the LORD your God, you shall have no other gods before me.

02 23/09 I am the Lord, your God, you shall not make a carved image or a likeness of your God, nor bow down to it. You shall not make for yourself a carved image—any likeness of anything that is in heaven above, or that is in the earth beneath, or that is in the water under the earth; you shall not bow down to them nor serve them. For I, the LORD your God, am a jealous God, visiting the iniquity of the fathers upon the children to the third and fourth generations of those who hate Me, but showing mercy to thousands, to those who love Me and keep My commandments. (in·iq·ui·ty: Gross immorality or injustice; grossly immoral act; a sin.)

03 24/09 I am the LORD your God, you shall not take the name of the Lord your God in vain. How to gather?

04 25/09 Remember the sabbath day, to keep it holy.

05 26/09 Honour your father and your mother.

06 27/09 You shall not murder.

07 28/09 You shall not commit adultery.

08 29/09 You shall not steal.

09 30/09 You shall not bear false witness against your neighbour.

10 31/09 You shall not covet. You shall not covet your neighbour’s house; you shall not covet your neighbour’s wife, nor his male servant, nor his female servant, nor his ox, nor his donkey, nor anything that is your neighbour’s. 10 days of exhibition > 10 Commandments 1 Commandment / day

Between the Commandments: <> 2 <> 3 03 24/09 I am the LORD your God, you shall not take the name of the lord your God in vain.

+ Anja says: I want to be a scientist and stay in the dark, for ever. a sabbath ritual sabbath ritual

Throw the plume to the sky Remember the sabbath day, to keep it holy. Six days you shall labor and do all your work, Let the plume fly and fall but the seventh day is the sabbath of the LORD your God. In it you shall do no work: you, Find the plume nor your son, nor your daughter, nor your male servant, nor your female servant, nor your Rescue the plume and cover it up in a safety box cattle, nor your stranger who is within your gates. Walk For in six days the LORD made the heavens and the earth, the sea, and all that is in them, Come to a halt and rested the seventh day. Therefore the LORD blessed the sabbath day and hallowed it. Open the safety box Kak dela? Horosho. Throw the plume to the sky Let the plume fly and fall Find the plume ...... 04 25/09 Continue to do so Remember the sabbath day, to keep it holy. spasibo 05 26/09 Honour your father and your mother.

Please call your parents from the exhibition 06 27/09 You shall not murder.

06 27/09 You shall not murder.

Play ‘Murdering’ alone Choose a dress-sword Turn the ten glass masks one by one Play the game till one glass breaks You are the victime

WAIT

08 9/09 You shall not steal.

Theft Through, with Anastasiya Yarovenko

Ho-Homage to Michelangelo Pistoletto’s Terzo Paradiso

Turning the masks, with Fabrice Hybert

Turning the masks One by one From center to periphery and periphery to center Stay silent Move slowly Focus on the spiral Spiral on the spiral Ritualise the continuity 09 30/09 You shall not bear false witness against your neighbour. Part II: In Relation 215 Ten SideNotes as WarmUp Vaast Colson — 22 Séance I, nd September2015 24 How toProduce a Wishing Well , th September 2015 23 Séance II, rd September2015

Otto Snoek, 22 September – 01 October 2015 Vaast Colson — Ten Side Notes as Warm Up 216 26 Eventually Melonshitthe floor, th September 2015 25 500 timesWhiteSpace, th September2015

Part II: In Relation 217 27 First Orbit, th September2015 29 Onstageoffstagededicatingsongsdilemma revisited, th September2015 28 Falling inLoveWith Elvis, th September2015 Vaast Colson — Ten Side Notes as Warm Up 218 1 Euro Chair –RubleChair , st October 2015 30 I FeelYour Pain, th September2015

219 Balloons andNails Andrey Kuzkin— Egger] and aballooninflatedbytheartist.[Marie and nails.Eachvisitorgotofferedonenail next to him were filled with white balloons of PavilionNo.1atVDNKh.Two boxes Andrey Kuzkinsittingonastoolinfront Every other day, visitors encountered

220 (Gerüstbau) Die kleineBushaltestelle Isa Genzken — situations. acters and appear in various identities and the video,inwhich thetwochangechar and rejectionisone ofseveralepisodesin Their conversationaboutlove,acceptance by IsaGenzkenandtheartistKaiAlthoff. folding)’]. Itshowstwoprostitutes, mimed (Gerü Genzken’s videoDie kleine Bushaltestelle one ofthefour. than ageneric‘artwork’.IsaGenzkenwas and focus of artists, defined as such, rather image, thatthismightalsobeacapacity The Biennaleaskedfourartistsforan This imagewasextractedfrom Isa stbau) [‘Thesmallbusstop(scaf - - proximity tolocal contexts.[MarieEgger] what distantand staged,challengingits Pavilion No. individuality. Placedinthecentraldomeof one’s creativity, sexuality, friendship and ful celebrationofthelibertytolive out Isa Genzken’s imagemaybereadasajoy that thescenebecomesaparodyin itself, next toherinsuchanextrovertmanner of champagne.With KaiAlthoffwhining and sheerpinkstockingsshedrinksaglass smile. Wearing asee-through bra,awig Isa Genzken glances at us with a whimsical 1, thepictureappearedsome - -

Part II: In Relation 221 PAPER GAMENO.1 voice andyourindividualperspective collaborations? Howtokeepyourown individual voicewithinacommunityof verse side.Howdoyoukeepyourown, The notionoftogethernessalsohasare- We mustcometotermswiththat. We onlydreamofcomfort. inspiration. in societyneedsnomotivation Comfort? The power to causes changes What willbetheoutcomeofthatfight? us tofight? thing. What,otherthandiscomfort,forces ing somethingandtryingtochangesome tion is a more fertile ground for express- Often, astateofdiscomfortandfrustra To getabuzzfrompolyphony. own selves. ing views, and thus affirm and refine our face misunderstanding,rejection,oppos out ofcollectivediscussions.We needto centrism. Andobservehowideasareborn And acttogether. Overcomeourownego eyes. We needtolookwithbotheyes. One pointofviewisnotenoughfortwo that moment? alone withoneself?Andwhattodoin main questionsthesedaysbeHowto sional andpublicopinions?Shouldn’t our networks ofsocial relations andprofes in aworldthatconsistslargelyofdense Maria Stepkina Sona Stepanyan Ivan Isaev Anna Zhurba Alexander Zhuravlev 1 — On Togetherness it is pure it ispure - - - - - once the paper isunfolded. to formaconsistent text on afoldedpiece ofpaper, short hand-written liner where everyonewrotea evolved fromapapergame this publication.Thisone several contributionsto participants cameupwith During theirmeetings,the notion oftogetherness. platform toreflectonthe Foundation asadiscursive shop, conceivedbyV-A-C Young Curators Work- This textisaresultofthe 1 Part

Political Gestures Part III: Political Gestures 225 Political Extras Vanessa Joan Müller— Anna Jermolaewa and Anna Jermolaewa, PoliticalExtras,28 th September2015

Otto Snoek, 22 September – 01 October 2015 Anna Jermolaewa — Political Extras 226 ANNA JERMOLAEWA: Iwasinvitedtocreateanartworkfor VANESSA JOANMÜLLER:Anna,howdidthispiececome as ahithertounderratedpopulistterritory. the piece,aboutitspolitical inclinationsandaboutartculture Kunsthalle, spokewithAnnaJermolaewaabouttheconceptof Wien. InJanuary2016,Vanessa JoanMüller, dramaturgeatthe performance. The piece was thenalso presented attheKunsthalle a two-partvideoinstallationfromdocumentaryfootageofher nale forContemporaryArt.Subsequently, theartistproduced 28 Anna Jermolaewa’sExtras tookplaceon performancePolitical th September2015ontheoccasionof6 ing againstPutin andforfairelections. 10,000people closed; youmightcallita defeat. huge waveofprotest.Unfortunately thatchapterisnow through Russialikeawave fromlate2011onwards.A to thestreets.Itwasavery powerfulmomentandwent with. line showinghowtheelectionresultshadbeentampered election andanumberofYouTube videosappearedon- Nobody demonstrated.Thenthevoteswererigged atthe then, critiquehadbeenvoicedmoreoversocialmedia. Russia in2012 I thoughtaboutalot. them forthepurposesofmyproject.Thatissomething I wasworkingwithpeople far. Itrequiredmyundividedattention,especiallybecause biggest andmoreimportantworksthatIhavedoneso tical coordination.PoliticalExtrasisprobablyoneofthe importantly theideaalsodemandedagreatdealoflogis- particular contextandinstitutionalbacking.Andmore had noopportunitytorealiseituntilthen.Itneededa had theideaofworkingwithpoliticalextras,thoughI’d the MoscowBiennaleforContemporaryArtandalready exchange formoney. stage ademonstrationandinvitepeopletoprotestin about? Atfirst,thisseemstobeafictitiousidea At thetime,thousands wereinthestreets demonstrat- I thinkthatwasthecatalyst. Afterwardspeopletook These kindsofdemonstrationsfirsttookplacein — the yearofpoliticalprotests.Upuntil — and, inaway, exploiting th MoscowBien — to -

Part III: Political Gestures 227 finding statements infavourofit. against contemporary artinthenews was fareasierthan taken frommediaandonline blogs.Findingrallyingcries main enemiesofcontemporary art. example. TheRussianOrthodox Churchisoneofthe in Russiaandisveryheavily criticisedbytheChurchfor contemporary art,because thelatterisalsoahugeissue demonstrate cal bodiesfortheMoscowBiennale.Iletpeopleactually that website.Allofthemwereprofessionaldemonstrators. demonstration inthisway, recruitingparticipantsthrough And itdoesn’t interestanyoneeither. Iorganisedmy almost nevermentionedwhatthedemonstrationis about. in andsayhowmuchitpaysformanyhours. It’s there. Peoplewhowanttoorganiseademonstration write category “PoliticalDemonstrations,paid”.Iadvertised hire extrasforfilms,advertsandsoon,aswellthe still usedtothisday. Itoomadeuseofitformypiece. made itpossibletobuyprotestorsforacausewhichis During thistime,anonlineplatformwasestablishedthat amount ofpressure,theywereforcedtodemonstrate. have beenfiredorthrownoutofuniversity. With that protesters weretoldtoattendasotherwisetheywould there weresomevoluntaryparticipants,butmanyofthe students tookpart,aswellfactoryworkers.Iassume people attended,too.Theyweremoreorganised.Many took placeatmoreprominentvenues.Thousandsof pro-Putin demonstrations,onthesamedayeven,that To offsetthemediacoverage,theyorganisedeven bigger power, Putin’s UnitedRussia,developed anewstrategy. could changesomethinginthiscountry. Something wasintheair. You hadthefeelingthatyou like thiswouldnotbepossible.Itwasaspecialmoment. so happytohavehadthatexperience.Today, something incredible feeling.IflewbacktotakepartinitandI’m town SaintPetersburgonDecember10,2011.Itwasan were presentatthebiggestdemonstrationinmyhome- I preparedslogansforthe participants I wantedtodevelopaprojectwiththeseboughtpoliti - The websitemassovki.ruoffersdifferentcategoriesto But inordertocounterthismovementtheparty — both againstandfortheBiennale — readymades Anna Jermolaewa — Political Extras 228 AJ: VJM: AJ: VJM: should be. well received inRussia.Itfitsthenation’s ideaofwhat art sculpture ModelforaSculpture(Family) (2011)wouldbe tion iscomparable.Ithink thatGoshkaMacuga’s large to. Thingsaren’t quitethatbadin Poland,butthesitua- damage worksthat,inmy opinion,theytakeadislike works. Thishappensevery day. Peoplein uniformssimply regularly showuptoexhibition openingsanddestroyart- Orthodox Churchisverystrongatthemoment.Cossacks switched on.Ithinkit’s differentinRussia.TheRussian good feedback.Ifoundthepeoplelivingtheretobe very in Poland,bothofwhichreceivedalotinterest and I don’t know…Ihaverecentlyhadtwobigsoloshows when itisreallyaquestionofcensorship. incredibly secularwouldsuddenlyappealtoreligion that theformerEasternBloccountrieswerealways of morality. AsaWestern European Ifinditparadoxical populist partyinthenameofpeopleand was ultimatelydestroyedbytwomembersofaright-wing Pope struckbyameteoriteandsinkingtothefloor. It Maurizio Cattelan,forinstance,showsthethen-Polish tive countryofPoland.Averywell-knownsculptureby accused ofoffendingreligioussensibilitiesinherna- and lawsuitsagainstcontemporaryartistswhoareoften In herwork,Macugagatheredmaterialonconvictions Goshka Macuga’s large-scaleworkNoticeBoard(2011). I seeafascinatinginterplaybetweenyourvideoand convicted underthisarticle. cising theChurch,forexample,yourunriskofbeing contemporary artand,infact,oftenisRussia.Bycriti- article intheconstitutionthatcaneasilybeusedagainst and soon.We usedthatinourslogans.Thereisalsoan to alcoholismanddrugabuse,thatitdestroysfamilies less funding.Itliterallystatedthatcontemporaryartleads ment explainingwhycontemporaryartshouldreceive Yes. Ievenfoundanofficialtextbytheregionalgovern- contemporary art,takenfromthenews? The protestsignsshowedrealargumentsforandagainst

Part III: Political Gestures 229 AJ: VJM: and said“Oh! LookslikeIpickedthe rightonethen!” that takesplace everytwoyears.”She lookedathersign it upandsaid“Biennial:A contemporaryartexhibition what thiswordmeanson yoursmartphone?”Helooked crew filmedhersaying“Young man,canyoulookup gotten it.” who said,“Ilovethissign andamveryhappytohave with asignthatread,“Artisthedrivingforceofsociety!” wonderful encounterwithawomanwhocameup to me for oragainsttheBiennaleandcontemporaryart. I hada would liketocarry. Theyhadthechoicedemonstrating premises. then everyonehadformedrowsandwemarchedto the group. Theyaskedformoremoneythatlater. But coupons.” us inrows.Andwherearethecoupons?We normallyget People startedcomplaining,saying“Normallytheyput and Ibegantofearthatthingsweregettingoutofhand. almost trampledoveroneofmyassistants.Itwasscary in thenotebook,peoplestartedtotryandgrabit ning towardsus.We askedthemtowritetheirnames anticipated onehundred.Theysawusandstartedrun- as iftherewerehundredsofpeopleinsteadthe notebook. WhenwearrivedIalmostgotscared.Itwas agreed uponwithmynameonitandwealsobroughta demonstration, asiscustomary. We hadasmallsignas up thepeopleatMetrostationondayof process. Accompaniedbytwoofthem,wewenttopick Moscow Biennalehelpedmealotthroughoutthewhole a longlineofdemonstrations.Myassistantsfromthe either. Forthemitwas justanotherdemonstrationin ask whatexactlytheyweresupposedtobedoingthere happen. Ididn’t lietoanybody, buttheparticipantsdidn’t We didn’t saymuchin advanceaboutwhatwasgoingto would thinkitwasreal. convincing. Ifyoudidn’t knowitwasaperformance,you How wasyourdemonstrationreceived?Itseemedvery Another womangrabbed arandomsign.Mycamera I lettheparticipantsdecidewhichprotestsignthey Suddenly afewpeopletookover, organisingthe Anna Jermolaewa — Political Extras 230

xxx 231 Anna Jermolaewa, Political Extras, 28 th September 2015 Anna Jermolaewa — Political Extras 232 VJM: AJ: VJM: lic spacesinthis way?Doyoubelieve anything anymore important issues byexploitingfreedom ofspeechinpub- we forgothepossibilityof drawingmediaattentionto the morepoliticallycontroversial issuesbeforehand.Do are activistswhenthey probablymerelybriefedon telling nationalaswell foreignjournaliststhatthey protest. You startaskingyourselfifitisthesamepeople decline ofdemocraticvalues anddiscreditsanyformof taking, allin That allsoundslikeaprettysurrealandamusingunder to takeplaceandaskedmecallthemagain. rubles. Almosteveryoneaskedwhenthenextprotest was time. Theyformedrowsagainandeveryonegottheir 500 money andtheothersnone,whichhadhappened last were allconcernedthatsomepeoplewouldgettoo much table attheexhibitionspaceinVDNKh.Theparticipants backyard straightafterthedemonstration.Ihadset upa in themedia.Alsoveryimportant:peoplegetpaida all aboutultimately know howtotalkthepress,becausethat’s whatit’s Call meforthenextone;I’llhelpyouwitheverything.” right?” Inoddedandshesaid,“Iknowhowthisworks! We spentallnightpaintingtheseslogans.’DidIanswer painted theslogansourselves.Isaid‘Yes, we’reactivists. demonstration andIsaid‘No’.Healsoaskedifwe “A journalistjustaskedmeifwewerepaidtodothe selves. Awomancameuptomeafterwardsandsaid, telling thejournaliststoaddressprotestorsthem- visitors oftheBiennale.Irefrainedfromsayingmuch, We wereoutsideaswell,butprimarilyinteractedwith of theBiennale? have moreofaperformativecharacterwithinthecontext you wouldexpectdemonstrationsordidthewholething And howdidthepublicreact?Was thisalocationwhere they didwhatIwanted.Itwasactuallyquiteunsettling. marched aroundthePavilionandoutside.Forfourhours Her signread“MakeBiennial,NotWar.” We then These peoplereallydothisprofessionallyandthey — but infactitshowstheabsolute — to communicateacertainimage

Part III: Political Gestures 233 AJ: VJM: AJ: VJM: AJ: VJM: AJ: ested insocial structures.Iexplorethis inanabstractor surrounding manipulation foralongtime andIaminter I preferthesoundofthat. Ihavebeenworkingwithissues engaged artist? on society. Would you describeyourselfasasocially a formofactivismwhich aims tohaveadirecteffect but whentalkingaboutpolitical artweimagineas Interesting. Perhapsbecauseit’s been,well,notdiscredited, I don’t thinkIlikethistermverymuch. quite complex. artist I’d beinterestedtoknowifyouseeyourselfasapolitical said “We demonstrated,butwerenotpaid.”(laughs) participants werenotpaidandsowenttothepolice and out. Therehavebeenabsurdcases to paytheparticipantsinsecretsothatthey’renotfound I don’t know howwidelyknownitis.Peoplereallydotry protestors don’t alwaysparticipatevoluntarily? mostly happeninsecret,sothatitismerelysuspected that everybodyknowsaboutinRussia?Ordothesethings You talkaboutexposingmechanisms.Isthissomething right. to thesemechanisms,andinthatwayyouarecompletely bad forthem.Mytaskwastoexposeanddrawattention demonstrations asanalternativesourceofincome.Ifelt clearly couldn’t liveofftheirpensionsandreliedonthese that mostoftheprotestorswereolderretiredwomenwho Something Ialsowasn’t awareofbeforehandwasthefact a surgeofprotestwithinmyselfandfeltslightlyashamed. Yes exactly. Itsoundsamusing,butIactuallyexperienced suspicious afterthat. protest well itactuallyworks?Everydemonstrationorformof after havingexperiencedaprojectlikethisandseenhow — — it soundslikeabanalquestion,butisactually be itforandagainstacause — two yearsagosome — surely seems -

Anna Jermolaewa — Political Extras 234 VJM: AJ: VJM: situation athand. anecdotal and usesittopaintacomplex pictureofthe also anartworkthattakes somethingcommonplaceand and theconservationof Hermitage’s treasures.Thisis of theratplague.Theyare volunteersintheserviceofart ing intheHermitageMuseum toridthestoragerooms work Untitled(HermitageCats) her art.Thesamegoesfor you.In2013youproducedthe but frequentlyaddressesthecurrentsituationinPoland in their work.GoshkaMacuga,for instance, livesinLondon, issues, problemsandconflictsoftheirnativecountry in for manyyears,andyetstillcontinuetoengagewith the and raisedinonecountry, buthavelivedsomewhereelse Political PopulismattheKunsthalleWien wereborn the impactofart.Manyartistsfeaturedinexhibition art! WhatIfindparticularlyappealingisyourbelief in Now that’s anopenlydeclaredbeliefinsociallyengaged mark formenow. art thatintervenessodirectlyinsociety?Thatisabench- events inRussia.Andwhatcanbemorebeautifulthanan that theirartwasthecatalystforensuingpolitical the RussianRevolution.”Theavant-gardereallybelieved Vladimir Tatlin’s thatIliketouseis“Ourartpre-empted am anartistandhavedifferentmethods.Astatementof certain methods.Iamstillsociallyengaged,butnow party. Iwaspolitically activeandhadcertaingoals demonstrations, publishednewspapersandfoundeda practically noartists.Inthedissidentsceneweorganised movement inRussia.PriortomovingVienna Iknew Before becominganartistIwasactiveinthedissident I wantmyworkstohaveadirectimpactonsociety. work throughcertainissues? using theartsceneasaplatformtodrawattentionand events? Ordoyoutakemoreofanactivistapproach, mentary formofartthatdirectlyprocessespolitical Apart fromthat,couldyourartbedescribedasadocu- think youcanalsoexpressyourselfinveryabstractways. a narrativeway. Ifthatispoliticalartthensobeit.ButI — portraits ofcatswork-

Part III: Political Gestures 235 VJ: AJ: disposal. patterns ofthinkingandhave otherstrategiesattheir formerly wereartists.Theyhaveinternaliseddifferent It wouldn’t beabadideatohavemorepoliticiansthat hope andthedrivetocontinuedoingwhatI’mdoing. you’re morerestricted.Thisconversationgaveme a lotof court jester;theycangetawaywithalot.Aspolitician you havemoreoptions.Hesaidthattheartistislike the a logicalstep.Hesaysthatit’s notthateasy. Asanartist artist andthenapolitician.Ireallyadmirethat.It’s such think aboutthis.Ispoketosomeonewhowasfirst an That wasdifferentwhenIwasn’t anartistandIoften as me,becausewemeetatmuseumsorculturalvenues. in ordertosurvivethewinter. people talkabouthavinghadtocooktheirfavouritecat tory. Ireadmany diariesaspartofmyresearch.Many they starvedtodeath.TheSiegeispartofmyfamilyhis- different. background, whatappearstobekitschfeelscompletely Hermitage, wereeatenbytheinhabitants.Againstthis World War. Allofthecity’s cats,includingthosefromthe time beingduringtheSiegeofLeningradinSecond no catshavebeenpresentattheHermitage,first then therehaveonlybeentwoperiodsinhistorywhich scared ofmiceandaplaguehadjustbrokenout.Since beth employedtheminthe18thcenturybecauseshewas at theHermitageforover250years.TheEmpressElisa- hometown SaintPetersburg I drawtheviewerinandthentellagrippingstoryofmy aesthetically pleasingandIusethisasapointofentry. cat portraitsreallyareborderingonkitsch.Butthey Yes, Iusethissenseofsuperficialitytodothis.Theforty Here Iaddressthepeoplewhosharesameopinions My grandmotherlosttwobabiesintheSiegeof1941, — cats havebeenworking Anna Jermolaewa — Political Extras 236 Anna Jermolaewa, PoliticalExtras,28 th September2015

237 Figures of Authority Leon Kahane— the initialwork, Ishowedthistwo-minute-long video. and somerepresentatives oftheMinistry ofCulture.Instead tation ofthemeetingwhere Ipitchedtheprojecttoorchestra present duringthenegotiations, gavemeashortvideodocumen- the West. Suddenly, theprojectwascancelled. idea, proposedtoopenup theirprogrammetowardsEuropeand tions, the young director of the Izhevsk Opera, in favour of the weren’t cleartotheconductoroforchestra.Duringnegotia - of RussianRomanticmusic.However, thedialecticsofmyproject communism, Walt Disney was nevertheless a passionate admirer Fantasia (1940).ThoughaColdWarrior andfierceopponentof passagesfromWalt Disney’sarrangement oftheTchaikovsky film whole regioncelebratedhis175 was borninUdmurtiathecityofVotkinsk andthe Tchaikovsky a project in Izhevsk, the capital of the Republic of Udmurtia. homogenous nationalandracialunity. influencing anartists’oeuvreisincompatiblewiththeconceptof As impliedinPutin’s answer, the idea ofaminorityperspective homosexuality. Hisanswerwas“We lovehim,butnotforthis.” sary, Vladimir Putinwas asked abouthisopiniononTchaikovsky’s and prophecythatmustreflectontherootsofone’s identity. almost sacred,anarrationofingeniousness,ultimateperfection just asitiswithreligionandpolitics,becomesuntouchable the intentionofworkispoliticalornot.Thus,highculture, positional politicalexpressionorstatement,regardlessofwhether received. TheliberalartsinRussiaaremostlyreceivedasanop- a directimpactonthewayartisdealtwithandhowitbeing appreciated. IlookedathowRussia’s politicalenvironmenthas more liberalsocietiestheartsarewidelyacceptedand witness strongsupportforhighcultureandtradition,whereasin high culturewiththeliberalarts.Intotalitariansystemswecan temporary Art. The intention of mypiece was to confront Russian I proposedthattheUdmurtNationalOrchestrato putonalive performative contributiontothe6 About eight months ago, I took ten days of ballet lessons as my A localpolitician,whowas alsosupportiveofmyprojectand For asatelliteprojectofthebiennial,Iwasinvited torealise 175 On theoccasionofcomposerPiotrTchaikovsky’s th anniversaryonApril25,2015. 1 th MoscowBiennaleforCon- Berlin, Summer2016 th anniver -

Leon Kahane — Figures of Authority 238 bigoted, exclusionaryand uniformideaofculture.Theyhailhim culture andtradition.EU-sceptics feelconfirmedbyPutinintheir for thefarrightitisprotectionist (conservative)positionon far left,itistheanti-Western rhetoricthat makesPutinattractive, the radicalleftandright, istheirpolicytowardsRussia:Forthe so called party inGermany. Oneofthemostimportantconnections populist right-wing Deutschland) —a für da of AfD (Alternative movement inGermany. Theyarealsocentraltothepoliticalagen - Union became a majoraspect of the formation of the PEGIDA lic debate ensued.Therelations between RussiaandtheEuropean Russia, whichservesasaprojectionforallkindsof EUcritics. opments intheEuropeanUnion;specificallyrelation toPutin’s were refugeesfromRussia,aswellontherecentpolitical devel on mytimeinaJewishschoolwheremostoffellow students es growingupinanartisticfamilytheGDRanditsaftermath, projects. Whendevelopingmyworks,Ireflectedonexperienc Leon Kahane,Fantasia,2015,singlechannelvideo2mins.,still their greatpolitical victories. from leftto right andhesendsback his congratulationsforall After Russia annexed Crimea in March 2014, a polarising pub I had never been to Russia before I started to work on these Querfront movement, or Third Positionism, between - - -

Part III: Political Gestures 239 and Boris Johnson has become the new Secretary of Foreign I saidwantedmycountryback…Nowwantlifeback,” UKIP (UKIndependenceParty)stating:“Duringthereferendum quences oftheBrexit.NigelFaragehasresignedasleader tion tothe9 the Volksbühne theatreinBerlin,aswellacentralcontribu Moscow BiennaleforContemporary Art,thediscussionaround and cosmopolitanlifeconcepts. AfD’s andPEGIDA’s ideaofthepeople’s unityandrejectsliberal field of art and the rejection of so-called elites conforms with the networks. what would have happened if the Nazis had had social media multipliers of the idea was too little. We don’t want to imagine to representtheirideologyaswell,butpotential toserveas his entirepropagandamachinery. TheNazisusedsomepainters importantly Goebbels’cinema,whichunderlayandsupported like Wagner, Furtwängler, BrekerandSpeer, andperhapsmost were depictedasrepresentativesof‘entarteteKunst’people art’) canbetakenasanexample:thecounterparttoartistswho Kunst art. The Nazis’ idea of so-called entartete at thesametime.Amindscapelikethisleavesnoroomforliberal scepticism oftheWestern artworldanddespiseitsindividualism with ‘our’traditionandculture.Theyprofitfromtheself- whose antithesisisidentityestablishment. the ‘unity’againstanabstract‘them’.Anenemyisbeingcreated narcissist drive,theunderstandingofpower‘we’and was also constructed and fuelled by an elite. It is the populist and sidered elitist. The Brexit was an anti-elitist movement, but it the importanceofartandcultureinentiredebate.Artiscon- understand isourownroleinthissituation.We underestimate fucked upthecurrentsituationis.Whatwesomehowdonotyet Affairs. There is a consensus within the field of art regarding how of disinfection dispensersbyPuppies inthestaircasesof all thefun?” plasteredaroundthecity, alongsidean installation Verkultung offascismwithhisslogan“Why shouldfascistshave tion ofGDR’s socialistcultureinBerlin” andBabakRadboy’s Verkultung (mythification)oftheVolksbühne as“thelastbas As Iwritethistext,GreatBritainisembroiledintheconse Those who foresee the end time for the European Project argue Those whoforeseetheendtimeforEuropeanProjectargue In summer2016,eightmonthsaftermyparticipation inthe The widespreadbeliefinthecollectiveandmovement inthe th BerlinBiennial,provide scenes ofsuchbias.The (‘degenerate - - -

Leon Kahane — Figures of Authority 240 Leon Kahane, PasdeDeux , Moscow Biennale,26 th September 2015 Leon Kahane — Figures of Authority 242 I thinkthereareplentyofreasonstoremainoptimistic. many greatandambitiousartistsfrominsideoutsideRussia, future ofthebiennialisuncertain.Nevertheless,havingmetso clearly achildofitstime. step in the right direction. The approach of the three curators was its libertyfromtraditions.TheMoscowBiennalewasanimportant environment, it is the freedom and diversity of art and culture and efforts withaself-centredapproachtoappeasement. liberal oppositionsinautocraticsystems,butdiscredittheir is nowaytoopposethisriseinfascismifwedon’t supportthe projection ofPutin’s authoritarianism. found eachotherintheQuerfront(ThirdPositionism)througha not punk. for aprivilegedthoughtlessness. the KunstWerke, one of the Biennial’s main venues, are exemplary It isnocoincidencethattheremnantsofthoseextremeshave Now, afterJosephBacksteinannouncedhisresignation,the If anything indicates the democratic condition of a political Fascism still exists and is, in fact, celebrating a new high. There But theexclusionarysocialismofGDRandfascismare 91, pp. 39–68. 1981), October, Vol. 16,(Spring, in EuropeanPainting , in: Return ofRepresentation Regression: Notesonthe Authority, Ciphersof Buchloh, Figuresof See: BenjaminH.D. 1

Part III: Political Gestures 243 SOUTH Nástio Mosquito — Nástio Mosquito, videoscreening,MoscowBiennale 2015 Nástio Mosquito — SOUTH 244 doing it… and no easier way than desperation to bring change both adequately. We… cate usingthewordpleasure toexpressthesensationofexecuting nor Westerners orSouthernersbutwe,we thatdefecateandforni Lincoln; maybe. of timeis not thecrucialelementtoconsider… just askAbraham more skill,andtools,onemustapplytoacircumstance whenlack as muchskillonemusthavewhenunderpressure, perhapseven and itdidindeedcomeoutofmymouth…thenIrecognised that there arenolimitstothepossibleoutcomes.”Itwas onmybrain new freshperspective. With a newpointofviewourchallenges, the ThirdWorld, havetoolsofcreativesurvivalthatcanprovidea factured tangibility…THEEND.) a well-defended trick, even when away from its prodigious manu at theend… even introubledtimestherearenoguaranteesofalearnedlesson mouth in a long time… Not because it’s not funny, but because trouble forachange!”Nothingasidiotichaddepartedfrommy stopped concludingshit… one’s motivation. finding thatit’s aboutthecultivationofpowerthatislove,as it becomesenlightenmentinfavourofdailyfocus. found outthatit’s aboutunderstandingbyrevelation;whoknows consider only, withoutdenyingcontext,knowledge!”…ThenI that it’s aboutintegrity. There wasa time Isaid “fuck information, There wasatimeItargetingcoherence…thenfoundout into theforefront ofourcircumstances… truebutnotsustainable. (Only Humans could be so arrogant as to conceptualise such conceptualise to as arrogant so be could Humans (Only (I wonderwhatafflictedthatman…PaulImean…shit!!!!) There… well,Ifound1Corinthians13.1-13andjustfucking To changeisextremely demanding.There’s noeasywayof We haveanopportunity here…notEuropeansorThirdWorld, “There must be an openness of the West to understand that we, It cameoutof mymouth,“It’s funnytoseeEuropeansin There wasatimeInurturedlegitimacy…Yep! Iendedup - -

Part III: Political Gestures 245 really happening,to,onceandforall,understandthatwearenot These aretimes,forusthatbelievewepossessavisionofwhatis whether wearebabiesornot,we’vegottomoveintosolidfoods. concepts arebeingchallenged.Thisisatimewheretosurvive, can, mayandwilldo. need youto tell methatIam 100%ofwhoandwhatitisthatI utility… legitimacy andblindness… Sensing butdead.Heart-pumpingbut…yes, of ustakingapeekatit,wegottoserve.Service…whatof? of artdoersfromartists.We willnot…well,ifthere’s anychance all itsplayers.We willnotwitnessthecontemporaryseparation not witnesstheriseofanewsysteminproductionartand tion, wemustunderstandthatarethetransitionteam.We will taking thiswindowofopportunityandturningitintoacelebra- the onesthatwillachievechange…Ifwehaveanychanceofreally Where didyousaywere goingagain?!? I wanttoknowwhatyoubelieveinandXCVBNM… (Would bequitecooltoknow whereyouaregoing). I donotgiveafuckaboutwhereyouarefrom. I wouldneedmoretimewithyou,forus… So whatthafuck?!? In allsystems,arenas,incontexts,bodies… That isnotnew, thisinaglobalcontext,right? Galleries’ commercialrelevanceisdead. These aretimesofchange.whereourpre- I might need you to remind me that I can do what I do, I might I mightneedyoutoremind methatIcandowhatdo,might What isartbytheway?Functionallyspeaking?Yes, bloody The battleisbetween preservation ofidentity, credibility of Like a cockroachwithoutitshead;dead.Movingbut Art that cares not about communicating to its audience is dead. An artistwithnoeloquencetohispracticefunctionalityisdead. 246 Play Opposite Saâdane Afif— playopposite.tumblr.com

247 distribute theflyers.[MarieEgger] ting machineandsomehelpinghandsto You willjustneedaprinter, apapercut make it happen whenever and wherever. during theMoscowBiennale.You can formance ofSaâdaneAfifasithappened you canprintonflyerstore-enacttheper of theBiennale. unique editions of A5leaflets every day the officeprintedouteverysinglelineon Roi writtenbyFrenchauthorAlfredJarry, the RussiantranslationofplayUbu an officespacewithintheBiennale. Using 1 exhibition. Fromthe22 up tolastforthewholedurationof Opposite, set a performancecalledPlay Biennale’s questionHowtoGather?was Saâdane Afif’s responsetothe 6 st October, Afifrelocatedhisstudioto A websitenowhoststhetext,which nd September to the Septembertothe th Moscow Moscow - - Saâdane Afif — Play Opposite 248

Part III: Political Gestures 249 250 Performance Script Rana Hamadeh — Rana script-Canada.indd 1 PAUSE avowals. like spaceandreturntotheaudience’s earsasfragmentedphonic We killaman rehearsal. voice. Asheclearshisthroatrepeatedly, hisorationsoundslikea ear level,addresstheaudience,addingametallictexture totheorator’s his bodyreachesthecentralplatform.Thehornspeakers, hangingat [THE SLAINASTHEGRAMMAROFMURDER]–[ORATION] FIRST MOVEMENT: ACT I:[ACRIMESCENE] 1 The wordsreverberatethroughoutthe2000squaremeter factory- [ORATOR] The orator’s voiceisheardthroughaseriesofhorn speakers before SCRIPT FORASOUNDPLAY BYRANAHAMADEH Can You PullinanActorWith aFishhookor Tie DownHisTongue With aRope? 7/05/15 16:13

Part III: Political Gestures 251 Rana script-Canada.indd 2 W W you see? course, butwithrealblood appearance ofcrying–It’s likeanacting patients whocannotcrytogive the Who isbeingbled.Italsoencourages PsychologicalStateofthe Patient OperationsthatshowSensitivitytothe this An W Hereisour hired todothissamedemonstrationonaregularbasisforlongtime. speaks. Hegesticulateswithintendedcarelessness,asifhehasbeen the letterP letters paintedonit:TheW, K,M,S,OandIateachangle, hexagonal pieceofwoodhangingonthewall,withsevenwhiteLatin Peeeeeeeeeeeeeeeeeeeeeeeeeeeep the speakers. K [ORATOR] [AUDIENCE] Ma.chine! [ORATOR] A manfromtheaudienceuncoversagreen-washedirregular The readingisinterruptedbyfeedbackandinterferencenoisefrom closertothecenter. Hepointsat thelettersasorator e KillaMan e callitthebloodlettingMachine. Ingenious Pieceofengineering Is. W ith Incorporatedautomated Machine. K

Ill 2 7/05/15 16:13 Rana Hamadeh — Performance Script 252 Rana script-Canada.indd 3

one-way mirrors, checking out the empty metallic drawers and so forth. one-way mirrors,checkingout theemptymetallicdrawersandsoforth. microphones, gesticulatingin frontofwindowsassumingtheymustbe around therooms,checkingoutpossiblehiddenCCTVcameras, hidden continues hisdeliberationsonthemachine,audience wander eheheheh gatheredinthebasin, quantityyyyyyofbloodhasbeen doorsthatopeneachtimeaspeciﬁc eeeee.Itcomprisesaseriesoften theprincipalmotifforourmachine forinstanceeeeeee.Thisinfactforms Nowlookatthisfortress-likestructure neverbeinfectedbyit. beaked mask,aleathercloakandcarryingcane. of DoctorSchnabelRome[ThePlagueDoctor].Heappearswearinga board featuresareproductionofPaulusFurst’s 1656copperengraving of themachine’s vaults:Aroomfurnishedtoresembleacourt-room.The casually leadingthegroupinwayatourguidewould,throughone 3 [ORATOR] The tendoorsalsoleadtoisolatedrooms.Whiletheorator [ORATOR] [AUDIENCE] The manfromtheaudience,carriesawoodenboardandwalks

resumes singing hisscript the endofeachphrase takes adeepbreathandstartssinginghislines,addinggaspto chant collectivelyinauniformmale-dominatedvoice by death,thegovernmentsays,hewill As longasthedoctorisnottouched 7/05/15 16:13

Part III: Political Gestures 253 Rana script-Canada.indd 4 Ehehehehehehe shoot ceiling fanshitthesuspendedclothcausingafaintrhythmic noise: the ceiling,bearinghand-paintedpassagesfromscript athand.The Onthetenthday, Iplayedthename. Ontheninthday, Iplayedtheslain. Ontheeighthday, Iplayedthenoun. Ontheseventhday, Iplayedthebearer. Onthesixthday, Iplayedtheverb. Ontheﬁfthday, Iplayedtheonlooker. Onthefourthday, Iplayedthewitness. the speakers. Onthethirdday, Iplayedthesword. Onthesecondday, Iplayedthemurderer. Ontheﬁrstday, Iplayedthemurder. [ORATOR] Let’s startagain! In thecourt-room,longblackpiecesofclothhangsuccessively from Then, theaudienceshallentercourt-roomBLINDFOLDED. Peeeeeeeeeeeeeeeeeeeeeeeeeeeep Reading interruptedbyfeedbackandinterferencenoisefrom E Uh!Aa h a! shoot shoot

4 7/05/15 16:13 Rana Hamadeh — Performance Script 254 Rana script-Canada.indd 5 5 the lawwearsherlikeapretty dress. law. Theassassinisclean-shaven and shoot fromthescript.Theceilingfanshit ofclothhangsuccessivelyfromthe court-roomagainBLINDFOLDED. sound ofthefanshittingsuspendedcloth. that describestheirentranceintothecourtroom,untiltheyreach one sideandloudspeakersontheother. Theyrecitethepartofscript hospital tentsinthepathways,proppingthemagainstrowsofchairson Ohohohoh!!!! oflanguage?Ehehehehehehe… theutterance–becomingbody gainsaccesstolanguage?Beheading– abodybebeheaded? murder. Howcansomethingwithout [ORATOR] [AUDIENCE] Groups ofmen,women,andchildrensetupsmallimprovised rhythmicnoise: continues recitinghislinesinalouder, emotionallychargedvoice The thirdday is amachine. The seconddayistheassassin becoming shoot the suspendedclothcausingafaint ceiling, bearinghand-paintedpassages In thecourt-room,longblackpieces Then, theaudienceshallenter Is itnotthroughslayingthattheslain The ﬁrstdayistheinevitabilityof 7/05/15 16:13

Part III: Political Gestures 255 Rana script-Canada.indd 6 the oppressedatonce. claiming thebodiesofoppressor and The sixthdayisahandbeating itself, notongueandtoperformstagefright. legalsubjects:thedesiretospeakwith betweentheeyes. toseethecutthatnarrativeinﬂicts borrowingtheeyesofnarrativetosee– hygiene! me!Oneforimmunityandone andtheotherforhygiene.Chantwith tworotatingscribes,oneforimmunity Aningeniouspieceofengineeringwith Sound ofchestbeating [ORATOR] [ORATOR] [AUDIENCE] Abloodlettingmachine. Handsup! Handsup! singing andwailingatonce continues chants withexcitement Chak The sixthdayyyyyeheheheheheh… The ﬁfthdayisanaudienceofbattered The fourthdayisatestimonialmachine, One forimmunityandonehygiene! One forimmunityandonehygiene! Hands upintheair!up! Hands upintheair!up!

6 7/05/15 16:13 Rana Hamadeh — Performance Script 256 Rana script-Canada.indd 7 7 towardstheater. Justicebecomesthelaw. institutions.Dissentbecomesthestate. bodilyscar. eventofbearingmasqueradedwitha ceiling hospital tentsaredismantled. Thescriptremainssuspendedfromthe Sound ofchestbeating Sound ofchestbeating Sound ofchestbeating [ORATOR] and[AUDIENCE]exitthecourtroom.Thetemporary Eheheheheheuhuhuhuhuhuh! [AUDIENCE] Waaahhhhh Husseinaaahhhhh!!!! [ORATOR] [ORATOR] wails slightlylaggingfromtheorator wailing in gaspingchokingvoice. The tenthdayisHussein. Chak The ninthdayistheslaincrossing Chak the article,‘the’.Conceptsbecome The eighthdayistheinventionof Chak The seventhdayisanevent.Atacit 7/05/15 16:13

Part III: Political Gestures 257 Rana script-Canada.indd 8 appearanddisappearatwill. mischievousgrinandforitsabilityto AliceinWonderland isamysterious domain ofethics? together? Isitnottheverbinitsinﬁnitiveformthatconstitutes the altering thewoundthanlinguisticexpressionthatholds thetwo more intimatetothepossibilityofsimultaneouslywounding and ‘grin ofacat’–‘agrinwhencatscannotevengrin! a but cat, screams, therebyordering the beheadingofa cat that is not actually a already appeared:Itsgrin.Offwithhishead!TheQueenof Hearts Heart’s utterance,hadsettleduponthefactthatenoughofit ‘Off withhishead!’ ‘Off withhishead!’ beheading oftheCheshireCat. ‘Off withhishead!’ ‘Off withhishead!’ [INTERLUDE] TO TO TOUCH, TO DEFY, TO RESIST, TO RESURRECT, TO REVIVE, TO KILL, TO WOUND, TO SLAY, How cansomethingwithoutabodybebeheaded?What is The CheshireCat,foreseeingitsfatejustbeforetheQueenof Screaming withpassion,theQueenofHeartsorders cat knownforitsdistinctiveand The CheshirecatinLewisCarroll’s 8 7/05/15 16:13 Rana Hamadeh — Performance Script 258 commentary andresearch.Anannual Art in2015.[DefneAyas] the Moscow Biennale for Contemporary 8 publication wasinitiallydesignedforthe in theregion.Thescriptincludedthis that underliesthepoliticsofoppression as astructuraldramaturgicalframework Ashuraic oratoricaltraditionisaddressed regarded figure for Shiite Muslims, the the slayingofImamHussein,ahighly ritual during which mourners re-witness Lebanese tary and legal actualisation within the and takestheceremony’s political,mili affects oftheShiiteceremonyAshura, work decodesandre-ordersthetheatrical Encounters. The ongoing projectAlien under theumbrellaofRanaHamadeh’s nous anddelirioussound-playdeveloped Rope?, acacopho a TongueWith His in an Actor With a Fishhook or Tie Down This script is an extract of Its Tongue With aRope? , performance,Moscow Biennale2015 Rana Hamadeh, Can You PullanActorWith aFishhookorTie Down Rana Hamadehperformedtheworkat th Liverpool Biennial by Julie Peeters. / Syrian contextasitsfieldfor Can YouPull Can - -

Part III: Political Gestures 259 works of20 an acrobatic show to present famous ward and a group of gymnasts performs paintings byCaucasianartistsareputfor carpets, as mobile racks with socialist at VDNKhistemporarilycoveredwith Daily, thecentraldomeofPavilionNo. At somepoint,one oftheboysbegana girl) dancingatakindergarten celebration. YouTube videoofkids (twoboysanda people ofnon-Caucasianorigins. of theCaucasusandtheirreproduction by work thatlooksatcurrentcultural codes my mindandIsawthemasone critical other objectsandvideosgotmixed upin in this exhibition, FarhadFarzaliyev. The and UggBootswithaChanellogo. glitter, theLezginka,patriarchy, beards about the modern-day Caucasus: kitsch, is acondensedcollectionoftypicalclichés ments, artworksandneo-folkartefacts.It of objectsfoundbythecurators;docu- anthropological collectionthatconsists a small,stuffypavilion,Iencounteran Caucasus andcompileitsdictionary. In the contemporary visual language of the ers, musiciansandcuratorswhoresearch mal companyofwriters,artists,design about theteam:Thisisafriendlyinfor The Unbound.Ionlyknowafewthings set upbytheanonymousartcollective Biennale’s mainvenue,anexhibitionwas would turnawayandpray. and steppedontheropeovergap,she the tightropewalkertookapieceofart age suchashoot,shesaidthateverytime time. Askedwhetheritwasscarytoman- 2015, Taus showedTightrope forthefirst while walkingwithnosafetynet. ferent paintingsandusesthemtobalance from onehilltoptoanother. Hecarriesdif tural heritage:Atightropewalkermoves of art in history and exploring local cul with her interest in the unstable situation her lastvideo,Tightrope (2015),dealing next dayfromthestoragefacilitiesonsite. Makhacheva selectsthepaintingsfor every night. Every evening, artist Taus show forthe mobile museum changes I rememberonlyoneartistcredited At TheSchoolofKyivBiennalein What fascinated me the most was a At theCaucasusPavilioncloseby The performanceisacontinuationof th centuryDagestaniart.This Exoticising and Deciphering the Caucasus 1 - - - - - TAUS MAKHACHEVA: Judgingfrom MARIA KRAMAR:Taus, howdoyou Biennale: about thisexhibitionandtheMoscow community wassomethingscarytosee. ritual dance with the total approval ofthe of masculinityandreligiouseducationina in thehall.Littlekidsreproducingamodel mothers andpreschoolteachersgathered of cheers and approving laughter from the continues aLezginkadancetothesound fight with the other and then gloriously what IsawhasbeendonebyThe I metwithTaus Makhachevatotalk the othersarepeople fromoutside environment. There isoneartist,but not onlywithpeople fromanartistic Ugg Boots. whether they could buy the Chanel told methatvisitorshavebeenasking VDNKh. Atthesametime,guards sage youprojecttotheaudience of nevertheless thisimpliesacertainmes such thingsexistintheCaucasus,but It’s clearthis isafoundobjectandthat to exhibitthesetofnipplesinsequins. this placeout.Iwouldn’t allowmyself way. TheUnboundabsolutelyrock to workmoredelicately, inapoetic excluded fromthemainstream.Itry thropological projecttoshowaworld an strange a The CaucasusPavilionis everything ischanginginrealtime. process; whereeverythingisdoneand without objects;whereevery out anexhibition.Itisexhibition invest init.Itisanexhibitionwith the MoscowBiennaleistimeyou is anotherlevelofperception. you alsofindverypoetictexts.That ing of that other. In the exhibition, both anexoticisationanddecipher Russia. Thisisalsofrightening.Isee other inrelationtothecentralpartof ferent world Unbound, thisisaboutbuildingadif Biennale forContemporaryArt? the mainprogramme of theMoscow is relevanttoday?Howdoesitfitwith think theapproachofTheUnbound Generally, themainelementof I likethatTheUnbound worked — one thatwouldbethe thing is in thing isin - - - - -

Rana Hamadeh — Alien Encounters 260 TM: Idon’t know, maybeitbringsacer MK: Aswespeak, almosthalfoftheBien MK: Whydoyouthinkanonymityand/or TM: Of course, you can lookat it that MK: Don’t you think the curators use time, thetextswillshowyouthat way. Butagain,ifyouinvestsome nale isalreadyover. How doyoufeel? objective. rather ugly, but,unfortunately, quite of. Thisisamirrorofourtime. It’s time arethestufflegendsmade that thesephantomsinherenttoour especially attunedtothis.Itispossible a novel or a fiction film. Artists are don’t understandwhetherit’s newsor mixed reality. You watchthenewsand living inamoviewithcompletely the lasttwoyearsinRussiaI’vebeen tain freedom. I often think that for clare themselves? today? Whydidthecuratorsnotde fake critical statements are so popular can bechanged. if youreallytakethetime,optics it asashop,remainsshop.But with sparklinggems;Ifyouperceive clichés andstereotypes.Likeapalace there issomethingbeyondthatsetof thus notgoingbeyonditsborders? operate within the same discourse; Caucasus (beard,Lezginka,sport)and established clichésandimagesofthe lifestyle andcompletelynewdreams. sires. People have a completely new a changeofideology, achangeofde- the lasttenyearsin Caucasus are thethingswehaveachievedin National Economy, impliesthatthese the ExhibitionofAchievements of aCaucasus PavilionatVDNKh, from theCaucasus.Andcontext kitschy interiortasteofmanypeople object: awardrobethatrepresentsthe design studio, produced an amazing Omarov forexample,theownerofa the contemporary art world. Shamil — - - -

TM: Generallyspeaking,thewholecon TM: Yes, itisDagestanioil.It wasdifficult MK: Isittruethatyoubroughthimthe Taus Makhacheva Maria Kramar the oilisdifferentincolour. as acoupleofyardsfromeachother, different wells,eveniftheyareasclose about that.Fabricetoldmethatfrom ferent colouredoils.Ididnotknow are fourdifferentbottlesanddif brought ittohim.Bytheway, there it poured out. I got four bottles and of it.Ijustmadeaholeinthepipeand Moscow. Infact,Dagestanhasalot for theBiennaleteamtofindoilin oil? IsitDagestani really enjoysit. outside ofhisartisticpractice,buthe draws portraitswithoil.Itisgenerally works. Forexample,FabriceHyber are somanygoodandexperimental sations, realdialogues,becausethere ing parties. I want to have real conver not justabouthavingfunattheopen performances thatareputonhere.It’s lectures anddiscussionswatchthe the otherhand,Iwanttolisten openings ofmycolleagues,whileon here. Ontheonehand,Idon’t visitthe very sadthatIseesofewcolleagues exactly whattheyneedtodo.Itis to investtheirtimeinthis,andthat’s might have,isthatpeopledon’t want lectures. The only critical feedback I with colleaguesandlisteningtothe ent. I’mlearningalot,communicating Here, everythingisabsolutelydiffer art market and supported by galleries. process isverymuchconnectedtothe with lotsofinstructions.Thewhole ible insurance,inincrediblecratesand send inthesameworkswithincred see aviciouscircle:thesameartists visited before,becauseyouusually cally differentfrom all biennales I’ve very happythat this exhibition isradi cept ofbiennials is out-dated.Iam ------

Part III: Political Gestures 261

Otto Snoek, 22 September – 01 October 2015 262 Moscow, May 2016 Interviews withAcrobats Taus Makhacheva — decided tospeakeachacrobatabouttheirthoughts onthe ALEXEI TESLIN(18):Ifeltcomfortableinthat building TAUS MAKHACHEVA: Whenyousawandunderstoodwhat the notionofcollectivebody: performance, their thoughts on invisible labour in circus art and and invisible. tried to ask a question about daily institutional labour visible work thatartworkscanleanon.With thisworkIhavealso I haveimaginedacrobatsasasimilarmuseumnetwork,network ofartmademethinkaboutbodiesassupportstructures. seized thecanvasandtherebypreventedrobbery. empty frame,toldMariaquickly, soMariaranafterhimand rolled itup,tuckedinandrushedaway. Khamisatnoticedan where thisworkwashanging.Somerobbercutoutthepicture, museum attendant in room 6, and Maria Korkmasova in room 7 hands intheearly1990s.KhamisatAbdulaevaworkedasa position byAlexanderRodchenko,seizingitfrom arobber’s Com - and KhamisatAbdulaeva,whosavedthecanvasAbstract in particular: after P.S.Gamzatova. ButonestorythatIhaveheardstruckme sation withthestaffatDagestanMuseumofFineArtnamed Guideposts emergedfromvariousconver Ethical and Moral of tion, Strengthening of National Consciousness, and the Formation My performance On the Benefits of Pyramids in Cultural Educa The lackofsecondthoughtsandtheurgetosaveahistoric It wasthestoryofamuseumattendantsMariaKorkmasova Thinking aboutpossiblereflectionsonthebiennial, Ihave moment Ithought artwasbeingcreated. a swingwassomethingunusual forme and somethingIdidnotquite understand.Thatgirlon because Iwaswatchingsomething thatwasnewforme was happening,whatdid youthink? ——— — that wasthe - -

Part III: Political Gestures 263 TM: Howdid yourthoughtschangeabout thisprojectfrom DS: Itwastosupportthe aforementionedart,aswewerehold- TM: DMITRY SARAFANOV (22):Perhapsthishadaspecialvalue TAUS MAKHACHEVA: Whydoyouthinkallthepyramids AT: TM: AT: TM: when youstarted towhenyoufinished takingpart? an elementofthisart. ing thepicturesupthere. That meansweweresupporting In yourview, whatwasyourroleinthegroupperformance? the audience. were akindofmoundburdensthatwepresented to or significancewithintheartwork.Allthesepyramids were loadedwithpictures? go onstageforthefirsttime. teachers sayitisverygood.You worryanyway, whenyou I’m afraidthattheaudiencewon’t likeit,eventhoughthe preparing anewpiece,tragiconeforthefirsttime,and But thisprobablyhappensonlyrarely. EvennowI’m that theaudiencewon’t understandandyoumightfail. you goonstagemakeyourdebutandyou’rescared Well, preparingisn’t scary. You rehearse,andthen,when simply amatteroftrainingthebodyinsomeway? Is itscarytoprepareandperformacircusroutineoris behalf. We wantedtohelpyouanddoourbest. dressed toyou.So,infact,wewereonlyworriedonyour the good,allbad,andcomplaintswouldbead- more thanwewere,becauseeverythingwasonyou:all same. You aretheorganiser, youwereprobablyworried might notlikeyou.Butinprinciple,hereit’s almostthe There’s afearthattheaudiencemightnotunderstand,or which youaregoingtodevoteyourlife? To whatextentisthereanelementoffearincircusartto ——— Taus Makhacheva — Interviews with Acrobats 264

xxx and Ethical Guideposts,performance, 2015 Strengthening of National Consciousness,andthe Formation ofMoral Taus Makhacheva,OntheBenefitsof PyramidsinCulturalEducation, Taus Makhacheva — Interviews with Acrobats 266 DS: TM: DS: TM: DS: TM: DS: TM: DS: TM: DS: Whenwestarted,didn’t evenunderstandwhatthiswas the auditorium, wehavevariousprops weuseforeduca- If yougotothe firstfloorattheschool, wherewehave And whatdoes‘objectsin acircle’mean? circle. Alltheobjectsare in acircle. thing goesaround.Evenin ourschooleverythingisina one, hetellssomeoneelse, thenhe…Generally, every You can’t hideanythinghere.You saysomethingtosome- Well, hereeveryoneknowseverythingabouteveryone. What doesthatmean? everything goesaround.” Well, yes.Thereisalsoaruleinthecircus:“Incircus, So thereisasupportsystem,ifIunderstandcorrectly? immediately, without thinkingofanypersonalvendettas. bad happens,everyonewillcomeandhelpyouatonce, just speakbehindyourback back attimes know forsurethatthoughpeoplemighttalkbehindyour The circuscommunityisatleastafamily. ThisiswhyI this: whatdoesitmeantobeawholecollective? ties existeverywhere.Whatinterestsmespecificallyis or acircuscommunitymoregenerally?Thesecommuni- What isthecircuscommunitylike,ifwetakeyourschool thing morefestive. Well, theexhibitiontransformedfromgreyintosome- What kindofcharacterwasthat? we tookpart,andtheexhibitionmoregenerally. get itsowncharacter more carefully…Theexhibitionbegantotransformand and builtthepyramids.Inendwebegantothink at first.Inshort,weheldandthepictures,built — good orbad,nomatterwhat,theycan — both theperformanceinwhich — ultimately, ifsomething

Part III: Political Gestures 267 DENIS GONCHAROV(22): Well, theyhadtodowithastory TAUS MAKHACHEVA: Whyweretheseparticularmovescho - DS: TM: DS: TM:

our teacher. So,hisworkisalsoleftintheshade. learn allofthosethingsonourown,weweretaught by not beappreciatedbyeveryaudiencemember. We didn’t is leftintheshade.Likewise,ateacher’s workmightalso of thepartnerleftonground.Theoneatbottom partner beingthrownanddon’t usuallynoticethework the audience.That’s becausetheyadmiretheflightof a rule,thepartnerattopgetsallappreciationfrom the partneratbottomthrowshisup,andas Only ifyoutakeanarrowview…We havegroupnumbers: had anindividual qualitytoit.We didn’t showjusta of howdifficult itwasforhimtodothis. Everypicture another afterafire.Andwe triedtocapturetheessence about amanwhocarried thepicturesfromoneplaceto sen fortheperformance? labour? concept ofacircuscollectivebodyandaninvisible bolically ‘holdup’thosepaintings.Iwonder museum workers,whothroughtheirphysicaleffortssym- work wasalsopartiallyaboutthe‘invisiblelabour’of I haveaquestionabout‘invisiblelabour’,becausethis ence tobesurprised.Theyreactedwith…astonishment. art andcircusyieldeditsownfruitcausedtheaudi- pect toseethepyramids.Thatis,combinationofvisual on admiringthepicturesafterall.Theyprobablydidn’t ex- They wouldcomeandseethework,sincetheymustfocus I didn’t eventhinkthattheaudiencewouldreacttoit. from theaudience,andwhatdiditturnoutlikeinreality? At theMoscowBiennale,whatreactiondidyouexpect a circle. tion andtraining.Theyareplacedaroundthemanègein ——— — is therea

Taus Makhacheva — Interviews with Acrobats 268 DG: TM: DG: TM: DG: TM: DG: TM: DG: TM: understand what wewantedtocommunicate tothem. To doourjob tothefullinorder allowtheaudienceto What wereyouthinkingabout duringtheperformance? temporary art. Everything thatisnewor thewell-forgottenoldiscon- What iscontemporaryartforyou? grows. form, anditisonlyfromthesegroupsthatacommunity they arealltogether. No,inanycase,separategroups For example,acommunityofcircusperformersin which I havenotmetacommunitythatiswhollycommunal. differs. Thereisacircuscommunityandits‘subclasses’. ple alittlebitunsuitedtoeachother. Everycommunity good collectivesandthataremadeupof peo- good, justlikeinlifegeneral.Likewise,herethereare advantages anddisadvantages.There’s badandthere’s For meit’s life.Allcollectives,allcommunitieshave What doesthecircuscommunitymeantoyou? maple, Ithink.Theysmellednice. kinds ofwood.ThereweretwoOakand noticed thatthepicturesIheldweremadeoutofdifferent tion Ilearnttodistinguishthembytheirbacks,and I onlysawthebackofpictures,andduringexhibi- those beingheldup? Do youhaveapreferenceforparticularpictureamong carried themfromonemuseumtoanother. some kindofmuseumartefacttoo.Afterthefirehe They alsohavetheirownmeaning,becausetheywere Why doyouthinkthereweremetalconstrictionsinplace? its ownessenceandpurpose. group ofpictures,buttriedtoshowthateverypicturehas

Part III: Political Gestures 269 AT: TM: AT: TM: ARTYOM TKACHENKO(22):Theymeantbringingartinto TM: DG: TM: DG: TM:

were completely different. They had a different perception were completely different.Theyhada different perception Unexpected? Thepeoplewhocameto theexhibition,they What turnedouttobeunexpected? be putonthem.Eachpicture hasitsownplace. put thepictureson.Then itturnedoutthattheycouldn’t first, Ithoughtitwasjust aconvenientconstructionto A cageinsomeway. Aprisonmaybe.Idon’t know. At What didtheyremindyouof? Why doyouthinkthereweremetalstructuresthere? someone helped,otherscarriedthosewhowerecarrying. carry themthroughdifficulttimes.Someonecarried, across anabyssonatightrope.Andsodidwe,asit were, time; wewereshownavideoofhowmancarried them those whocarriedart,wethepicturesthrough the publicinaliteralandfigurativesense.Somecarried mance, andwhatdidtheymean,accordingtoyou? Why weretheseparticularmoveschosenfortheperfor ent planets,differentepochs.Eachhasitsownaudience. to thecircusrelaxandwonder. Theyareliketwodiffer under they cametoseeart,paintings.Becauseeveryperson completely differentthings,twogenres.Here It’s pointlesstocomparethem.Inprincipletheyaretwo which youusuallyperformatthecircus? Did theaudienceatexhibitiondifferfromonefor art. them. We arecarryingthem,savingtheseworksof That carryingthepicturesmeant…thatweweresaving And whatwasthat? stands picturesinhisorherownway. Buttheycome ——— - -

Taus Makhacheva — Interviews with Acrobats 270 DMITRY LAVROV (20): Maybe,asthe representativesofa TM: AT: TM: AT: TM: AT: TM: which youtookpart? What wasyourunderstanding oftheperformancein could alsohearoutsidesounds, asifyouwereinacave. amazing acoustics,therewassuchasilence.But you There wassuchabighall,highceilings.Thespace had place haveonyou? What impressiondidtheplacewhereBiennale took partner. When you’renotworkingalone,youhavetotrust your catch her. Anotherterrifyingthingistrustingyourpartner. It doesn’t matterifitwashermistakeornot.You haveto her. Ifyoudon’t catchher, youaretheonewhois guilty. your partner, becauseyouareresponsibleforherlife, air, sotosay, andthemostterrifyingthingisnotcatching Look, Iamasupport.don’t fly, Ithrowpeopleinthe What isfearincircusart? more thanacomplexone. It wasthesamehere.Asimplepyramidsurprisedthem However, thisissimple forhim,evenwithoutawarm-up. down anddoesjustthesplits,audiencesays“Wow”. audience doesn’t understandthat.Whenagymnastcomes cult. We areprofessionals,weknowitisdifficult,butthe performs adifficultelement,butitdoesn’t looksodiffi- It’s likeinthecircus,youknow, agymnastfliesand What surprisedthem,inyouropinion? pletely differentfromthosethatactuallydid. you thoughtwouldsurprisethemturnedouttobecom- was unexpected.Theaudiencediffered,andthethings wanted somethingspiritualbeyondunderstanding.That of things.You know, theywerecalm,peaceful, ———

Part III: Political Gestures 271 DL: TM: DL: TM: DL: TM: no childishness, theydidn’t laugh,evenifsomeone did had thelook ofreasonablegrown-up people; therewas their opinions,andexperienced something.To me,they sciously andunderstoodwhat theysaw. They shared the burdenoftheirownexperiences, theylookedcon- there andhavealaugh”. They lookedatthepiecewith thing new. Nobodyhadcomethinking“Oh, let’s go People cametheredeliberately, theycametoseesome- How didtheaudiencereactduringperformance? thing else;herethereisalwayssupport. each other, andsupporteachother. I’venever seenany- keep themalltomyself”.You share yourexperience,help body herewhosays“ThesearemytricksandIwant to but youcertainlyhelpothers,too.You won’t findany- For example,Iperforminmygenreandamgood atit, tion. Here,weallsticktogether, everythingisfriendly. each other, steponeach other’s toes, alwaysincompeti- someone supportanother, becausetheystruggleagainst stands uponlyforhimorherself.Onlyveryrarelydoes As farasIknow, inthetheatreorcinemaanindividual What isacircuscommunity? through toourtimes. those artistswhosurvivedsomethingandbroughtart form ofthepyramid,artistshowedtenacity pened. With thehelpofexactlythosemoves,with the artistsurvivedsomething,maybesomethinghap- Maybe everypictureconveyeditsownmeaning. the pyramids? Why doyouthinkthosecertainmoveswereused? then. I communicatedthedifficultyofpaintingpainted older times,don’t they?Throughthesedifficulttricks These pictureswerenotmadeallatonce,theybelongto through anewgeneration new generation,wemadedifferentformstoshow — the classicsoftypicalgenres. —

Taus Makhacheva — Interviews with Acrobats 272 and Ethical Guideposts,performance, 2015 Strengthening of National Consciousness,andthe Formation ofMoral Taus Makhacheva,OntheBenefitsof PyramidsinCulturalEducation, Taus Makhacheva — Interviews with Acrobats 274 NIKOLAI KOZIN (22):Today ofall days,whatcomestomind TM: DT: TM: DENIS TRUNOV(18):Theaudiencelikeditverymuch.Itwas TM: is thatitart. We werethe bearersofart,weputon Why doyouthinkthepictures wereinthepyramids? imagining something…creativity develops. your imagination,perceptionchanges…you begin looking attheworlddifferently. Inanycase,somehow at pictureswhereverIsawthemfromthenon.began Of course,Ibecameinterested.beganlookingcarefully taking partintheMoscowBiennale? Did yourunderstandingofmodernartchangeafter your It gottheminterested.Theyenjoyedit. Everybody waslookingwiththeirmouthopen,so tosay. there weremanymorepeople.Peoplereactedwithinterest. towards theendwhenwewereshowingourfinalpiece, noticeable thatpeoplegatheredquickly. Very quickly; performance? feelings oremotionsdidyousensetheyfeltduringthe How didtheaudiencereact,inyouropinion?What that theywerereallyinterested. know whoyouweredoingallthisworkforand the Biennaleknewwhattheywantedanditwasgreatto thing completelydifferent,butthepeoplewhocameto interested intheperformanceatall,theyneededsome- forgive me,someratherlowbrowtypes.Theyweren’t see somethingnew. Thereweresomedrunkpeopleand, there wasnobodyaroundwhowantedtoseeart,or Victory Day, the9 my ownexperience,whenIwentonstageonetime they noticedeverything.Ilikedtheirreactionalot.From something wrong,theysupportedus.Itwasobviousthat th ofMay;peoplewerecelebratingand ——— ———

Part III: Political Gestures 275 NK: TM: NK: TM: NK: TM: the world,to berecognisable,andtodo sotheartisthas on artandyou havetodosomething to bringyourart we meanthattherearecertain interests,demandsplaced porary trends.Becauseif we usetheword‘contemporary’ thing theycando means thatpeopletakeall thefeelings,wishes,andevery- art. BecauseartisWell… Okay, contemporaryart Contemporary art?Idon’t likethe termcontemporary And whatdoyouthinkcontemporaryartis? what itmightturnintoduringthespaceofaday. process ofwhathappened,howtheworkstartedand picture dayafterday;itwasalsointerestingtowatch the about her. Andthepartwhereamanwasdrawing who swungbackandforthendlessly. Ireallyworried tor ofwhat’s inpeople’s hearts.Thatgirlonatrapeze, think them toguests.It’s averygoodindicatorofhowpeople a balloon,whoblewupballoonseverydayandgave nary, unusualperformances. Forexample,thismanwith I likedtheexhibitionitself;thereweremanyextraordi- good wayorinabadway? Was there,perhaps,somethingthatsurprisedyou?Ina were alreadymakingasomethinglikesystem. a house.specificplaces.Outofsomethingunsorted,we me ofsomethingmoremanmade,maybeatown, various differentways.Andthesecondonereminded mountain, becauseeverythingwasgrowingupward,in The metalstructures?firstoneremindedmeofa What doyouthinkthemetalstructureslookedlike? somehow variedthismovement. art intothefuture all acertainform.We weretheengine,andwetookthat souls. We, asordinarypeople,movedthemandgaveit experience ofpeople;artistheirfeelings,emotions, the action,wewerethosewhoart,andart…is — outside theboxornot.Ingeneral,it’s anindica- — — their art,andadjustthisto contem- forward. With thosepyramids,we Taus Makhacheva — Interviews with Acrobats 276 TM: NK: TM: NK: TM: NK: TM:

question, but alineofthinking. This isanabstract question,Iunderstand. Notevena will bevisibleandyou havefinishedwithdignity. what youdidandhow. However, intheend,result some time,peoplewillsee theresult,withouthavingseen ticeable. Then,afterawhile, andthisonlyhappensafter we shouldalltrytodevelop andworkwithoutbeingno- has itallthetime.Yesterday Isaw apastorwhosaidthat ple atonce.Andspeakingofinvisiblelabour, everybody other person,or, ifI’mlucky, withalargenumberofpeo- moment thatisquitecollective.Iworkwithatleast one Speaking ofacollectivebody, Iworkinagenreatthe structures inthecircus? Are thereexamplesofcollectivebodiesandsupporting ment, intheairalltime. this tensionwaspresent,likeatautstringofaninstru- watching, watchingandprobablyfeelingsomething.But ence waswaitingforsomething.Theywerewatching, on you.Butthiswasatensionofexpectation,theaudi- sometimes afeelingwhenspacebeginstoweighdown There wastensionbutnotanoppressiveone.There’s Can youdescribeanyemotionorfeelingthatwasintheair? the street,Iwouldhavelikedallthisverymuch. demonstrated. IfIwereaviewerwho’djustcomeinfrom photos andtheremustbeavideowhereallofthisiswell atmosphere, theartandmeansofexpression.Isaw ing it.Whatdidpeoplelike?Theylikedeverything Responsibility mixedupwithpride.Iwasproudofdo- a nationalartaswell tain formofart,someone’s experienceandworries I feltresponsibleandproudthatwasrepresentingacer What wastheaudience’s reaction? past, isnow, andwillbe,remainsart. to caterthosedemands.Butart,justasitwasinthe — and Ihelpedtodisplayallthis. — — the and -

Part III: Political Gestures 277 RP: TM: RP: TM: RUSLAN POLYAKOV (22):Ithinkthewaywelifted TM: NK: understand and letthefeelinggothrough me,looking me, andwhen Itookholdofeverypicture, Itriedto pictures. Infact,Ijustwanted toletallthisgothrough At thefirstperformanceI hadatask this workchangebythelast performance? in thisperformance,and how didyourattitudetoward What thoughtsdidyouhave whenyoustartedtakingpart world, toshowthatitexists. And ourtaskwas,inmyopinion,torevealthisart tothe were likeacageinwhichthosepictureslocked. The metalstructuresthemselves?Iunderstoodthat they What doyouthinkthemetalstructureslookedlike? and fromdifferentangles. below. Everypicturecanbeunderstoodinyourownway usually lookdirectlyahead,butheretheylookedupfrom from belowwassomethingofvalue.It’s unusual;people pictures uponthepyramidswithpeoplelookingatthem Why doyouthinktherewerepyramidsandpaintings? will appearintheirartandcommunication. then newworkwillbegin,andsomethingcompletely realises this,willtheybeginunderstandingeachotherand people forgetaboutitallthetime.Onlywheneveryone from thebeginning,because,strangeasitmayseem, working withyou.Thisisveryimportanttounderstand life andyourbody, butalsothehealthandfateofthose must understandthatyouractionsaffectnotonly world. Incollectivework,thesamethinghappens.You to notforgetthatthey’retheonlyoneslivinginthis to oneanother, notonly fortheirownpurposes,butsoas people mustlearntounderstandeachother, andrespond every Since weareallsocialcreatures,tohaveharmonyin body’s life — no matterwhatkindofcommunity ——— — to notdropthe —

Taus Makhacheva — Interviews with Acrobats 278 TM: RP: TM: RP: TM: RP: TM: Why doyou think therewerepictures andpyramids? there willbenoperformance atall. they don’t pulltogetherorkeep in timewiththemusic, under thedome,andallhis workdependsonthem pull togetherontherope of aperformerwhoisflying ible collectivelabour. Whenallthesafetyteamstandand and pullingtogetherbehindthescenes;thisisalso invis- wires. Theaudiencedoesn’t seetheteamholdingarope have thesemechanicaldevicesandpeoplewithsafety Of coursethereis.Evenintheoldendayswhenwe didn’t instead ofseparatepeople? stance, wherethereisalreadyacollectivecircusbody your workisinvisiblebutveryimportant?Or, forin- I wonderifthereareanyexamplesinthecircuswhere is alsoveryinteresting. spot aswellthathewantstofillinwithsomething.This doesn’t alwayshavethewholeimage;hehasanempty in hiswayandaviewertheirs.Ithoughtthatanartist Well… wecanunderstanditinourownway Why doyouthinkthiswasinteresting? they reactedtothis. is not.Butyoumustalsoasktheaudienceabouthow one handthereisapicture,andontheotherhand, also interestinghowpeoplewouldreacttothat.Onthe When theytoldmethereason,Iunderstoodthatitwas half thepictureswouldnotbethere.Iwassurprisedwhy. The mostunexpectedthingwaswhenweweretoldthat What wasthemostunexpectedthingaboutwork? little sotheycouldlookandsee. appearing andpicturesbeing.AndIloweredthepicturea me. Iwantedtoseehowtheyperceivedthepyramids people intheeye.Iwantedtolettheirfeelingsgothrough ——— — an artist — if

Part III: Political Gestures 279 SS: TM: SS: TM: SS: TM: TM: SS: TM: SVYATOSLAV SAVIN (21):Maybebecause thepicturesmean to doevery Everything hastobeinterrelated;everyone be able if you’reanequilibrist,youalsohavetobeupinthe air. if you’reagymnast,youalsohavetobeablejuggle; a juggler, youhavetobeablejumplikeanacrobat; other. Everybodyhastobegoodateverything.Ifyou’re works inwhatgenre,becauseeveryonewillhelpeach together, theyhelpeach other. Itdoesn’t matterwho It’s likeabig,bigfamily, becauseeverybodysticks What iscircussocietytoyou? there. Thatwasunexpected. understanding whatwasgoingon,orhowI’dappeared up, climbeduptothetop,andtookpicturewithout forgot toclimbup;Iwasstandingthere,andboom!got iar withthis.Duringoneoftheperformances,someone go up,tostandabovetheothers,becauseIwasn’t famil- excited people.TheunexpectedthingwaswhenIhadto I don’t know, buttherewasnothingthatwouldhave And whatwasthemostunexpectedthing? pictures. world, whathefeels,andallthisisexpressedthrough It mightbesomethingconnectedwithaperson’s inner What wastheideaofthisperformance? were builtsohigh. something bigandmeaningfulthat’s whythepyramids Is thereaninvisible supportsystemor invisiblelabourin other direction. think wefilledthespace. People lookedatus,notinany We managedtodrawattentionourselves, soyes,I exhibition tookplace? Do youthinkmanaged tofillthespacewhere thing. Taus Makhacheva — Interviews with Acrobats 280

xxx and Ethical Guideposts,performance, 2015 Strengthening of National Consciousness,andthe Formation ofMoral Taus Makhacheva,OntheBenefitsof PyramidsinCulturalEducation, Taus Makhacheva — Interviews with Acrobats 282 RK: TM: RK: TM: RAFIK KARAKHANYAN (21):Iimaginedsomethingunusual; TM: SS: At first,Ithought thatallIneededto do wastoholdthe first performancetothelast? How didyourperception oftheworkchangefrom my associations. the top,andsecondlike bookshelves.Thesewere out waslikealadder, fromthewayitbuiltuptowards nothing strange.Thefirstmetalstructurewebrought To metheyseemedlikesupportsforthepaintings, Why weretherethesemetalstructures? another person. on awall,butsomeoneisholdingit,standingtop of more interestingone.Thepaintingisnotjusthanging when seenonvideo,youseeitfromadifferentangle, a others, holdingapainting is happening,youarejuststandingontheshouldersof hold thepaintingsyourself,itseemsthatnothingunusual side, onvideo,itlookedcompletelydifferent.Whenyou paintings. WhenIlookedattheperformancefrom had beenotherprojects,butthiswasthefirsttimewith we’ve neverdoneanythinglikethiswithpictures.There when youwerefirsttoldaboutit? What didyouimaginethisperformancewouldbelike are guardiansofthiswork,greatart,Iwouldsay. amount ofwork;itisabigartindeed.We preserveit,we bodies cando,whatwearecapableof.Thisisahuge this isimpossible.We showwhatwecando,our stuntmen, computergraphicsandsoon,butinthecircus Films areshot,therespecialeffects,dubbingactors, In general,thecircusartissomethingthatcan’t befaked. sphere tosupportculture? circus art,wheresomebodysacrificesalottoworkinthis ——— — what’s oddaboutthat?But

Part III: Political Gestures 283 RK: TM: RK: TM: RK: TM: RK: TM:

mind whenyou’re justgoingtorehearse; nobody’s there, About theaudience. You canbeinaparticular stateof What doyouthinkabout duringtheperformance? small person. that whenyouwalkedunderneath ityouwerenotjusta ing suchabigpainting, bigimageandameaning,so big paintingsfor‘Atlantis’.Itwasreallycooltobe hold- hands youfeelbigger. Ihugelyenjoyedbringingoutthe when you’reholdinglargeones…withtheminyour It’s onethingtoholdsmallpaintings,andquiteanother What wasthemostunexpectedthingwithinthiswork? worried aboutthepaintings,notwantingtodamage them. of balance,soastonotdropthepainting.We weremostly at thetop The supportwasthreepeople:twointhemiddleandone What aboutthetricks? That wasmostdifficult,andthentherewerethetricks. is tryingnottolaugh,everythingbecomesevenfunnier. ings andlaughed,becausewhenyoucanseethatsomeone looked atusordidsomething,wehidbehindthepaint- room, herewedidnotneedthoseemotions.Whenpeople performs, heorshesmilesandattemptstoenergisethe was themostdifficultpart,becausewhenacircusartist stay inpositionandtonotstartlaughing.Actuallythis heap, whichwasslightlytricky. Itwasalsoveryhardto we firststartingmakingthepyramids,everyonewasina In principle,therewasnothingespeciallydifficult.When What wasmostdifficult? tude thenof‘Icame,Ifinishedmywork,left’. down throughthegenerations.Inolongerhadanatti- that they’dbeenmadebysomeone,andhadpassed video, Iknewthatwasholdingnotjustpaintings,but paintings — — that’s all.Bythe end,whenIwatchedthe which was the most difficult position in terms which wasthemostdifficultpositioninterms Taus Makhacheva — Interviews with Acrobats 284 RK: TM: RK: TM: RK: TM: RK: TM: go from theaudience steps. Whenwecameout, wedidn’t knowwhattoexpect we cameoutinsilenceto thesoundofourownfoot- The firsttime,Igotlostbecause therewasnomusic What reactiondidyouexpect? these circusnumbers. don’t stop,andeverythingiscommunicatedthrough The Messenger.Everythingiswithoutabreak,you example Yes, nowthereareshowslikeCirque duSoleil,for e.g. whatyousawattheMoscowBiennale? Do youthinkthatthat’s similartocontemporaryart, mix allthis,wherethejugglerjugglesandthenjumps. down tojumpanddanceforawhile ing performedforawhileasbalancemaster, youcome stood. Now, over time,wehavebeguntomixthis.Hav- Before, thejuggleronlyjuggled,andequilibrist So contemporarycircusartisamixofgenres? our times. and thatwhichwedonow;that’s contemporaryartfor with balancingacts.Thatwhichweperfectovertime started tocombinejugglingwithacrobatics,gymnastics perfection withindifferentgenres.Forexample,we’ve tions, it’s aboutbeingcontemporarytoourtimes,andit’s Firstly, Ithinkit’s beingdifferent frompreviousgenera- What iscontemporaryart? audience ishugelyimportant. turns outtobebrightandcolourful.Contactwiththe captivate youraudiencewithenergy. Thenumber come outandpeopleapplaud,yougetexcited dreadful. Butwhenyouworkforanaudience, you don’t feelexcitedanditseemslikeyournumberis — but theneverything fellintoplace.Itwas goodtobe — there’s ashowonVernadsky Prospect — would theyclap, wouldtheystayor — we’ve startedto —

—

Part III: Political Gestures 285 RK: TM: RK: TM: the end…andtheywokeup. wakes up.Sowejumpedinsilencewiththepainting and youdosomethingstriking,theaudienceinstantly Sometimes magiciansdothat.Theaudienceswatches, Why didyouyourselvesdecidetojump? and attheend,whenwejumped. The mostdifficultone,whenweheldonebigpainting, Was thereapyramidthatwasparticularlymemorable? nothing distractedthemfromthepaintingsinthatcalm. it seemstomethatwasthesameforaudiencetoo; in silence,likereadingabookcalm.And 286 Art as aPartisan? Ilya Budraitskis — ally loftyindividualsareable topractice‘directdemocracy’) movement (at least, if they are understood as a ghetto, where mor cooperatives, self-managed enterprises, meetings of the Occupy impossible tofulfil. for notbeingcompatible with themorallawthatisconsistently ists appealtotheconscienceofsociety, tothesenseofguiltfelt freedom ofexpression,kindnesstoanimals.” ing poorpeople,peaceasopposedtowar, nonviolencegenerally, principle. Examples:racialequality, equalityofthesexes,help as itsown,andthenaccusesmainstreamsocietyof violatingthat the contrary, thelefttakesanacceptedmoralprinciple,adoptsit in conflictwiththeacceptedmorality,” Kaczynskiwrites.“On the left takes on this role. “The goals of today’s leftists are NOT of thisideal.AccordingtoTedminority of Kaczynski, themoral of thisstateitisnecessarythatsomebodyconstantly remindus which isensuredbyanunattainablemoralideal.Forthestability sum ofthesedeviationsconstitutesthenorm,endurance tions is against the rules that a person is supposedto follow. The of superiority, eventhoughweknowthateachofthesemanifesta from thatcodex.We loathe,envy, andgetpleasurefromasense ously, whilesociety’s reallifewasbasedonpermanentlydeviating isation Theodore Kaczynski order toavoidfollowingtheminpractice. are rejected by default. These are the rules one needs to know in ethics, whichareinvariablyproclaimedasanideal,and as critical,issupposedlyintendedtoconstantlyremindusabout as necessarybutabsent.Art,includingthekindthatisperceived are allvaluesthatwehavelongbeenaccustomedtothinkingof inclusive politicsrootedinthedesiretoworktogether to others,acultureofdebate,hospitality, equalopportunities,an — Moscow Biennale The questionofwhatitmeanstolivetogether by the left becomes stronger proportionally to the loss of actual also berelated toover-socialised behaviour. This kindofpreaching ones thatartoughttoreturnsociety. Tolerance andattention One mightaddthatthemajority ofescapistalternatives In his famous manifesto — that is,aimingtotakethemoralcodexofsocietyseri- — is bestunderstoodasaquestionoflostvalues 1 accusedtheAmericanleftofover-social Industrial Society and its Future, its and Society Industrial Moscow, September 2016 2 Theleftistmoral- — posed atthe6 — — — ethical ethical these may may th - - - -

Part III: Political Gestures 287 Critical art,havinglongleftthetraditionalplaceofartinsociety, only doesn’t poseathreattothisorder, butinfactgivesitstrength. on theambiguityandhypocrisyofexistingorderthingsnot political positionsandabilitytosomehowinfluencethesituation. deeper andintothe blackholeofreality. horizon mination tosoartowardthesun his breakwiththeSurrealists,havingcontrasted Icariandeter in the Words Surhomme and Surrealist, GeorgesBatailledeclared days, thisartinfactisbecominganewheartofheartless world. lofty rhetoricofguiltandresponsibilitycutofffrom reality. These tion in politics.Criticalartalonecontinuestoremindusof thisconnec zone ofinvisibility, anditsvictimsaredeprivedoftheirownvoice vidual strategiesofsurvival.Actualoppressionagaingoesintothe economy, thedestruction ofasocialsphereandthechaosindi- xenophobia aretodaysuperimposedontothederegulationof labour relations.Aggressiveconservatism,fundamentalismand completely lostanyconnectionwiththespheresofeconomicsand world inwhichthespheresofreligionandpoliticshavealmost attempts topiecebacktogetheraworldthatisdisintegrating, any kindofgeneralpoliticallogic. turning itintoasetofaestheticisedviewsnolongerconnectedto of suchmovementsfromthepast,borrowingtheiragendaand movements frombelow. Artappearsasakindofghost,shadow which no longer have a backing from mass parties or protest becomes abastionofsocio-democraticandemancipatoryvalues, individual agentwithinmarketrelations.Suchcriticalartactually feeling, whichbalancesouttheamoraleverydayexistenceofan upholds theconsensusandturnsmoralguiltintoastabilising has become a keyinstitution of moral criticism. This criticism Following Marx, Bataille repeats: decay is a laboratory of life, and Following Marx, Bataillerepeats:decay isalaboratoryoflife,and consciousness”, evoke no feelings other than disgust and revulsion. ity, achievement,andeverythingthatlooks like“theliberationof pletely. Thewaytowardtruechangewill beginonlywhenmoral illusions andhopesinstead ofallowingthemtorotawaycom desire togiverenewedstrength tooldprinciplesandenliven individual rebellionagainst reality, according toBataille,isthe In his famous1929 essay Pointing to the discord between declaration and action, a focus Pointing to the discord between declaration and action, a focus It’s as if, through radical moral statements, the critical artist — not in the form of a programme of political action, but as a not intheformofaprogrammepoliticalaction,but asa — with the strategy of the mole, which, by contrast, sinks The “Old Mole” and the Prefix Sur — a sublimeandunreachable 3 Thebasisof - - - Ilya Budraitskis — Art as a partisan? 288 the modernitythatattempts toencroachuponthem.Thebasic of thepeasantry, whichawakenatthemoment ofwarandstrike the hidden, pre-state, communitarian and anarchic beginnings him anincrediblestrength: it’s asifthe partisanabsorbedall land. Thearchaism,themilitant anti-modernityofthisfiguregave words of Schmitt, a “telluric” warrior, connected to his native towards himself. no lawswhenitcomestohisenemy, heequallyexpectsnomercy of absolutehatredandreadytotakeanrisk. Respecting circumstances. AccordingtoSchmitt,apartisanisone whoisfull fully acivilian:hecouldbeoneortheotherdepending onthe blow, andjustasquicklydisappeared.Neitherfullyasoldier, nor He appearedsuddenlyoutofthedarknesstodeliver aninstant He wasinhiselementnature,amongforestsand mountains. changed it).Hedidnotknowthebordersbetweenbattle andrest. not public the PeaceofWestphalia in1648.Thepartisanwasfundamentally highest achievementofmodernEurope,alreadypledgedduring rational. The partisan rejected the laws of war, which had been the ignorance, intheirnaturalrebellionagainsteverythingorderlyand in Russia.Thestrengthofthesepartisanswastheirdefiant from peasantpartisansinbackwardcountries unmatched byorganisedstatearmies,receiveditsheaviestblows tious Universalistprojectofpowerandorder. TheFrencharmy, audacious challenge of the Empire of Napoleon, the most ambi- appeared atthebeginningof19 mentation. Themainthreattosovereigntyofthemodernerafirst his principleofthepartisanandbroughtittoadegreeimple- cisely wherethe‘conservativerevolutionary’CarlSchmittfound consensus, withinitsescapefromtheframeworkoflaw, ispre- internal disintegration. It doesnotinvokethemoralcodewhenthisisinastateof to destroyedmorality, anddoesnotattempttosalvagelostvalues. elevated movementsofthespirit.Theproletariatdoesnotappeal movements, risingupfromthethicknessofearth,with which willcometoreplaceit.Bataillecontrastedthecrudemass the moreitaffectsmodernsociety, thecloserwecometothat, the heroesof antiquitywasthathisappearance, congruentwith novelty ofthe figureofthepartisanthat distinguishedhimfrom The first kind of partisan of the modern period was, in the Within the communist movement’s break with any kind of

— he did not wear auniform (or, rather, constantly th century in the form of a most centuryintheformofamost — first inItaly, then

Part III: Political Gestures 289 this angle,Leon Trotsky’s famous maxim of astrategy that isdefinedbyopenbattle beingimpossible.From permanent appearance, which confuses the enemy, is a constancy dynamism andhischanging ofguises.Thereversesidethisim is aconventionalgame,” wrote Schmitt. for Lenin,becauseitderives fromabsoluteenmity. Everythingelse would notsettleforanyless. “Onlyrevolutionarywaristrue He hadnothing,andyethisgoalwastotakethewhole world.He consolidation ofthebalancepowerasaresultmilitary action. constraints. The global partisan did not seek agreements and the then, forLenin,politicswaswar, devoidofanyrulesorinternal cably. IfClausewitzconsideredwartobeanextensionofpolitics, this way, theboundary betweenwarandpeacedisappearedirrevo a feelingofabsolutehostilitytowardcapitalismand thestate.In to beasecret partisan,adeptinrevolutionarypoliticsandcarrying ignoring, couldbecomea‘speakinginstrument’and could turnout harbinger of a genuine threat. The essence of the partisan changed harbinger ofagenuinethreat.Theessencethepartisanchanged nous defender of the homeland” and transparency. Thetelluricpartisan,a“defensiveautochtho- response tothehigh-ranking,sovereigntyanddesirefororder the awakeningofearth’s darkforces,becamepossibleonlyin sian Empireaboutasfarbackthebeginningof19 thinker JosephdeMaistrehadwarnedtherulingeliteofRus- academic Pugachev’,theprospectofwhichcounterrevolutionary sovereignty. Itistheterrifyingprospectofappearance‘the archy andlaw, created, accordingtoSchmitt,thegreatestthreat combined withaninsurgentwhohasbrokentheshacklesofhier is notanativepieceofland,butallhomelandstakenaswhole. proletarian hasnothingthatishis own, thushisstakeinthestruggle territory, turning theentireworldintohissphereofaction.The partisan cuthimselfoffpoliticallyfromhisconnectiontoaspecific separated fromownershipandthemeansofproduction, ward theexistingorder. Justastheproletariatbecameeconomically ated thefigureofglobalpartisan,movedbyabsolutehatredto but downward,towardmatter, toLesdamnésdelaterre. a radical philosophy, the gaze of which was directed not upward, when thehiddenanarchicforcesofearthconnectedupwith In the20 The strengthofthepartisan isinhisirregularity, inhisincredible Now anyworker, whomthemastershadbecomeaccustomedto The subversive force of the theory ofhistorical materialism, th century, MarxismanditsLeninistmanifestationcre- 4 for Schmitt, was however only a 6 — “no peace th — century. no war, - - - - 5

Ilya Budraitskis — Art as a partisan? 290 Man toPussyRiotandPyotr Pavlensky, shows howapolitical aims? Theinternational art actionismofthe2000s,fromYes opportunities, isheable to usethemfordiametricallyopposite call forpeaceandmoral renewal.Yet havingbeengiven these aspects oftheguerrillatactics ofthepast, so asto use themto of power. Thecriticalartisthasaccumulatedwithinhimselfall activist andasacourageousexplorerofthehidden mechanisms of a peacemaker today, can now act as a scholar, as a political contemporary artist,asifendowedwiththeextraordinary powers to gofarbeyondtheboundsofitsowntraditional territory. The reconciling societywithitself,whichhasgivenartthe opportunity mise? Afterall,itisthisnewroleofacarriersocial consensus, that weareusedtoperceivingasasignofconsensus andcompro game ontheopenstage’. the ludic, frivolousand compromising beginning of any ‘regular of anyuniform,isnothingbuttheseriousnessenmity, revealing his constantchangingofclothes,revealingtheabsurdconventions conclusion in the form ofapeace agreement). Hispantomime with places, whileforeveravoidingopenconflict(andthereforeits old-fashioned navalwarfarewasonceplayedout.” unexpected dimension of depth to the surface of the sea, where the partisantoasubmarine,which“insamewayaddsan of war, butalsoitsspatio-temporaldimension.Schmittcompared where oneexpectshimtheleast.Hechangesnotonlymeaning rise upagainsttheirgovernment. front line,butintherear, wheretheproletariatcouldatanymoment the soulsofpeople military clashwiththeforcesofcapitalism,butinstrugglefor tionary partisan.ThesuccessofBolshevismhadbeennotinthe Brest-Litovsk in1918,wasthecredoofSchmitteanrevolu demobilise the army” critique and propaganda thatareincomparable withthepossi activist nation states.Itisworthwaitingfortheblownotonvisible become oneofthesourcesanewpartisanship? Thatveryart politics isnotapoliticians’. blow fromthe underground, fromgrey, obscure andunexpected Is it possible to say that, in our days, it is precisely art that can The warofthepartisanisnotasolders’inasmuchashis Thus, wemayconcludethatthepartisanisonewhostrikesa The partisan’s main actions take place on the dark side — in theguiseof anartist —

of citizens,whonolongerbelongedtotheir — delivered after the failure of the Treaty of 8 — finds opportunities for public finds opportunities forpublic 7 — there, there, - - -

Part III: Political Gestures 291 strength is likewise appropriate for the leftist theorist, the strategist strength islikewiseappropriate for the leftisttheorist, the strategist ment. Taking ontheguiseofanartistforpurposesgaining partisan almost exactlycorrespondtothemainfeaturesofSchmittean bilities ofanormalpoliticalactivist.Thesenewopportunities the realpowerto“livetogether”. able touniteacommunityofartistsandviewersgivethem of a deep partisan spirit of hostility. That is the spirit that will be accommodating andmoralisingposition,throughitsassertion inward toward itself, through a thoughtful undermining of its own future. Thewaytothisrealisationforartliesincriticismdirected in whichartwill art’s situationallyconsensualcharacter, butalsoforanewform an opportunityforanewartstrategy, whichtakesadvantageof will soonerorlaterloseallitsmeaning.Partisanshipisnotonly tarisation oftheworld,roleartasapowercompromise context ofacceleratingsocialdecay, politicaldegradationandmili partisan aglobalcharacterandnecessarydepth.However, inthe strategy, asanoverall unifyinglinethatisabletogivetheartistic This mimicryisgradual,anditnotconsciouslyrecognisedasa of social movements, and for thefighter against gentrification. — irregularity, increased mobility, andpoliticalinvolve- — in principle manifesto.text.htm. longterm/unabomber/ post.com/wp-srv/national/ http://www.washington- 22 The Washington Times, Society anditsFuture,in: (Unabomber), Industrial Theodore Kaczynski of Kaczynski’s assaults. employees becamevictims scientists andcorporate 1995 morethantwenty reports. Between1978and bomber) throughmedia (university andairline as the“Unabomber” bombs. Hebecameknown famous formailingletter- scientist andanarchist, (*1942) isanAmerican Theodore JohnKaczinski 2 1 nd September1995: — be abletomaintainitselfinthe See ibid. p. 108. Ibid., Praksis, 2007,p. of thePartisan,Moscow: Carl Schmitt,TheTheory Joseph deMaistreTBC. p. 49. Praksis, of thePartisan,Moscow: Carl Schmitt,TheTheory p. 38. pp. 33–44, Minnesota Press,2008), neapolis, Universityof Writings 1927-1939(Min- Visions ofExcess.Selected ist, in:GeorgesBataille, Surhomme andSurreal- Prefix SurintheWords The “OldMole”andthe See GeorgesBataille, 3 8 7 6 5 4 81. - 292 Activist Between theDissident andthe Ines andEyal Weizman— Keynote InesandEyalWeizman, 28 Moscow, 28 th th September 2015 September2015

Part III: Political Gestures 293 INES WEIZMAN:VDNKh,thelocationofthisbiennial, ideological bloc. Forthosenotlivingin Berlin,theWall physical presence. Itexistedthroughout ourcountry, our a perilousterritorythatwas notconfinedtoitsactual to getnearit,eventouch it.TheWall, onourside,was corpse, itsterrifyinglifedraining outofit,wasitpossible than outerspace,opened up. Onlywhenlyingtherelikea over. Afewsharpwoundsofconcreteandaspace, larger actually comeup. ence herefromMoscow Israel/Palestine. Ours and Eyalaboutaconcretewallthatstillrunsthrough speak abouttheIronCurtainthatranthroughGermany ences andevents.We meetateventsaboutwalls.Iwould work together, wequiteoftenmeetatthesameconfer do enjoytravellingtogether. Althoughwedonotdirectly grateful thatyouhavealsoinvitedmyhusbandEyal; we national economy. catwalk thatwastocelebratetheachievementsof ture betweenamuseum,tradeshowandpropaganda our blochadwonthespacerace.Itwasastrangemix- the cosmosexhibition next, tryingtoseeasmanyexhibitspossible.We saw Union [VDNKh].We wanderedfromonepaviliontothe of AchievementstheNationalEconomySoviet back then.We alsospentawholedayattheExhibition plastic tennisracketforme,whichwasthelatestfashion to buysomeclassicalvinylrecordsformyparentsanda Mausoleum atthetimeforashoppingtrip.We preferred monuments andmuseumsofMoscow, butskippedthe It wasalsomyfirstflight.We visitedalltheimportant a travelagencythatwouldeventuallyorganisethetrip. documents andhadtobeluckyenoughselectedby Soviet Union.Monthsbeforewehadtoapplyfortravel was notthateasyforanEastGermantotravelthe a trulyunusualjourney:familyholidayinMoscow. It my familyalbum.In1985parentshadsavedupfor — reminded methatIhaveinfactalreadybeenonsitebefore about thirtyyearsago.To verifythisIlookedthrough For us,onegreyNovember eveningin1989,itwasall So Iamhappy, afterthirtyyears,tobebackandIam — — I amreferringalsototheaudi- — which leftnodoubtastowhy has collapsedwhilehis -

Ines and Eyal Weizman — Between the Dissident and the Activist 294 field crisscrossedwithantagonisms.” tions […]andthosesocialrelationsarearticulated ina creation, reproductionandtransformationofsocial rela- to ChantalMouffeandErnestoLaclau,is“apractice of of ourdifferentpoliticalpresents.Politics,asaccording our abilitytoactasartistsinrelationtheunfolding is attheheartofourconversationtonight.Theybear on practices. speech andaction,theyhaveverydifferentaesthetic sident areverydifferentpositions,modes of other gavebirthtotheactivist.Theactivistanddis- of wallgaverisetothefiguredissident,while Israeli side.Ourhistoricalconditionenclosedbyonetype of contestationdoesexist,atleastforIsraelisonthe or putyouinprison),Israel/Palestine,thepossibility every littlefreedomyouhadtopursueone’s work,studies, opinion andthoughtsfreelyputoneatrisk(totakeaway and aestheticpractice. This logicalsogivesbirthtodifferenttypesofpolitical built intheWest Banktopreventpeoplefromcomingin. from runningoutandawaywhilethewallinIsraelwas could saythattheSovietwallwastheretostoppeople enclosed communitiesandideasindifferentways.We between politicsandaestheticpractices.Thetwowalls torical conditionsgaverisetotwodifferentrelationships us invisible,whilehiswasnotawallatall.Thetwo- the twowallswasthatours,mineandyours,appearedto about thewallinIsrael/Palestine.Butwhatdistinguished already builtintoourpersonalities.Eyalwillspeaklater but neversawit.Theeyesofitswatch-towerswere dered concretebyaphysicalartefact.We knewitexisted was nothingbutamentalandpoliticalconditionren- a somewhat cunning mannerofdouble speechthatused the SovietBloc. Asinaestheticpractice itwasturnedinto precarious, sometimesdangerous practicesofdissidentsin stand thiscategorywhen thinking aboutthecreativeand independently andagonistically. We canperhapsunder to stateandparty, buttoagentsandgroups operating political cannotbereduced tojustinstitutionsofpolitics, This spectrumbetweenthedissidentandactivist While onourside,sayinEastGermany, utteringone’s 1 Thequestionofthe -

Part III: Political Gestures 295 INES WEIZMAN:Itisparadoxicalperhaps thatthedissident How towritethepoliticalhistoryofdissidence? INES WEIZMAN:WhileWestern humanrightsactivistscould dissident? Whatisthedifferencebetweenthem? What can we learn from the tension between the activist and the Eastern Europe wantedtochangethe meaning ofsocial- and meaning. Butitdidnot.Mostly, thedissidentsof have collapsedwiththeSoviet Blocthatgaveitatarget collapse ofcommunism,disappears. ‘Dissidentism’could pens atthemomentwhen thethingcontested,suchas itself isaseismographof transformation forwhathap- extinct, isamodeofretreatfromit. cal engagementintheworld,latterseeminglynow The formeristheprominentmodelformodesofpoliti - Western activistwhileontheotherEasterndissident. One couldsaythatontheonesideofWall wasthe ment, forcedexile,socialdiscriminationandeven death. of persecution,intimidation,physicalviolence,imprison - and communiqués tions, exhibitions,performances,gatherings,openletters largely undergroundwithsamizdatpublications,declara- the SovietBloc(hereandinEastGermany)hadtowork use themediafor“namingandshaming”,dissidentsin sanctioned order, that Itrytoidentifyandportray. state institutions,outsidepartyaffiliationsoranyofficially vision. Itisthedissident,asanagentoperatingoutside the meta-levelofframingpossibilitiesspeechand politics, a-politicalandhyper-political. Orpoliticalon was alwaysanagentwithoutaparty express itinacleararticulationofclaim.Thedissident slogans. Artistswantedtotransform,butcouldnot stained socialismanditsemptypropagandapolitical in architecture. performance artandalso,indeedquiteincrediblyso, messages, articulatedinmusic,theatre,installations, art andarchitecturetodeliverexploitwell-coded They wantedtotransform,breakawayfrom — always undertheomnipresentrisk — seemingly outside

Ines and Eyal Weizman — Between the Dissident and the Activist 296 INES WEIZMAN:Myresearchonarchitectdissidentsbegan Can therebedissidentarchitects? definitely invisible practices, to others which approached definitely invisible practices,toothers which approached trum ofpossible practicesfromthealmost unnoticeableor reform projectsasasortof spectrumofdissidents,aspec- successful reunificationproject. Ilookedatthedissident not fitintothiskindofcelebratory modeoflookingatthe movement atthattime;it wasactuallyastorythatdid this sentiment,Ifounditimportant toframethereform socialist, asortofrunning againstthesebuildings.Outof astrous culturalpolicyoftryingtoeraseanythinglooking reunification withWest Germany. We actually hadadis- transformation after1989inEastGermany, afterthe actually withaculturalcritique,duringthemoment of reform orinvasion. as amediumforarticulatingideasofresistance,critique, cultural forcesoperate political, commercial,financial,military, ideologicaland But thepositionofarchitecture money. Theseare largelyconservativeandinstitutional. conditions necessaryforconstructiontooccur:landand requires politicalpowersthatcontrolthetwomain to articulateadissidentposition.Producingbuildings political conventions. a fundamentalquestioningofprofessional,culturaland contesting thewayinwhichsubjectsaregoverned.Itis dissidence isdeterminedbyradicallyandfundamentally government ortotakeoverthepowergovern.Instead, practice thatdoesnotseektooverthrowandreplace different fromrevolutionarypolitics,aformofpolitical — do shareisanessentialengineforpolitics its statestoday. not thepredatorycronycapitalismthatweseeinsomeof expression freedom totravel,and,mostimportantly, freedomof ism orcommunism.Theywantedfreeelections,more transformed intopoliticalaction.Butdissidenceis Architecture isperhapstheleastlikelyofpractices Dissidents donotshareasingleideology. Whatthey — not areversiontocapitalism,andcertainly — also hasthepotentialtoserve — at thenexuswhere — discontent

Part III: Political Gestures 297 quences. Aiming topushthesystem showthelimitof dissent inthe drawingsinfullawareness oftheconse- legible inbuiltform.These architectsexpressedtheir operated byseekingtoproduce architecturalnarratives, architecture ofsurveillance oftheGDRregime.They design, makinganobvious, butironicconnectiontothe tree-lined pathwaysinan apparentlyidylliclandscape Third Reich,theydrewa wall-strip, watchtowersand Rather thanmakingareferencetothedictatorship ofthe headed withfourlarge-typedlinessaying:DIKTATUR . the HitlerregimeinthatpartofBerlin.Theirdrawing was Topography ofTerror. Itactuallyaddressesthememoryof series ofcompetitionsforabuildingnowknownas the competition inWest Berlinthatwasoneofthefirstina alerted theEastGermanauthorities. sions inWest BerlinwasmostlikelyaStasiinformerand the jurymembersreviewingEnzmannandEttel’s submis- drawings toWest Berlin. in theirsleeveswhilecrossingtheborderstobringthese from EasttoWest Berlin to dealwiththeconstraintsofmonks’perilousjourney of theirfoldabledrawings(letter-sized sheets)waschosen with thehelpofanetworkAustrianmonks.Theformat from West Berlinandsmuggledouttheirsubmissions in Weimar, smuggledcompetitionbriefs intotheGDR two architects,researchfellowsatthearchitectureschool having personalconsequencesforthearchitects.These dissidence anditspublicexpressionwithdramaticeffects, burst throughtheelasticboundarybetweenprivate did notremaininthedomainofprivatebutrather Enzmann andBerndEttel,whoseimaginationfan burst theboundarybetweendissidenceandactivism: will presentnowaworkbytwoarchitectsthatseemingly I found,existsasaspectrumofpossibleinterventions. appropriately framedandappreciated.Dissidentpractice, work, Irealisedthattheworkofarchitectshadnotbeen reform practicesanddailydissidenceinarchitectural more theboundarywithactivism.Lookingatcovert Enzmann andEttelhaddecidedtoparticipateina The unluckymomentoccurredwhen,in1983,oneof It isfoundintheworkoftwoarchitectsChristian — they wereabletohidethem tasy

Ines and Eyal Weizman — Between the Dissident and the Activist 298 what isstillprecious incommunismand insocialism.To the freedom to consume,butrather protectandsalvage no longeraradicalreplacement ofcommunistidealswith there isalmostaninversion inhabit, asadirectorofthe Bauhaus-InstituteinWeimar, political figures.Today, inthepolitical realitythatI to regressivepoliticsornew regimes plicity. We allknowthosedissidents thatfinallyfellprey imposition andbottom-updissent. conflict alongtheverticaldimensionbetweentop-down diagram oftheseconflictsmorecomplexthanasimple orders oftrapsandcontradictions,whichmakesthe did. Dissidentpracticeshavethereforefaceddifferent nevertheless beensupportedandabusedbythosewho change. mentalised, tomanaging,achievingrealandeffective shifts fromcomplicitytocomplexity, frombeinginstru- unknowns andon-goingdangersofthispracticeasit results. Here,distancefrompowerrepresentstheextreme into acomplexdancewithuncertainandprecarious — paradoxes and,inanalmostFaustianpact,itinvitespower limit ofthepossiblerangedissidentarchitecture. have pushedthisboundary. Initsradicalismitmarksthe spoken critique,theworkofEnzmannandEttelseemsto between subtlegesturesofrefusal,subversionandout- interplay betweentheprivateandpublicdomain, oned for20months. captured, chargedwithoffendingtheGDR,andimpris- tion ledbacktoEastBerlin.Thetwoarchitectswerethen architects werenotatfirstfound,eventuallytheinforma- their wayoutofthecountry. into theWest, theypreferredtogoprisonasastepon down oftheEasternBloc,orelse,eagertobedeported limits thatwerestillveryrealduringthegradualmelt- its intolerance,perhapsinordertoexposethesepolitical its actorsandexecutors(andsometimesexecutioners) The historyofthedissidentisalsocom - Even ifdissidentshavenotsoughtpower, theyhave We canseeherehowdissidenceembodiesinherent If wethinkofdissidentpracticesasaratherdelicate Although itwasananonymouscompetitionandthe — and dissidentpracticesare — where theybecame —

Part III: Political Gestures 299 EYAL WEIZMAN:Iwouldliketotalkaboutactivismwithina road underIsraeli sovereignty, spanningaboveavalley divided inplan, butalsoinverticalsection. Thereisa the wallcurlsaroundindividual settlements.Itisnotonly but insteadthereareislands, likesplinteredworms,where separate theIsraelicontrol areafromthePalestinian, across itsentireterrain.Also, thereisnodirectlineto in theWest Bankisnocontinuousline, but fragmented intervention initandforever complicitwithit.Thewall can neverremainoutside.Itisalwayspartofthefield, an wall, whichistherebyforeverelasticanddynamic. Israeli orPalestinianarea.Theyaffectthepathof to capturesmalloutpostsincludethemineither the when thewallstretchesincurlsliketongueof a frog Therefore, weneedtolookatcategoriesofviscosity, sections showsnotitsqualityofsoliditybutelasticity. ic. Thewall’s wiggly linearoundsettlementsandsmaller the West Bankliespreciselyinitbeingelasticanddynam- of top-downstatepower. Infact,thepowerofwallin subject: Itseemslikethemostdirect,solidembodiment transition pointbetweenwhatInesspokeaboutandmy static. ThebuildingofawallintheWest Bankmarksa force field.Within aforcefield,architectureisnolonger cal anddissident. — position corrupted somewhereintheplanningprocess. they werenevercompleted,ortheirverydesignhadbeen an understandingthattheyweredysfunctionalbecause lition ofthesedysfunctionalhousingblocks,butrather quest toinverttheobviousequation:nolongerdemo- attack. Inastrangechangeofsides,Iaminvolvedin socialism, butthathavecomeunderaharshcultural once appreciatedbytheirarchitectsandinhabitantsunder demolition ofneighbourhoodsandbuildingsthatwere a teacher, Iamtrying to combatthedestructionand tion. Inmyresearch,infilmstudiesandworkas distil andinsist.Andthishasanarchitecturalmanifesta- was referredtobythenewplannersofmycityasradi- When investigatingtheforcefieldofviscosity, activism Sometimes historyplaysbizarretricksonus,whenthis — seeking tocompletewhatsocialismhadstarted

Ines and Eyal Weizman — Between the Dissident and the Activist 300 least evilwall. Itstillrunsthroughoccupied territory, but proposal tocreate thebestofallpossible walls,orthe activists arearguingfor. Theywanttoimprove theinitial military, wantstobuildit.Theblueone is theone a redlineandblueline. a greenlinetoseparatethe territoriesandtwomore: the wallinherits:Themodel isoneofasettlement.Of who aretryingtoresistit.Thiscaseshowstheproblems by thepeoplewhoarebuildingwall,butthose first architecturalmodelofthewallwasproduced model andbringitbacktothehearing.Thatishow the stand andthereforeaskbothlegalpartiestobuild a is where,wheretheyoverlapetc.butcannotfully under means ofactivism:Thejudgesarebeingtoldwhich area architectural. Thus,architectureentersthecourtas a the wall.Themainevidencetosupporttheirclaim was trying topetition,togetherwithPalestinians,against two yearsago,inwhichagroupofIsraeliactivistswere would liketointroduceanexamplefromIsraelicourt shapes aswelltheforcefieldsthatcreatedthem. reading eachoneofthetwistsandturnsasverycomplex are interrelated.Ourwayofreadingitwouldthenimply transforming andthusvisualisinghowforceform need tolookatitinanimation,seehowisconstantly ously changing.To viewthatmapproperly, wewould consequence ofaverycomplexforcefieldthatiscontinu- the IsraeliandPalestinianareastheirdivisionisa is awayofsensingforce.Thecomplexitymap force fieldcanbetranslatedintoform.We assumeform activist, spaceisalwaysapoliticalplastic viscous. Thisiswhatwecallapoliticalplastic.Foran may lookatastill-shotofthem,butthedomainremains ture hasmappedareincontinuoustransformation.We in threedimensions. creates anEscher-like effect,inwhichthewallsoperate between bothiscompletelyfragmentedinspace,which to thencontinueunderaPalestiniantown.Thedivision under Palestiniansovereignty, proceedingintoatunnel The redlinerepresentsthe wallasthestate,Israeli In ordertounderstandtheparadoxofactivism,I The spacesthatmyresearchagencyForensicArchitec- — as mucha — not

Part III: Political Gestures 301 were aperson. MycolleaguePaoloTavares called itnon- and rocks terraces.We treatedthelandscapeas if it environment. We decidedtotakeasour clientsthetrees rights havebeenabused.) We decidedto representthe appealed tohumanrights. (Asafieldofactivism,human change thelanguageofcontestation. We nolonger and helpstopthebuilding ofthewall,wedecidedto this casestudyofthevillage ofBattirinSouthJerusalem dissident thatisoutsideofpoliticsandtheforcefield. is differenttotherealityIneswasspeakingabout, of a creating theveryrealitythattheyareopposing.And this it. Itisall-pervasive;theycanact,butbyacting are asked toparticipate environment, createsasituationwherethevictims are ask tocommentuponadesignthatisbeingputin their presence ofthewallwasjustified. something elsehappenedinthatcourtroom:Thevery is thedistancebetweenevilandlesswall.But line’s distancetotheredplannedwallis400metres,this the wall a particularpartofthewall,arguing,pushingandpulling the mainjudgesofIsraelinspectsmodelandmeasures because itisakindofreducedworldundercontrol.One You cannotnotsmilewhenyouseeanarchitecturalmodel, tectural modelintoaroomisthateverybodysmiling. the redandblueline. session whereeverybodyispushingandpullingbetween action. Thelegalsessionbecomesamaterialdesign organises thediscussionandputslegalprotocoloutof the modelisnolongeranobjectofrepresentation,butit from theirseatsandassemblearoundthemodel.Now the model,theyhavetostepdown,forfirsttimeever, However, sincethetable istoolowforthejudgestosee the modelon,sothatitmaybepresentedtojudges. An additionaltableisbroughtinfromthecafeteriatoput model) isbroughtintothecourt,carriedbytwoporters. land undertheircontrol.Thearchitecturalevidence(the along aslightlybetterroutetoleavethePalestiniansmore When ForensicArchitecturewasaskedtolookinto A simpledesignparticipation,inwhichthecommunities A fantasticthingthathappenswhenyouputanarchi- — attempting to‘redesign’it.Theproposednew — the forcefieldbringseverybodyto

Ines and Eyal Weizman — Between the Dissident and the Activist 302 scoped intothe presentationofscience incourt.With our modernity has thenotionofforensics somewhat tele- chaotic, aspaceofpolitics, lawandtheeconomy. Onlyin more thanalegaldomain. Itmeantapublicspace,sortof is theartofforum.In Rome,theforummeantmuch is aLatinterm.Fromitderives theword‘forensics’.It tion wecuratedtogether with AnselmFrankeinBerlin, and effectiveinopeningupapoliticalprocess. curators, orfilmmakerstoo.Theirtoolsareimportant ballistic expertsordoctors;theyareartists,architects and The membersofForensicArchitecturearenotscientists, commissions worldwide,bothpoliticalandjuridical. such astheUnitedNations,nationalcourtsorother truth providing evidenceforinternationalprosecutorsin courts established forthat.Itisnowaratherlargeinstitution in court.ForensicArchitectureistheinstitutionwe have mentalise architecturalhistoryandresearchasevidence Israeli andPalestinianpublic,butinfactsomehowinstru- that wouldnotonlyopenupadiscussionwiththelarger is sosolidifiedandossified,ledustodevelopapractice about failureandourpoliticalreality, somethingthat working verymuchlikepathologists.Thelevelofdespair point outtheinfluenceofarchitectureonimaginary. model ofafaithfulsettlementwasburnt.Imentionthisto tions. DuringaHamasdemonstration,anarchitectural house fromaresidentialplaceintoonewithpublicfunc- things. Forexamplethetransformationofasinglefamily transformation ofallarchitectureoccupationintoother imagine jecting imagesforarealitythatisalmostimpossibleto where wehaveourownofficeinresidencyandarepro- With agroupoffriendsIamworkingintheWest Bank remain aprotectedhole. at thislittlegarden,ontheseterraces,itwouldforever wall weretobebuiltthere,itcouldnotlegallyrealised the caserecently. Therewasnowallbuiltthere.Andifa like this,weproducedanewmodelthatactuallywonus human rightsortheofnon-human.Bythinking The termforensis,whichisalsothetitleof anexhibi- Our mostrecentprojectwasoneforwhichwewere Let usthinkofactivismbetweendystopiaandutopia. — the de-colonisation of Israel/Palestine and the de-colonisationofIsrael/Palestineand

Part III: Political Gestures 303 cloud shapeand timewouldthenallow ustolookatany architecture and indicatorsoftime.This linkbetweena very carefulkindofmeasuring andstudyofcloudsas we startedsyncingupthe timeline;thusundertakinga from itselevatedversion in thecollectedphotograph, plum visibleonthecityplan inthesatellitepictureand images collectedinspace. Concludingfromthesmoke the satelliteimagewastaken, wecouldlocatetheoriginal some ofthesmokeplumes.Andsinceweknew time image ofRafahfromthatdayonwhichwecouldsee image. Luckily, wegotholdofahighresolutionsatellite time indicators,toreaditasaphysicalclockwithin the why wewerelookingattheformofcloudfor any intact meta-data(infoonthelocation,timeetc.).This is all theimageswereceivedoutofGazacamewithout any all imagesavailableonatimeline.Theproblemwas that selected onefromlastsummer’s Gazawar, byplotting plumes, tosyncupandunderstandtheevolutionof a followed wasananalysisofthearchitecturesmoke images. Manyofthemhadsmokeplumesinthem.What through thesyncingupofhundredsand Court (ICC)inTheHague.projectwasrealised Amnesty InternationalandfortheCriminal an analysisthatForensicArchitecturehasundertakenfor it ledtotheindictmentandarrestofthatperson. sation of3Dmodelsandsubsequentanalysis.Inthiscase brings togetherspaceandimages,oftenthroughtheutili- him. Itisarathermedia-heavyinvestigationpracticethat person thatwashitandthesoldierwhoshooting an architecturaltrajectorybetweenthelocationof the kidfalling.Throughbothvideos,wecouldestablish the soldierwhowasshootingexactlyattimeyousee West Bank.Fromanothervideo,wewereabletoidentify tinian boywhowasshotwithoutanyprovocationinthe in ordertodiscoverthemomentofkillingaPales- all sortsofmedia.Forexample,wesynceduptwovideos through theinterpretationofarchitectureascapturedby we hadtorelyonthisterm. aim toopenupforensicsasapublicpotentialpractice, Another ofourrecentinvestigationswasinGaza.Itis A lotofourworkisundertakenthroughimages,

Ines and Eyal Weizman — Between the Dissident and the Activist 304 BART DEBAERE: Ihaveaquestion,towhichdonotfind of failure.Even iftheysucceedalongthe way, stillthey it seemstome thattheyarealwaysabout adirection of successdissidenceor successofactivism.Because of anactivist?Thedream thatwouldhelpdefineterms What couldbethedream ofadissidentorthedream ties alwaysfaceasystem which theyarediscontentwith. moment, butinbroaderlines dissidentandactivistactivi- and toseethereisonebomb fromthatmark?Thatisa really successful,whatistheiraim,maybetoanalyse a solution.To putitveryboldly:Whenaretheseactions of thedissidentthatwasarticulatedbyInes. de-colonising architecture,bothcomplementingthe idea proposal ofarealitythatseemsimpossibletoimagine in one hand,providingevidence,andontheother a ties forpoliticalactionthrougharchitecture.Onthe of practicesdefinestheedgesandcontourspossibili - dropped inthemiddleofaresidentialneighbourhood. this wasanAmerican-manufacturedbomb,which departing fromafreezeshot.Finally, itwasclearthat in factdeterminetheexactshapeandsize we couldmeasureit(theimageitselfandthebomb) Because wewereabletolocatetheimagesina3Dmodel, had manufacturedthatbomb,whichkilled16people. who wereworkingonthecasewantedtoknow the image:We couldseethebombdropping.Thelawyers other thingswewereabletoisolateinmicroframesfrom minutes, itwasabuildingingasform. tecture. Consideringthatthecloudonlyexistedforeight of thecloud.Thus,wearetalkingaboutdynamicarchi- by turningtoaninvestigationoftheform,morphology The entiresyncingupofthatday’s battlewasundertaken ally thousandsofimagesproducedbypeopleinGaza. images fromsocialmediathatday. Thesewereactu- identical hairlineandcouldthencreateatimelineofall had beentaken.Inanumberofimagesweidentifiedan cloud shape,wecoulddetermineatwhattimetheimage other imageofthebattlefield.Wheneverwesawsame These casestudiesunderlinehowaverycomplexset From acarefullookattheclouds,westartednoticing — simply by

Part III: Political Gestures 305 EYAL WEIZMAN:IwanttoreinforcewhatIneswassaying. INES WEIZMAN:Thedissidentwillnotchangepolitics.He that place?Then wearetalkingabout achainofmanu- what istheworld thatallowsfor bomb tofallinto exist. always consideringthatabsolute withdrawalandrefusal reaffirming somerealities thatwedonotagreewith)and assembling aroundamodel incourtwiththedangerof spectrum: enteringanegotiation inaforcefield(when exist in-betweenandneedstorethinkitspositionon that who manufactureditetc.Politicalpracticetodayneeds to tool, agrammarofpower, tofindoutwhichbombitis, consent. Whencomplicitwithit,youareengaging witha We trytosimplifyonlyasmuchwedrawlimit it isnotremainingjustanideaorideal. was presentingherehasdirectlegalconsequences; translate itintoactivism.Iguessthekindofactivism Eyal ties, thatwouldformanideaandatsomepointbeableto European university, subversiveorundergrounduniversi- ism canhappen.Thenthereisacommunity, anEastern practices tomaybebuildtogetheraquantitysothatactiv- activism atsomepoint.Adreammayempowerdissident ing for. Ifinditfascinating thatdissidencehastoshift practices, aformofcreativitytofindwhatyouarelook- describe thatspace,andforyoualsoneedaesthetic do notevenseeyourenemyclearly. Dissidenceistryingto questions inasituationthatseemshopeless think andtryingtocreateanoutside,describenew is nolongeraboutcreatingthespaceinwhichyoucan has shown,consequences.Ittakeslargerrisksand cannot directlybeimplemented.Whileactivism,asEyal it doesnothavetheproperresults,becauseaction producing aspaceinwhichyoucanthink.Inthatsense or sheisessentiallyagainstanykindofpolitics.Theyare what mightbethebestwedreamof? operational modesthatenterrelationswithaforcefield, tion derivesfromthisenergyofdiscontent,thedifferent fail, becausetheyendupwithanotherregime.Myques- The questionisnotonlywhich bombfellthatday, but — when you Ines and Eyal Weizman — Between the Dissident and the Activist 306 particular situation. that momentwhentheyarriveattheproceedingsfor a the publicdomainsoitcanembarrassthem,exactly at We prefertointervenebyreleasingtheinformationinto them becausewethinkthatitistheirinstrumentofpower. do notanymore.We willnotsubmitourevidenceto withdrawal shouldalwaysexist. field andwhethertoenteritornot.Thepossibilityof understand thewiderpoliticsofthatcourt,force Architecture wehaveacriticalunitthatwouldseekto this shouldexistinsidetheorganisation.InsideForensic terms ofaperhapsold-fashionedMaoistauto-critique, moments whereoneneedstowithdraw. Bythinkingin by acertainformofpoliticalgathering.Therearealways does nothaveapoliticalimplicationtoitandiscarried on theformitispresentedin.Itweakevidenceif analyses, shadowetc. media, mediaanalyses,architecturalcloud of adayinGaza,withthetoolscontemporaryhistory: work ofahistorian to unpackalargerpoliticalforcefield.Similarthe hole ofdetailwithoutseeingthroughaglassballinorder a wholeworld.We neverallowourselvestosinkintothe and economicreality. Aroundeverymomentthereexists factures, oftrades,legalreality, political,geopolitical For me,presentinginanIsraelicourtissomethingwe The evidenceweseektoinvestigatealwaysdepends — and assuchwewritethehistory Verso, 1985,p. cal Democratic Politics , Strategy: Towards aRadi- mony andSocialist Chantal Mouffe,Hege Ernesto Laclauand 1 153.

xxx 307 All TimesNews Alevtina Kakhidze — Alevtina Kakhidze,AllTimes News , MoscowBiennale2015

Part

Systemic Shapes Part IV: Systemic Shapes 317 Spaces Living Together inVolatile Ackbar Abbas — volatile than post-socialism. Whereas in post-socialism, one set of volatile than post-socialism. Whereasin post-socialism,onesetof but acaseofsocialismbeing morealivewhendead. not acaseofsocialismbeing morealivethandeadinChinatoday, have a vitality stronger and more volatile than ever before. It is rather thanapost-socialism? Socialisminposthumousformcan with itsafterlife,what Imightcalla‘posthumoussocialism’ are wedealingwithneither thelifenordeathofsocialism,but in everythingelsebutnamealone?Or, evenmoreparadoxically, case, asitisoftensaidintheWest, thatChinatodayiscapitalist omy? Arewedealingwithanotherphaseofsocialism? Orisitthe accurate enoughtodescribeit.Whatisthesocialist marketecon- and its‘socialistmarketeconomy’,asifonlyacatachresis were take over. One good example of a volatile space is China today chronological sequentiality, andvariouskindsofanachronisms on therandomnessofBrownianmovement,while timelosesits in avolatilespace,movementlosescleardirectionality andtakes overlap, andeachframeworkpullsinadifferentdirection. Hence, There isvolatilityonlywhenyoufindmultipleframeworksthat may beperplexinglycomplex,butcomplexityisnotvolatility. reference isnevervolatile.Actionandmovementinsuchaspace What thenisvolatility?makesspacesvolatile? the oneaspectthatpolitics,economics,andarthaveincommon. how tolivetogetherinspacesthatareincreasinglyvolatile. understand thevariousdimensionsofenigma:enigma, living togetherevenmoreenigmatic,wemightbeginbytryingto of tryingtocomeupwithquicksolutions,whichwouldonlymake composed ofitsvarioussolutions.Ifthisisthecase,theninstead say thatthequestionofhowtolivetogetherisalsoanenigma intellectual subtletyofaNietzsche.FollowingNietzsche,wemight world isanenigmacomposedofitsvarioussolutionsrequiresthe To say theworldisanenigmacommonplace.But to saythat the Spatially and temporallythen, posthumous socialismismore A spacethatcanbeconceivedofintermsasingleframe Volatility isarguablywhatmostcharacteristicofourtimes, Moscow, 26 th September 2015 I. Ackbar Abbas — Living Together in Volatile Spaces 318 made upofoverlappingframes,andeachasite volatility. and heartarenotsinglefocusedentities,buteach amultiplicity centre, inacity, inaheart,andsoon,suggeststhatcentre,city, and small,cancomeunfixed.FinallytheChinesebox effectofa loses itsmeasureandevenourperceptionofdimensions, oflarge conditions (whatPaulVirilio wouldcallconditionsofspeed)space largest landmassonearthasanislandsuggeststhat undervolatile economy andothervolatilespaces.Furthermore,to describethe the notionhassomethingincommonwithsocialist market namely theoverlapofEuropeandAsia;sostructurallyspeaking, a City, intheHeart oftheIslandEurasia. that thisMoscowBiennialhasformulated:Acting in a Centre, in of overlappingframeworksresonatessostronglywiththetheme what wemustgraspishowchangeitselfhaschanged. change inanyfamiliarsensethatweneedtounderstand.Rather, not justachangefromsocialismtoconsumerism.Infact,itis revolutionary songs.Whatwewillseetheninthecomingperiodis we stillfindasacommonoccurrencetheanachronisticsingingof outsider to be obsessed by famous brand names and consumerism, of historicalchange. For example,inaChinathat seems tothe the times;rather, itis a signofthetimes,productspeed are everywhere.Anachronismheredoesnotmeanbeingbehind overlapping timeframes,anachronismsofanewandpeculiarkind preferences are given priority. In posthumous socialism with its with theriseofaconsumersociety, whereindividualchoiceand the stateisfinalarbiterinallimportantmatters,co-exists present, butco-existswithit;andasinglepartysystem,where socialist pastisnotjustsucceededandreplacedbyacapitalist socialism weareforcedtoinhabitoverlappingtimeframes.A conditions isseentosucceedandreplaceanother, inposthumous space compression, which still has something directional about space, or even by the influential image of globalisation as time- longer becapturedbyFuturist imagesofbullettrainsdevouring or quicknessofchange theabsenceofrules.Volatility canno We cannotthinkofvolatilitythenassimply speedofmovement It isperhapsnotcoincidentalthatvolatilityasaconsequence The notionofEurasiapointstooverlappingframeworks, II.

Part IV: Systemic Shapes 319 and ofreadinginterpretation. even abrieflookatcontemporarytheoriesoffinance,cinema, of largeandsmall)somethemcanbediscernedifwetake many paradoxicalfeatures(liketheblurringoffastandslow, or sion, whichstillsuggestsmovementinonedirection.Volatility has follows alesspredictabletrajectorythantheimageofcompres it. Amoreaccurateimagemightbetime-spacedistortion,which — ing lenge ofwhatisstillperhaps themostinfluentialmodelofread- sequentiality andvarious kinds ofanachronismstakehold. Deleuze calls‘falsemovement’; whiletimelosesitschronological takes onsomeoftherandomness ofBrownianmotion,orwhat porary cinemathenishow movementlosescleardirectionalityand ‘necessarily’ abnormal,essentiallyfalse…” have achronic,non-chronologicaltimewhichproduces movement overturned bymovementswhicharecontingently abnormal; we continues: “We nolongerhaveachronologicaltimewhichcanbe exaggerated, isDeleuze’s cinematicversionofthespread.Deleuze on differentscales.”Suchdeviousmovementthen, fromzeroto movement, aBrownianmultiplicity of movement (or it)mayalsobeexaggerated,incessant,become aworld ment and chronological time: “Thus movement can tend to zero… argues thatcontemporarycinemabeginswiththecrisis ofmove- II , GillesDeleuze,theFrenchphilosopher,cinema. InCinema slowly statistical deviationsthatcoverlongertimeperiodsandmovemore movements take place, but in the time of meta-movements and operates notinactualchronologicaltimewherefranticprice the spreadasameasureofvolatilityhasslowtemporality. It duce ahugedifferencewithregardtovolatility. Notetoothat higher thevolatility, butasmalldifferenceinthespreadcanpro- ures isthemovementofmovement.Thegreaterspread, measure ofactualmovement;thatistosay, whatthespreadmeas then is a measure of deviation from a statisticalnorm,and not a mean; in other words,to what iscalledthe‘spread’.Thespread a statisticalhistoryofhowthestocktendstodeviatefromitsown actual price movement of a stock and its expected returns, but to comes from its relationtovolatility. Hisseminaltext entitled As forreadingandinterpretation, itcanbeshownthatthechal There areclearparallelstofinancetheoryincontemporary Take finance:inoptions trading, volatilityrefersnottothe — the deconstructive orallegoricalreadings ofPauldeMan — the timeofduration. 1 Whatmarkscontem - - - -

Ackbar Abbas — Living Together in Volatile Spaces 320 I thinkallofusknow, heistheonemost outspokenlycriticalof case ofAiWeiwei isasgoodany. AmongChinese artists,as me nowturntoonespecific caseofartinvolatilespaces.The man names and transforms himself.” and consequentlythemostunreliablelanguageinterms ofwhich — as wellcriticism the impossibilityofknowingwhatitmightbeupto.Literature reaction towhatlanguage does, but…anemotivereactionto de Manianpoetics.Reading,Manargues,isnot“anemotive the text, and of the unreliability of reading: this is the challenge of more rigorousthereading,awareitisofvolatility reading isnevercorrect;italwaysaccompaniedbyerror. The volatility oftheliterarytextmakesitimpossibletoread.Hence, lies compressedinsuchformulations.” intertwined thattheycannotbeseparated…Ourentireargument exist simultaneouslyonlevelsofmeaningthataresointimately the turning point at which flight changes into return or vice versa, events inagenetichistory…thethreemomentsofflight,return,and dated andrepresentedasiftheywereplacesinageography, or imaginary motionsbetweenfictionalpointscannot belocated, cific moment, totravelbackitsgenuinepointoforigin.These its centre,thenturnsaround,foldingbackuponitselfatonespe- if a literary text moves from a certain period of time away from frameworks found in volatile spaces: “Things do not happen as text has a structure verymuchlike the structure of overlapping oppositions, orexplicateatext.AsdeMandescribesit,literary of Reading’. Such readings do more than break down binary Reading canbeunderstoodalsoas‘Volatilitiesof Allegories called anentrepreneur andself-promoter, andiscertainlyone of the stateand its abuseorneglectofhuman rights.Hehasalsobeen With someoftheseparadoxical featuresofvolatilityinmind,let where rigorandunreliabilitygotogether. hermeneutics ofsuspicion.Rather, readingitselfisavolatileact, mesticating volatility, whetherwithahermeneuticsofbeliefor quotations show, readingisnotamethodofinterpretingordo- is condemned(orprivileged)tobeforeverthemost rigorous One conclusion that de Man does not shy away from is that the One conclusionthatdeMandoesnotshyawayfromisthe — the differencebetweenthembeingdelusive III. 3 Inde Man, as I thinkthese 2

Part IV: Systemic Shapes 321 apologise. Attimes,hisworkisbannedinChina;atothertimes tolerated orevendeferredto;whenthepolicearresthim,they one. Heisbyturnsbeatenuporarrestedtheauthorities,and arrest istaxevasion.Hispositionacuriousandcontradictory the richestartistsinChina. Theofficialreasonforhisrecent house that thismight betheworstthingforhim asanartist.Take away about whatis atstake,thinkheshould leavethecountry Weiwei’s admirers,especiallythoseintheWest whoknownothing is a dangerous and paradoxical game, which is why some of Ai repression itselfasource and resourceofemancipatoryart.This than enlistingtherepressive stateasacollaborator, andtomake not justfloatinthedestructive element.Thismeansnothingless to thrive on and notsimplysurvive these conditions; toswim and censorship itself,toxicforartproduction,intosomething enabling; state, sometimeswithseriousconsequences.Thegame istoturn What defineshisartisthegamethatAiWeiwei playswiththe biologists haverecentlydiscoveredthatcanthriveon toxicwaste. live underextremeconditions,likethoseorganisms thatmicro alternative is to read him as someone who has learned how to the artist as a fighter for human rights. However, a more volatile cipatory gestures,designedtosubvertstaterepression andtosee which theartisthimselfmightendorse,istoreadthem aseman- obvious wayofreadingAiWeiwei’s artworksandperformances, economy thatwecatchaglimpseofwhatisatstake.Nowthe aesthetic formwithinthevolatilespaceofsocialistmarket wei’s artworkswouldtakeusveryfar. Itisonlywhenwesituate free agencyandcontrol,atalllevelsofsocialculturallife. switching backandforth,betweenpermissivenessprohibition, era. Whatisdisturbingthisconstantoscillation, ostensibly muchmorefreedomnowthanduringthepre-Tiananmen in Chinatodayisnotsomuchalackoffreedom;therefact be bothcrudeandirrational.Whatisdisturbingconfusing hand we also see the palpable presence of censorship, which can districts, state sponsored art biennials and so on. But on the other as itencouragesprivateenterprise.We seetheproliferationofart The presentregimeinfactencouragescreativitythearts,just position ofAiWeiwei isitselfproducedbyChina’s volatilespace. with thestate:adangerouspas de deux. However, theambiguous stage. ThestateplaysagamewithAiWeiwei, andheplaysagame he isthecountry’s unofficialartisticemissaryontheinternational It seemstomethatnoformalarthistoricalanalysisofAiWei- — except except

Ackbar Abbas — Living Together in Volatile Spaces 322 Almagul Menlibayeva

Part IV: Systemic Shapes 323 come unpredictableisofcoursenotahappysituation.Yet, aswe For an artist,living under conditionsofcensorshipthat have be- sion itself. water. Adulationinhiscasecouldbelessproductivethanrepres- the destructiveelementandAiWeiwei willbelikeafishoutof flirtation that promises everything and delivers nothing, an erotics flirtation that promiseseverythingand delivers nothing,anerotics never more than a promise of happiness.” The model is that of to artandpolitics.What Stendhal originallywrotewas“loveis understood it in a completely different way in order to apply it Stendhal, whointroduced it,andtheninTheodorAdorno,who bonheur, firstin du promesse the genealogyofthisphrase, la predispositions butworks totransformit. Let me briefly trace form of happiness that does not just passively reflect asociety’s notion. Itforcesustoimagineamuchmoresubtle andcomplex In contrast, the promise of happiness is a much more volatile youth today, happiness means living in aconsumers’ paradise. but a bourgeois fantasy: witness the fact that for some Chinese This iswhytheexistentialistsusedtosaythathappiness isnothing possible ifwearewillingtoconformthevalues ofourtimes. even moreimportant:thepromiseofhappiness. together may not result in immediate happiness, what it offers is Kar-wai aresuggestingintheirdifferentwaysisthatwhile living at thesametime.Nevertheless,whatbothAiWeiwei andWong or togetherandnothappy, butneveragainhappyandtogether rest ofthefilm.Itisasiftheycouldbehappyandnottogether, at thebeginningoffilm,couplestartsbickeringfor after averygraphichomosexualscene(forHongKongcinema) servative HongKongtoBuenosAiresinsearchofhappiness.But The filmisaboutagaycouplerunningawayfromsexuallycon Hong KongdirectorWong Kar-wai’s 1997filmHappy Together. and ‘happiness’. of whatkindsrelationshipshouldexistbetween‘livingtogether’ sometimes functionasnecessarystimuli.Thisraisesthequestion this context.Infact,itcouldbearguedthattoxicconditionscan see inAiWeiwei’s example,creativeworkcanstillbedonewithin Immediate happinessintheformofsuccessandrecognition is What does it meanto be happy together? This is thesubjectof IV. - Ackbar Abbas — Living Together in Volatile Spaces 324 do notaccept, ordonotfeelwecanlive with. this Moscow biennial:howtoact,particularly inspacesthatwe Understood intheseways, failureisrelatedtoamainconcernof impossibility ofreadingresults inanexemplarykindofreading. point foradifferentkindof art;justasDeMan’s insistenceonthe expressive art;thatmakes oftheimpossibilityartstarting cannot belivedrightly)and anaestheticsthatmakesoffailure art. InAdornoandBeckett, failureisbothanethics(wronglife act, evenifonlyofitself,itsimpossibility, ofitsobligation.” act which,unabletoact,obligedhemakes, anexpressive fidelity tofailureanewoccasion,termofrelation andofthe ure’: “…Iknowthatallisrequirednowto makeofthis housekeeping, living…” Beckett goes on to outline ‘anart of fail- is hisworldandtheshrinkfromitdesertion,art craft,good only justbeginningtounderstand.Beckettwrites: whose commentsonartasfailurewrittensometime agoweare kind ofartist.ForAdornoitwassomeonelikeSamuelBeckett, Failure asminimamoraliaalsoannouncestheemergenceofanew it isonlythroughthisrenunciationthatthepromisecanbekept. writes, “Forthesakeofhappiness,happinessisrenounced”,and we seeinanotheraphorismfromAesthetic Theory, whereAdorno cess intoquestion,throughacomplexrelationshiptohappiness,as happiness. Failurehereisnottheoppositeofsuccess.Itcallssuc- pled andcreativewayinwhichartfailsthatwefindthepromiseof minima moralia,istofail.Butinacrucialtwist,ittheprinci such adesperatesituation,theonlyethicaloptionopentoart,its Moralia reads“WrongMinima lifecannotbelivedrightly.” In life undercapitalismisalreadydamaged.Akeyaphorismfrom life, becauseforAdorno,a damaged on is subtitledReflections and hasreducedart’sMoralia transformativepotential.Minima capitalism has irreparably damaged our ability to live together question ofhowtolivetogether. with itorwithdrawfromit?Inotherwords,hewasaskingthe was thefollowing:canarttransformsocietyandnotjustcollude Theory. ThequestionAdornoaskedintheseandotherworks two ofhismostimportantworks,Minima Moralia andAesthetic the promiseofhappiness”,anotionthatfiguresprominentlyin of deferralandduplicity. InAdorno,thephrasebecomes“artis “…to be an artist is to fail, as no other dare fail, that failure The negativepartofAdorno’s answeristhattheconditionof An artoffailure,itshouldbeclear, isnotthesameasfailed 4 -

Part IV: Systemic Shapes 325 conclude withabriefdiscussionofhowinthisevent,theethics, that tookplaceoverseveralmonthsattheendof2014.Iwantto I amthinkingoftheHongKongOccupyorUmbrellaMovement to thinkthroughtheproblemoflivingtogetherinvolatilespaces. This issueofhowtoactalsoliesbehindaneventthatchallengesus of attrition, believing, rightly as it turned out, that time was on its of attrition,believing, rightlyasitturned out,thattimewasonits markably restrained aboutusingforce. Itplayedawaitinggame people whocouldnotget tohospital.Thegovernmentwasre from smallretailersrelying onstreetbusinesses,andfromold into months, sentiment turned against them from taxi drivers, initial publicsupportfor the youngstudents,butasdaysturned areas ofthecitywithbarricades ortheirownbodies.Therewas was simple:todisruptthe systembydisruptingtrafficinstrategic student leadersunderstandablyrefusedthisdeception. Theirtactic as it’s black.” ‘Model T’motorcar:“You canhave anycolouryoulike,aslong the sametime;orinfamouswordsofHenryFord abouthis of seeming to allow freedom of choice while re-containing it at tality oftheoldsocialismtogetherwithneo-liberal strategy so practically pre-selecting them. We find here the control men- further stipulations,likelimitingthenumberofcandidates and one-vote. Beijingfollowedtheagreementinprinciple, butadded was that,by2017,electionswouldtaketheformofone-person agreed upon when Hong Kong was returned to China in 1997 was the method ofelecting anew chief executive. One of the things it wasaneventwhoseimplicationswearestilltryingtograsp. between whathappened,whichwasalmostpredictable,andwhy events. To discusstheUmbrellaMovement,wehavetodistinguish mined inadvance.Henceitisalwaysvolatilespacesthatproduce run ofhistoryaspattern,withanoutcomethatcannotbedeter catches usbysurprise.Itisbeyondthereachoffacts,against what distinguishes an event from an occurrence. An event always something thathappenedhadneverbefore,whichis occurrence. Aneventisnotjustsomethingthathappened,but rence. There is an important distinction between an event and an ways. The movement wasagenuineeventandnotjustanoccur aesthetics, andpoliticsoflivingtogetheroverlapinimportant Led bythecharismaticeighteen-year-old JoshuaWong, the Briefly, whathappenedwasasfollows:Theimmediateissue V. - - - Ackbar Abbas — Living Together in Volatile Spaces 326 relations of parents to children but relations between brothers and relations ofparentstochildren butrelationsbetweenbrothersand even ‘bottom-up’,butlaterally; wherewefindnotthepaternalistic means organisingamovement orasocietynotfrom‘top-down’ this contextclearlyhasapolitical meaning.Apoliticsoffriendship something thattheyhadnever experiencedbefore.Friendshipin the intense friendships they experienced in the movement was the personal risk tothemselves,manyofthemsaiditwasbecause stayed evenagainsttheadviceoftheirparentsand teachersand reasons forit.Whenparticipantswereaskedabout whythey which markeditasanevent,wasitsrelativelongevity andthe when wehavethetime,butassomethingthatourselves cando. not assomeoneelse’s workthatwestandbackfromandadmire the cityandstreets,soitsartchangedourperception ofart:art kitsch. JustastheUmbrellaMovementchangedour perceptionof streets, andthisgavethemanedginessthatseparated themfrom However, they took their energy from what was happening on the products of the moment, sometimes crude and hardly masterpieces. being produced. These artworks were on the whole ephemeral to takeplace.Theywerealsotheplaceswherewesawartworks sites were also the chosen venues for weddings and even births established oneswerepossible.Interestinglyenough,theprotest way. Theybecameawarethatspatialconfigurationsotherthanthe took part in the movement were able to see their city in a different channelled anddirectedtowardsinstrumentalgoals.Thosewho for the city’s creative energies, which had so far been too narrowly aspect oftheUmbrellaMovementwasthatitprovidedanoutlet that whatwesawreallywasanimaginationgap.Oneimportant phony disobediencemovement.Butitcouldasaccuratelybesaid many things,fromanimpracticalformofpopulistdemocracytoa but basicallynaïveandimmature.Themovementhasbeencalled of agenerationgap,anditsparticipantsaspassionate,idealistic, critics havebeentemptedtoseetheOccupyMovementinterms three setsofcomments. we sayabouttheUmbrellaMovementasanevent?Letmemake pened moreorless.Butwhatweretheimplicationsandcan but bythenthemovementwasalmostover. Thatwaswhathap- side. Inalastditcheffort,JoshuaWong wentonahungerstrike, abstract lesson indemocracy. Itwasapracticallesson thatweare sisters orbetter still,betweenfriends. The movementwasnotan Another unpredictable aspect of the Umbrella Movement, Firstly, astheleadersareyounghighschoolstudents,some

Part IV: Systemic Shapes 327 to betoounstructuredasanorganisationalmodel. ship’ didnotwork.Theideatookholdforawhile,butturnedout the lesson,itisimportanttoadmit,that‘thepoliticsoffriend- still tryingtounderstandonhowlivetogether. Andonepartof we havehope,butbecauserefusetogiveindespair. and createunderconditionsofimpossibility;toactnotbecause time, insociallifeaswellart.Thisiswhatallowsustoact ‘dare tofail’.Failure,wemightsay, isthemoralheroismofour itself islinkedtopowerandcontrol,ourmodelmayhavebe superstition. Butinthevolatilespacesoftoday, whereknowledge other words,havethemoralcouragetocombatprejudiceand the mottoofKantandEnlightenmentwas‘daretoknow’;in to it, quite different from the heroism of other times. For example, is notthesameasafailedpolitics,andthathaskindofheroism resistance, butratherfailureasresistance;apoliticsofthat resistance wasfutile,itcontinued.We findherenotafailureof one outcomewasnotpredictable.Evenasitbecameclearthat dents eversucceedingingettingtheirdemandsmet.However, from thebeginning,giventremendousoddsagainststu usual. Theseoutcomeswereofcourseentirelypredictableright cleared anditwouldseemthatHongKongisbacktobusinessas whether themovementhasfailed.Theprotestsiteshavebeen And thisleadsmenowtoafinalcomment,whichconcerns 06, p. 563. 2006), (New York: GrovePress, Vol. 4 Centenary Edition , Samuel Beckett,Grove p. 19. 1979), Yale Universitypress, of Reading(NewHaven: Paul deMan,Allegories OUP, 1971),p. and Insight(NewYork: Paul deMan,Blindness press, 1996),p. University ofMinnesota Habberjam (Minneapolis: TomlinsonBarbara and translated byHugh Gilles Deleuze,CinemaII, 3 2 1 4 163. 128. -

328 Moscow, 27 The Innovator’s Dilemma Simon Denny — from Twitter, Jimmy Wales from Wikipedia invited peoplelikeSherylSandbergfromFacebook,JackDorsey one of the more prominent ones in Europe. In 2012, they had there aremanyofthemacrosstheworldandinEurope.DLDis interested in,whattheywerelookingat… players inthatsceneattime through adocumentaryexhibitionthatframedbunchofkey I wanted to do a snapshot of the tech-industry at that point since 2005. It’s called DLD in Municheveryyear, putonbyGermanpublisherHubertBurda I madeinMunich.Itwasaboutatechconferencethathappens 5 years.ThefirstprojectthatIwanttotalkaboutisashow I’m goingtogothroughafewprojectsthatI’vemadeoverthelast Generally, theseconferencesareabigpartoftechculture,and THE DLD2012CONFERENCEREDUX(2013) th September 2015 canvas summaries ofeachtalk. with pastelgradients. Iinterpretedthesedesignsin myskeumorphic an Alpinelodge, the otherstagedepictedafuturistic Alpinescene for theirconferencetalks.Pictured hereisasetthatsuggests DLD (digitallifedesign)usedtwo elaboratestagesetsasbackdrops 1 ALL YOUNEEDISDATA — (Digital-Life-Design Conference). — investigating whattheywere — some really big,

Part IV: Systemic Shapes 329 at thisonemoment,snapshot. to reflect onthiscommunity andrepackage them through looking also realisedahugebuild-up,anamazing stage set.My aim was important thinkersandculturaliconsofthatcontext.Butthey on thereandwhichIincluded inthedocumentaryexhibition. ment intheevent.These are thekindsofthingsthatweregoing to Wikipedia whileonstage atDLD,whichwasanamazingmo- sia.) Backthenhewasriding highanddonatedonemilliondollars (Durov lateronhadtosell thatcompanytothestateandfleeRus that time thehead of VKontakte, the Russian version ofFacebook. Wales speakingtoRussianentrepreneur PavelDurov, whowasat tech industryin2012. gives youasenseoftheamazingmomentumhappening inthe The timetoget radical is now. We have nothingtolose.”This extreme. Ifwegetwhackedontheridedownwho givesashit? be wildly positive in our forecasts. Let’s take this thing to the start havingfun.Let’s getfunky. Let’s announceeverything.Let’s of theunicornsthattimewithagrowthrate 500%): “Let’s one fromthetalkbyAndrewMason(co-founderof Groupon, one also includedPolaroidsofthemainspeakers.Agreatquoteisthis often used,forexampleinthenotetakingappiOS5.Thelayout and laidovereacharelevanttextinhandwritingfontwhichis from eachspeakerthatIconsideredinterestingorrepresentative. canvases withquotesandimagesfromeachtalk.Andadded the perfectlanguagetousedescribethatcommunity. SoImade iBooks, awritingpadforyournotes…etcetera.To me,thiswas this. Meaning,youhadanimageofafulloldbookshelfforyour that moment and it really didn’t get much more skeumorphic than point oftheiPhonerevolution.iOS5wasdominantplatformat DLD 2012 conference everybody was using Apple. It was a high design at least since the 1970s, most popularly by Apple. At the to standinforfunctions.Ithasbeenusedcomputerinterface exhibition: the graphicregisterIfinallyappropriatedformydocumentary nice relationshiptowhatwasdiscussedinthetalks.Itledme co-founder of Airbnb, showed a slide that aesthetically made a presentations overthreedays,Imade ninety canvassesthatwere Another sideofthetechindustrywashighlightedwith Jimmy Brian Chesky, one oftheleaders‘sharingeconomy’and I groupedthe talksandmadeonepanel foreach.With ninety I tookthestagebackground,madeagraphicversionofthat Skeumorphism. Thismeansusingimagesofobjects 1 2 - Simon Denny — The Innovator’s Dilemma 330 pants withdocumentaryexhibition makingandmobileinterface community. sculpture like this was a good way of reflecting the values of that that momentsuchasFacebook andTwitter. Ifeltthatmakinga most important organising tools of the dominant platforms at was onlyvisiblelookingforward.Andatimeline oneofthe you lookedbacktherewasjustnocontentinview. Thecontent the front.So,ifyoumadeyourwaythroughtimeline, when facing forward and thus only visible in terms of their content from what it feels like being at a big conference. The canvases were all You wouldlookthesepeoplein the eyeandmaybegetasenseof had anA0formatsothattheportraitswerealmost human-sized. of information.It’s quiteaninterestingscalebecauseeachcanvas As you go from panel to panel there is an overwhelming amount set-up onehastopassthroughwhenliningupatabank orairport. then presentedinamaze-likewalk-throughtimeline,similartothe when liningupatabankorairport. mounted onpoles,inadeadendformationsimilartostanchionsonepassesthrough A totalofninetycanvasseswerethenpresentedinamaze-likewalk-throughtimeline, One panelrepresentedone‘panel’talkinthethreedayconference’s program. 2 in 2012. design. Allof thiscametogetherasasnapshot ofthetechindustry All YouAll Data combinedtechconferences andpartici- is Need

Part IV: Systemic Shapes 331 moved ittoLondon.) same techcommunity. Berlinisandwascomingtoreimagineitself was aninterestingmomentforamorelocalisedsubgroupofthis I realisedthisprojectinBerlinatGalerieBuchholz2014,which was worth holding the conference there. Berlin wasimportantenoughforthematthatpoint todecideit Germany. as thenextSiliconValley, Berlinwastryingto become thatfor as atechhub a regulareventcalledDisrupt,whichis,again,conference. through thatblogatsomepointinSiliconValley. Theyorganise ally knownblogintech.Alotofthedominantconversationspass Disrupt alsocametoBerlin.TechCrunch isthemostinternation the calendaroftechsceneinBerlin.Thatyear, TechCrunch conferences ofdifferentsizesandflavoursareveryimportantin roots styleevent,calledTech OpenAir(TOA) ing company from Germany. Andanother was more of a grass- in Berlin,whichwasbackedbyAxelSpringer, anotherpublish- Google’s famousearlymaxim. is partof our code”, so “don’t be evil” is the message there placed anadvertisementonthescaffoldingsaying“Doinggood young companiesstartout.Duringconstructionworks,Mozilla couple ofyearsagoandisnowaprominentincubatorwhere 3 hy! wasanotherhighly-producedconferencethathappened Factory inBerlinisalocationtherethatwasbuilt — like many cities that want to reimagine themselves like manycitiesthatwanttoreimaginethemselves DISRUPTIVE BERLIN(2014) passing throughit. the Brandenburger Tor with“Disrupt” design focuseson anexplosionbehind a backdropintheirgraphicidentity. The Disrupt toshowhowthecitywas usedas banner fromtheconferenceTechCrunch In “DisruptiveBerlin”Iincludeda 3 (Now they’ve actually — showing that — like like - Simon Denny — The Innovator’s Dilemma 332 ing exercisetoformadisruptive ecosystem. meet theidea of “disruptive innovation” and a Berlin city rebrand how they‘disrupted’thecell phonemarket. completely irrelevantafter theyreleasedtheirproduct.Thatis clear examplesofwhatdisruptionis.Thecellphone marketwas completely changesamarket.AppleandtheiPhone arekeyand business forthefirsttime.Thatisathat comesinand Dilemma Innovator’s themselves togetherandimaginethemselves.InThe novator’s Dilemma informedthewaythatthesecompaniesbring up around Berlin. Books such as Clayton Christensen’s ture andinstalledthemonconstructionfencesthat werepopping under areal,full-scaleoutdoorbanner. of scaletotheexhibitionspacewithakindminiaturecityscape Mozilla bannerImentionedbefore.Itsdimensionsgaveasense created amodfor. The casemodswereshowntogetherwiththe is probably themostwell-knownBerlin-basedcompanythatI represented intechcultureBerlinoranywhereelse.Soundcloud in theselection.Genderbalanceisnotsomethingwhichwell founded techcompanyinthetoptenthatyearwasalsoincluded investment” whichwasimportantforthem.Clue,theonlyfemale- mantic, where the mod included the letters ROI for “return on — material thatyoucangetifareinthecase-moddingcontext of cityscapeinthegallery. ThematerialIusedwasoff-the-shelf miniature possibleheadquartersspace.Iwantedtocreateasort these toptenstart-upsastheywereemerging,butalsoalittle mods wasconceivedontheonehandasamonumenttoeachof a casemod for eachofthetoptenstart-ups inBerlin. themselves throughhowtheircomputerlooks.Idecidedtomake make badass looking cases with all thebesthardwareandexpress maybe some of youare, some people inthat community like to loved whattheycallcasemods.Ifyouareacompetitivegamer, looking intocompetitivecomputergamingcultureandreally community and ofa city reimagining itself. At that time, I was

and I basically branded each case. Another company was Socio I alsoblewupbookcoversandkeydiagramsfrom tech litera- For the exhibition Disruptive Berlin, young companies in Berlin For the exhibition Disruptive Berlin, young companies in Berlin My intentionwasagaintomakeasculpturalpictureofthat the word ‘disrupt’ was used to describe a disruptive 4 Each of the Eachofthe The In The - -

Part IV: Systemic Shapes 333 4 photographic process at oncerecalling miniature acorporatetowerandthe from anoff-the-shelf, fullymirror-glass computercase, generated stock-imagesalesplatform. Thiswasadapted the companysoonpivotedtowards beingauser- sharing startup.Initiallyakindof GermanInstagram, representing EyeEm,aprominent Berlin basedimage- This isacasemod(customizedgamer computercases) Simon Denny — The Innovator’s Dilemma 334 for alongtimeandoftenworkwith Samsung equipment when I the SouthKoreangiantSamsung.IhavebeenafanofSamsung older, butveryimportant techcompanyfromadifferentcontext: slightly Management atPortikusinFrankfurtwasabout a New Kun-hee duringtheDeclaration. Iputadouble-sidedmirrorop- letto painting infront ofadeskchair supporting aprint of Lee consumer electronics. important corporatecultural monumenttoakeymomentinglobal This inaccessibility inspired me to make a publicversion of this private spacepeopleoutsidethecompanydon’t haveaccess to. enshrined asareminderofNewManagement’s principles.Itisa meeting room where the Declaration took place, which now sit his group at Samsung purchased a number of objects from the ration inaSamsungtrainingcentreYogin. LeeKun-heeand on giantslikeSony, Honda,Toyota andGeneralMotors. of finditsowninnerferociousnesstogooutintheworld andtake in aredepictedasferociousjungleanimals.Samsung hastokind bunny andtheinternationalmarketsthatitwants toparticipate There is an amazing excerpt where Samsung is depicted as a little launched there.Icommissionedsometranslationsofthesecomics. also acartoonversionofthe“NewManagement”philosophyhe Gravenbruch, neartheairportinFrankfurt. history. Thehotel whereittookplacewastheKempinskiHotel It becamememorialisedbythefirmasturningpointintheir press-event where he completely changed the company’s practices. called the“FrankfurtDeclaration”.Thiswasameetingbutalso to FrankfurtamMain,ahotelwherehestagedsomething national brand,LeeKun-heeflewallofhismajorexecutivesover practices, whichwasagreatstory: a turningpointinthecultureofSamsung,theirmanagement the companyisLeeKun-hee.IreadaBusinessWeek articleabout with hardware,e.g.makingexcellentscreens.Thechairmanof make exhibitions.Ithinktheyhavedonesomeincrediblework Management speculation. I also installed Plexiglas walls sandwich posite the table, chair and painting to complete a circle of New In 1993,thisiswhenSamsungwasn’t sucharenownedinter My versionofthememorial includedare-paintedfauxCana- Reportedly there exists a memorial to this Frankfurt Decla Some keytextsbyLeeKun-heecameoutofthiseventand NEW MANAGEMENT(2014) 5 - -

Part IV: Systemic Shapes 335 Galaxy smartphone cell phones that describe the path to Samsung’s breakthrough sung’s construction group built; and finally a kind of timeline of hotel inSeoul;amodeloftheBurjKhalifaDubai, whichSam- quarters; a collectionof items from the Samsung-owned Shilla history timelinefromtheirHistoryHallintheFrankfurt head around theexhibition. exhibition, thesewereliveandcirculatedairthrough thequotes “When agroupischanged,societycanbechanged.” Duringthe units withquotesfromNewManagementprintedon them ing themonument,includingmodifiedSamsungair-conditioning New Management monument. and global markets, and condensed them all into a copyof their Gravenbruch inFrankfurt andadreamofinternationalexpansion hee’s managementprinciple,mixeditwith theKempinskiHotel The On thewalls,IinstalledareproductionofSamsung’s corporate New Management over Europe;theKoreangiantclaimsterritory. with me”,akeyquotefromchairmanLeeKun-heesuperimposed Frankfurt Declaration.Itfeaturesthecatchphrase“Changebegins Here isaSamsungplaquedesignproducedduringtheperiodof 5 — an industryleader. exhibition took Samsung and Lee Kun- — like like Simon Denny — The Innovator’s Dilemma 336 Internet video-hostingsiteMegavideo,allofwhichoccupied,at upload, is based in New Zealand. Hefounded the platform and Kim Dotcom,thefounderofinfamousfile-sharingsiteMega much longer. Icontrastedthosemainstreammedia depictionsof for aboutayearandcontinued asanimportantpublicfigurefor Dotcom appearedinmajor NewZealandpapersalmostdaily Colin Christian,agiantTV screenandaPredatorstatue…Kim ing objectsfromhishome a curatorialprojectthathighlightedpartofhiscollection. laboration betweenKimandtheUScourts as wellartworks.Theindictmentlistcouldbeframed asacol- a number of objects; tech hardware, TVs and servers, and vehicles Kim Dotcomhadaround64bankaccountsonthe list seizedand Kim’s raid,feltsomehowcarefullyframedbytheUSauthorities. ignored?… Somanyissues,whichswelledsopoignantly around Tube world?Wherearetheserules enforcedandwherearethey is privacytoday?Whatdoescopyrightmeanina Google/You ereignty? WhatistheroleofUSininternational justice?What the KimDotcomphenomenonsomehowstoodfor:Whohassov subset ofhiscollection. of thingstostandinfortheconversationaroundKim,akind convinced thiscouldbeaninterestingpropositionforagroup on this extraordinary list. When I first saw it published I was were confiscatedfromKimintheseizure.There110items indictment thatfollowedthisraidincludedalistofthings like theatre than a response to a realdanger/threat from Kim. The the raid trophy items. The New Zealand police were heavily armed during that point.Hehadabad-assimage,livingwithlotsofcarsand in unusualcomplicityandcollaborationwiththeFBI. huge raidbyNewZealandpoliceonhishouseinJanuary2012, massive thing.KimwastargetedbytheUS,whichresultedina one point,about4percentofglobalinternettraffic.Itwasa after theraid. him withKim’s owntweeting practice,whichstarted afewmonths I wantedtomakeanexhibitionaroundissuesthatfelt Kim waslivinginthemostexpensivehousecountryat There were amazing press images of police contractors remov — which isveryunusualinthatcountry, whichfeltmore 6 THE PERSONALEFFECTSOF KIM DOTCOM(2013) — among them amazing sculptures from among themamazingsculptures from — in acertainsenseas - - -

Part IV: Systemic Shapes 337 content takesincopiedform,often invastlydifferinglevelsofquality. Objects representedmanyoftheitems aswell;hintingatthemanyversionsonline I designedaplaquelikethisoneto makethelistmoretangibleinexhibitionform. For eachitemontheindictmentlist issuedbytheUScourtstoKimDotcom, 6 Simon Denny — The Innovator’s Dilemma 338 countries todomoreself-organised versionsofconferences. they havelicensedouttheir brandtoexternalpeopleindifferent conferences; apremiumbrand activesincethe1980s.Since2009 culture. Theyareprobably themostrecognisedbrandintech- be evenmoreimportant in thedevelopmentoftechconference direct interactionwithTEDx. TEDiscomparabletoDLD,may- tenstein aspartofaGermanartprizeanddecided tofocusona Emily Segal.Iwasofferedanexhibitionatthemuseum ofLiech- VaduzTEDx isaprojectIdidwiththeartistsDanielKellerand all ofthevehicles part oftheexhibitionwasreproductionslicense plateson with. Theresultwasalongpapertrailwithnosuccess. Another bank accounts Reserve Bankinshreddedcurrency. Also,Itriedtoopenabunchof and theraid. to the echoes from the mural in theworldat sion ofthisre-painting.Kimwasactuallythenumberoneplayer painted itovermylabelstocreateanevenfurtherdramatisedver in New Zealand. They also pulled out parts of that mural and mural toaddadepththepresentationofstand-incollection sion oftheexhibitioninNewZealandIaskedthemtorepeat from agroupofpaintersinAuckland.Whenworkingonver ‘HD’ —stand-ins. miniature —less for of the cars heowned, other times it was not possible and we went chester, England,wewere abletogetfull-scaleversionsofsome bank accounts. At one of the versions of the exhibition in Col surrogate groupofthingsfromthelisttostandinforsubstantial Also, Itriedtoopenanumberofbankaccountsreallycreate copy/version/stand-in foralltheobjectsofKim’s thatwereseized. New ZealandtheyhadanA0format.Itriedtogetsomekindof Vienna, theplaqueswereshowninA6format.Whenittouredto it wouldbegreat todooneinVaduz. Liechtenstein wasavery Since there had never been a TEDx in Liechtenstein, we thought Since therehad neverbeenaTEDxinLiechtenstein, wethought I borrowed 175 million US dollars in cash from New Zealand’s Kim commissionedamuralonthewallofhisgamingroom I realisedthisexhibitioninmanyscales.AttheMuMOK — Call of Duty at that point.Therewasapoetry of Call in all of the different banks that Kim was working in allofthedifferentbanksthatKimwasworking — again, asstand-insforthevastnessoflist. TEDX VADUZ (2013)

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imagery of men with guns

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Part IV: Systemic Shapes 339 national watersorcreatingawholenewcountrythatwouldnot offshore, sea-steadingculture,ofgoingtoliveonaboatininter — moving outsideofgeneralsocietyandcreatingseparatesocieties the voices I was followingin Silicon Valley werespeakingabout interesting contexttointerfacewithatthatpointbecausemanyof of theprincipality. Liechtenstein asa tropicalisland,underliningthe‘offshore’, tax-havenreputation This stagedesign fortheTEDxVaduz talksdepictedquadruple land-locked 7 a tropicalislandtovisualiseitasanoffshorelocation. come outontop.OurstagedesignhadLiechtenstein renderedas the mostusedwordseverinTEDtalks. Think, thankandthing add ourvoiceortake.We createdaword-cloudbackdropofall but notsomanyrules,wetookthatasaspacewherecould licensed TEDx.Butactually, stagedesignisanareathathassome the licensefromTEDtodoTEDxVaduz. for akindofoutside.DanielKellerandIappliedreceived resented by TED) onto a country or principality, which is known people fromSiliconValley (ortheidealsofSiliconValley asrep- why wefounditaninterestingideatooverlaytheexitimpulsesof Liechtenstein has been described as an offshore tax haven. That is Silicon Valley, wasinvolvedinandspeakingaboutsea-steading. Peter Thiel,anotherprominentfounderandventurecapitalistfrom the wayofradicalinnovationintech. nation stateswasbeingframedashavingthepotentialtogetin participate in existing sovereign systems. Regulation from existing a kindoftechsecessionism.Thisincludedideastheoutside, There aremanyguidelinesyouhavetofollowwhendoa Larry PagespokeaboutthisveryvisiblyattheGoogleI/O. 7

Simon Denny — The Innovator’s Dilemma 340 clues tothevaluesystems oftheintelligenceagenciesmightsit. similar imagery, seemed to be one way to try and locate where tion re-rendersorasobjects, groupingthemintosub-sectionsof this materialthroughreinterpreting themeitherinhigherresolu- is agianteaglecarryingthe earthinitstalons.Monumentalising documents wastheSSO(Special SourceOperations)logo,which collaged ontoitasitslogo.Anotherstand-outicon insidethe had akindofwizardcarryingsceptrewithflipphone roughly imagery usedtodescribeMystic,aphonetapping programthat to bedoing.Oneofthehighlightsfrommany logos wasthe tivities theintelligenceorganisationsthatdeveloped themseemed surprised me.Thecartoony, jovialstylefeltatoddswiththeac- imaged. Thekindsoflogosandvisuallanguagethat wereused around thisincident. captivated bytheamazingjournalisticandartistic workdone part of the USA/NSA-led Five Eyes intelligence community. I was documents. NewZealand,whereIgrewup,wasshowntobe the and communication within the USA’s intelligence agency NSA, as experience oflookingthroughtherelicsorganisationalculture Like everybodyinJune2013Iwascompletelyflooredbythe key quotefromeachofthetalksinexhibition. granted usthelicenseforevent.Thevitrinesalsofeatureda centre. IcedontothecakewassuccessfulTEDapplicationthat memorial Plexiglasvitrineswithacommemorativecakeattheir works bytheseartists.Theshowalsoincludedatmospheric, online andtheappealofcutenessasakindtechnology. better landuseinVaduz. KatjaNovitskovaspokeaboutecology country. PeterFend designeddifferenttaxationsystemsbasedon ing gamewhereyougetthebestoutcomeforyourmoneyateach works thattakemoneyaroundtheworld.Sheinventedanamaz- Femke Herregravenspokeaboutherresearchintooffshorenet the middle of Venice, which we used as the New Zealand pavilion This project was partly realised in the I was particularly interested in how these programmes were I thenmadeanexhibitiontomarktheTEDx,includingart Emily Segalgaveatalkcalled“Thechangingfaceofluxury”. Guardian and Edward Snowden released classified internal SECRET POWER(2015) Biblioteca Marciana in Biblioteca - -

Part IV: Systemic Shapes 341 Veronese andother Renaissancemasters.Thewholebuildingwas is decoratedwithdenseimagery, beautifulpaintingsfromTitian, in PiazzaSanMarco.DesignedbyJacopoSansovino,itsinterior Library isawell-knownbuildingandoneofthemostimportant for thatyear, alongwiththeMarcoPoloAirport.TheMarciana images ofexhibition designshehaddone fortheNSA’s ownpublic his online profiles; for example, Ihad some miniatures made from had redrawnandblownup inscale. that Darchicourthadmade ofhimself,whichmeandmyteam author oftheSnowdenmaterial. Iforegroundeda self-portrait room wasdedicatedtoproposing anartistfigureasapossible which Ithoughtwereparticularly poignant.Theotherhalfofthe dedicated tospotlightingtheexcerptsfromSnowden slides the leakedNSAslides. and examples of his work that he was likely involved in designing the Agencyandintelcommunity.” ItwasclearfromhisCV “complex seniorlevelvisualcommunicationinitiatives throughout tations, andpromotionalpieces.”Hewasalsoresponsible for maps, ads, exhibit displays, newsletters, banners, signs, presen mission, visionandprojectsthroughbrochures,flyers, posters, stated: “Myworkwasinstrumentalincommunicating theNSA programs theNSAusesweredevelopedoraccelerated.Hisprofile a key period Intelligence atNSAfor tenyears from 2002to2012. Thiswas LinkedIn profile.DarchicourtwasaCreativeDirectorofDefense As IwasdoingthatresearchcameacrossDavidDarchicourt’s of thesedesigners?Whydotheychoose thiskindofimagery? artists’ tasksinanorganisationliketheNSA,andwhatisrole wondered aboutthepeoplewhohadmadethem.Whatwere material. ways inthepast,buildingplayedakeyroleframing the way state-commissioned images behaved in sometimes similar geopolitical imageryisproducedandusedbyastatetoday between thewaysinwhichintelligenceimageryandgeographic, beautiful globesfromtheRenaissanceperiod.To createadialogue reflects thistheme.Thelibraryalsocontainsanumberofmapsand ing and keepingknowledge. Each of the paintingsin its interior conceived asanarchitecturalallegoryforthevalueofacquir I includedinterpretations ofexcerptsfromartworksfoundon In myexhibitionintheMarcianaLibrary, halfoftheroomwas Looking at the Snowden-leaked logos and illustrations, I

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post 9/11, when many of the most controversial 8 - -

Simon Denny — The Innovator’s Dilemma 342 the valueofacquiringandkeepingknowledgeinRenaissance. in theMarcianaLibrary, Venice, whichwasdesignedasanallegoryfor work asavisualizerofcontemporarydatacollectionwithmasterpieces that wereleakedbyEdwardSnowden.Thisexhibitioncontrastedhis Darchicourt producedsomeofthegraphicsusedinNSAdocuments as vitrine,featuringformerNSAillustratorDavidDarchicourt. A sculpturalmonument,adaptingacomputerdataserverrack 8 military A.I. imagery fromthe Terminator films,afilmwarning ofthedangers “TREASUREMAP”. Ironically, theprogramwasrepresented using graphics describingtheNSA’s Google-maplikegeo-location program Detail ofasculpturalmonumentexploring theSnowden-leaked 9

Part IV: Systemic Shapes 343 interesting choice. logo foraprogram whichpotentially doesexactlythat.Avery Terminator and the dangers of using AI as a military tool, as the to useanimagewhichis associatedinpopularculturewiththe somebody likeDarchicourt ifnotDarchicourthimself,choosing that program, which I thought was incredible! Here is an artist, with sword-like compass points erupting from it asaseal for sioned twodrawingsdirectlyfromhimthroughhisprofile.One I wasworkingwithonmypavilion,DavidBennewith,commis- the exhibitionminiatures. and printed on the brushed aluminiumpanels which surrounded the way the NSA did their work. These cartoons were redrawn CryptoKids his cartoonworkforthemuseum’s educationdepartmentcalled museum, the National Cryptographic Museum. I also spotlighted Google Earth version of Google program calledTreasureMap. ThisprogramiskindoftheNSA contemporary JPEGs. globes inthepaintings,andcomputerstech devices inthe bearded wisemenholdingreceptaclesofknowledge interior paintingsweremythicwizards,differentkinds ofwhite temporary imagesIchosetoexhibitandtheMarciana Library’s pyramidal formswerealsocommon.Butcommonto boththecon- tasy gaming kept reoccurring. Management charts representing material, gamingcardsandimagesderivedfrommagic andfan- Across both the Snowden-leaked and the Darchicourt-authored called information onsocialnetworks.Healsocreatedaboardgame game for kidstoeducate them on the dangers of sharing personal on theothersideofroomweretreatedinsameway. ments andlighting.TheimagesfromtheSnowden-leakedslides made byalteringcomputerserverrackswithcustomdisplayele- security posters…) and monumentalised them in sculptural vitrines done fortheNSA(likemousepads,intelligenceawarenessposters, lizard. For the exhibition, we combined those with what he had the NSA,butapplystyletoaTuatara, aNewZealandnative to followthestyleofallamazingimageshehadcreatedfor of them was a New Zealand version of CryptoKids. I wanted him I alsoengagedacommissionwithDarchicourt.Thedesigner Another reallyinteresting groupofslideswasmadefora He designedDive into Social Networking, ashark-themedcard Positive Press, whichisdesignedtokeeppeopleoptimistic. — a groupofcartoonswhichintroducedchildrento 9 . They used a TerminatorT-800 — books and books and skull Simon Denny — The Innovator’s Dilemma 344 were fictitious. in NewZealandwerestillclaimingatthatpointalltheslides leaked slideshadnotbeenpossible Attribution of any of the material up until then in the Snowden- ing to me that aesthetic researchcan lead to amazing outcomes. published ontheopeningdayofVenice Biennale,alsoconfirm ures takenbypotentialtargetsofsurveillance,”readherarticle Poison Nut designed thelogousedinternallyatNSAforprogram article onmySecretPowerexhibition.“Hehad,forexample, nalist CharlotteHigginscontactedhimasapartofwritingan the Snowden-leakedimageswasconfirmedwhenGuardianjour Darchicourt’s involvement as anauthorofatleastsome of — which wasdesignedtobreakthroughsecuritymeas — some governmentalvoices - - -

Part IV: Systemic Shapes 345 Moscow, 25 The Innovative State Mariana Mazzucato — th September 2015 1

Otto Snoek, 22 September – 01 October 2015 Mariana Mazzucato — The Innovative State 346 ments tothinkbig.Increasingly, their role hasbeenlimitedto technology, biotechnology, andcleanenergy. entirely newmarketsand sectors,includingtheInternet,nano to provide.Thisspending hasprovedtransformative,creating needed investment that the private sector has been too scared research tocommercialisation,governmentshavestepped upwith businesses won’t. Across theentireinnovation chain, frombasic of it served notasameddlerintheprivatesectorbut akeypartner that owetheirgrowthtoinnovation,thestatehas historically to therevolutionaries.” and a level playing field for enterprises of all kinds. Leave the rest to thebasics:betterschoolsforaskilledworkforce, clearrules article stated.“Astherevolutionrages,governments shouldstick products athomeandmarketthemgloballyfromagarage,”the of entrepreneursandtinkerersswapdesignsonline,turntheminto picking winners,andtheyarelikelytobecomemoreso,aslegions common conception:“Governmentshavealwaysbeenlousyat Economist articleonthefutureofmanufacturingencapsulatedthis however, directlyattempt tocreateandshapemarkets.A2012 development ofdrugswithlittlemarketpotential.Itshouldnot, can investinpublicgoods,suchasbasicscientificresearchorthe companies mayimposeonthepublic,suchaspollution,andit late the private sector in order to account for the external costs only tofixmarketfailuresorleveltheplayingfield.Itcanregu- venture capitalists.Thestatecaninterveneintheeconomy view, thesecret behindSiliconValley liesinitsentrepreneursand type ofinnovationthatcreateseconomicgrowth.Accordingtothis and pioneeringprivatesector, bycontrast,iswhatreallydrivesthe cratic institutionsactivelyinhibitit.Thefast-moving,risk-loving, vate sector;atworst,theirlumbering,heavy-handed,andbureau governments merelyfacilitate the economicdynamismofpri- innovation issimple:itjustneedstogetoutoftheway. Atbest, The conventionalviewofwhatthestateshoulddotofoster the right direction. When governments step beyond that role, they the rightdirection. Whengovernments stepbeyondthatrole,they simply facilitating theprivatesectorand, perhaps,nudgingitin Today, however, ithasbecomeharderandforgovern- That viewisaswrongitwidespread.Infact,in countries — and oftenamoredaringone,willingtotaketherisks that GOVERNMENTS SHOULDMAKEMARKETS, NOT JUSTFIXTHEM — but - -

Part IV: Systemic Shapes 347 wake of the global financial crisis. Across the globe, policymakers wake oftheglobalfinancialcrisis.Acrossglobe,policymakers rency in the 1970s, but it has taken on new-found popularity in the facilitator, administrator, andregulatorstartedgainingwidecur ineptly tryingtopickwinners.Thenotionofthestateasamere immediately getaccusedofcrowdingoutprivateinvestmentand in anotherera, “theslavesofsomedefunct economist.” innovation will theystopbeing,asJohn MaynardKeynesput it once policymakers move past the myths about the state’s role in the rewardsofpublicinvestment, insteadofjusttherisks.Only figuring outwaysforgovernments andtaxpayerstoreapsomeof insulating theprivatesector fromthepublicsector. Anditmeans spending isusuallyevaluated. Itmeansendingthepracticeof that direction.Itmeansabandoning theshort-sightedwaypublic to envisionadirectionfortechnologicalchange and investin in the economy. Specifically, that means empowering governments quires fundamentallyreconsideringthetraditionalrole ofthestate about throwingmoretaxpayermoneyatactivities. Itre expense oflong-termones,theyhurtinnovation. not investment, and by rewarding short-term investments at the from ten years to two years. These policies increase inequality, equity fundshavetobeinvestedeligiblefortax reductions British PrimeMinisterTony Blairreducedthetimethatprivate dynamism totheUnitedKingdom,in2002,governmentof cent to20percent.AndinthenameofbringingSiliconValley’s the capitalgainstaxrateinUnitedStatesfellfrom40per heavy lobbyingfromtheNationalVenture CapitalAssociation, tions andcutcapitalgainstaxes.From1976to1981alone,after been abletosuccessfullylobbygovernmentsweakenregula- its dynamismandthestate’s sluggishness,theprivatesectorhas and R&Dspending. deficits downtothreepercentofGDP, issqueezingeducational the EU’s “fiscalcompact,”whichrequiresstatestodroptheirfiscal of cutstofederalR&Dspendingfrom20132021.InEurope, budget “sequestration” process has resultedin $95 billionworth the pasthaveseentheirbudgetsshrink.InUnitedStates, that havebeenresponsibleforthetechnologicalrevolutionsof will spurprivateinvestment.Asaresult,theverystateagencies led tothemeltdown),arguingthatcuttinggovernmentspending have targetedpublicdebt(nevermindthatitwasprivate Getting governmentstothinkbigaboutinnovation isnotjust What’s more, thanks inparttotheconventionalwisdomabout - - Mariana Mazzucato — The Innovative State 348 opened theGasResearch Institute,whichwasfundedthrough from shaleformations.That sameyear, thefederal government Project, whichdemonstrated hownaturalgascouldberecovered Center andtheBureauof Mines launchedtheEasternGasShales gies that unleashed it. In 1976, the Morgantown Energy Research state, theUSfederalgovernment investedheavilyinthetechnolo by wildcatting entrepreneurs operating independently from the the mythmaking about how the shale gas boom is being driven think tank the Breakthrough Institute have documented, despite own homes,buycars,andconsumeothermass-produced goods. anteeing incomesthroughthewelfarestate of suburban living On thedemandside,USgovernment’s post-warsubsidisation invested in improvements in aerospace, electronics, and materials. the USmilitary-industrialcomplex,beginninginWorld War II, gies andtheirdiffusionacrosstheeconomy. Onthesupplyside, for example,thestateinvestedinbothunderlyingtechnolo- deliberate state decisions. Inthe mass-production revolution, spontaneously frommarketforces;theyarelargelytheresultof vation scholarCarlotaPerez.Thesedirectionsarenotgenerated economic paradigms”,inthewordsoftechnologyandinno markets. Theymustdirect theeconomytowardnew“techno- — unemployment, obesity, aging,andinequality, statesmustlead oil fromthedeepestconfinesofearththanincleanenergy. Energy companies,forexample,wouldratherinvestinextracting And they often head in suboptimal, path-dependent directions. so tospeak.Theymayneglectsocietalorenvironmentalconcerns. new pathto growth. But that view forgets thatmarkets are blind, will efficientlyallocateresources,enablingtheeconomytofollowa good subsidised, or a negative externality taxed of failurehavebeenaddressed simply tocorrectmarketfailures.Inthisview, oncethesources most economicsdepartments,thegoalofgovernmentpolicyis According totheneoclassicaleconomictheorythatistaughtin research into shalegas.AndtheSandia NationalLaboratories, a taxonnatural gasproductionandspent billionsofdollarson not bysimplyfixingmarketfailuresbutactivelycreating As Michael Shellenberger and his colleagues at the progressive As MichaelShellenbergerandhiscolleaguesattheprogressive In addressingsocietalchallengessuchasclimatechange,youth THE FAILURE OFMARKETFAILURE — building roads, backing mortgages, and guar — a monopolyreinedin,public — enabled workersto — market forces - -

Part IV: Systemic Shapes 349 done bythetaxpayer-funded NationalInstitutesofHealth,which of themostpromisingnewdrugstracetheiroriginstoresearch mapping technologyusedforfrackingoperations. part oftheUSDepartmentEnergy, developedthe3Dgeologic technological challenges. cratically accountableand thatsolvesthemostpressingsocialand Rather, thequestionshouldbehowtodosoin awaythatisdemo some governmentsarealready doingthat,andwithgoodresults. to pickparticulardirectionswhenitcomesinnovation, since government-funded researchatrisk. is that failing to admit the public side of the story puts future they put together existing technologies. The problem, however, that SteveJobsandhisteamatApplewerenotbrilliant inhow a DARPA artificial-intelligenceproject.Noneofthisisto suggest sistant, cantraceitslineagetotheUSgovernment:it isaspinoffof CIA. EvenSiri,theiPhone’s cheery, voice-recognisingpersonalas who receivedgrantsfromtheNationalScienceFoundation andthe funded UniversityofDelawareandonehisdoctoralcandidates, FingerWorks, whichwasfoundedbyaprofessoratthepublicly iPhone’s touchscreen technologywascreatedbythecompany GPS beganasa1970sUSmilitaryprogramcalledNavstar. The (DARPA), whichispartoftheDefenseDepartment,in1960s. gram fundedbytheDefenseAdvancedResearchProjectsAgency funded. TheprogenitoroftheInternetwasARPANET, apro iPhone asmartphoneratherthanstupidphonewaspublicly flourish, andyetthedevelopmentoffeaturesthatmake when ahands-offgovernmentallowsgeniusentrepreneursto is often heralded as the quintessential example of what happens information technologyrevolution,too.ConsidertheiPhone.It out that Uncle Sam funded many of the innovations behind the marketing. the R part of R&D, plus slight variations of existing drugs and cal companies,meanwhile,tendtofocusmoreontheDthan has anannualbudgetofsome$30billion.Privatepharmaceuti- Silicon Valley’s techno-libertariansmightbesurprisedtofind Likewise, asthephysicianMarcia Angellhasshown,many For policymakers,then,thequestionshouldnotbe whether - - - Mariana Mazzucato — The Innovative State 350 treatments, andlifestylechanges. fixation ondrugsandfund moreworkondiagnostics,surgical example, it might make sense to move past the private sector’s it comestogovernmentspending onpharmaceuticalresearch,for led to the creation ofnew technologies, sectors, or markets. When be toconsiderwhetherittaughtworkersnewskills and whetherit paradigm. Abetterwayofevaluatingagiveninvestment would are toonarrow, constrained bytheprevailingtechno-economic would nothavehappenedotherwise.Theresult:investments that in existingspacesandwhentheyaremakingthings happenthat ments haveahardtimeknowingwhentheyaremerely operating NASA undertooktheApolloproject. private companiesweretryingtoputamanonthe moonwhen “to dothosethingswhichatpresentarenotdone atall.”No aim notonlytokick-starttheeconomybutalso,asKeyneswrote, public investors.Butmoreimportant,investmentsshould overall pieofnationaloutput,whichbenefitsbothprivateand in,’ meaningthatitstimulatesprivateinvestmentandexpandsthe cause governmentinvestmentoftenhastheeffectof‘crowding crowding outprivateinvestment.Thatchargeisoftenfalse,be to accusationsthat,byenteringcertainsectors,governmentsare than aninefficientversionoftheprivatesector. economists oftencharacterisethepublicsectorasnothingmore gives shortshrifttogovernments’effortsinthisarea.Nowonder state cancreateeconomiclandscapesthatneverexistedbefore,it as innovation.Byfailingtoaccountforthepossibilitythat Such amethodisfartoostatictoevaluatesomethingasdynamic the offendingmarketfailureandimplementationoffix? a particularinterventionexceedthecostsassociatedwithboth calculation thatinvolvesheavyguesswork:Will the benefitsof are proposed.Theirvalueisthenappraisedthroughanarrow failures areidentifiedandparticulargovernmentinvestments wrong way. Under the prevailing economic framework, market view that they should stick to fixing market failures, they are often view that they should stick to fixingmarketfailures, they are often comes tocontemplating investments:as aresultofthedominant State spendingoninnovationtendstobeassessedinexactlythe Governments sufferfrom another, relatedproblem whenit Without therighttoolsforevaluatinginvestments,govern This incompletewayofmeasuringpublicinvestmentleads A SMARTER STATE - -

Part IV: Systemic Shapes 351 private sector. Butthat trendoftenridsthemoftheknowledge why governmentshaveincreasinglyoutsourcedkeyjobstothe goes, thestatemustinsulateitselffromprivatesector. That’s as aregulatoryagencygettingcapturedbybusiness,thethinking ill equippedtodomuchmorethanthat.To avoidsuchproblems Since governmentsoftenundertakecourageousspending during downsizing it. focus notonmakingthegovernmentmorecompetent buton private companiesdo.Thestatusquoapproach, however, isto topics ofstrategicmanagementandorganisational behaviouras Governments should pay as much attention to the business school for publicinstitutionstowelcometheprocessoftrialanderror. the policymakingprocessisbyitsnaturemessy, soitisimportant and practices.AstheeconomistAlbertHirschmanemphasised, from failed investments and continuously improve its structures vation processmeansthatitwilloftenfail.Butneedstolearn will alwayssucceed;indeed,theuncertaintyinherentininno- sion and enact bold policies. This does not mean that the state the statemustbearmedwithintelligencenecessarytoenvi outsourcing. out HealthCare.gov, andthatfailurewilllikelyleadtoonlymore ministration would probably not have had such difficulty rolling technology capacitywithintheUSgovernment,Obamaad thinking it is allowed to do. Had there been more information pertise itisabletoattract,theworseperforms,andlessbig prophecy: thelessbigthinkingagovernmentdoes,ex and makesithardertoattracttoptalent.Itcreatesaself-fulfilling necessary fordevisingasmartstrategyinvestingininnovation programme, an initiative under the auspices of the US Small Busi were start-ups. Similarly, theSmall BusinessInvestment Company venture capitalfirmsdo; it fundedCompaqandIntelwhenthey financing tocompaniesat muchearlierstagesthanmostprivate Innovation Researchprogramme, forexample,offershigh-risk ments butalsotherewards. TheUSgovernment’s SmallBusiness figure outhowtheycansocialise notjusttherisksoftheirinvest- the riskiestpartsofinnovation process,itiskeythatthey In order to create and shape technologies, sectors, and markets, In ordertocreateandshapetechnologies,sectors,markets, PROFIT ANDLOSS - - - - Mariana Mazzucato — The Innovative State 352 have beenfallingoverthe pastseveraldecadespreciselydueto holes. Tax rates in the United States and other Western countries investment subsidiaryinReno, Nevada,tosavemoney. the company, whichisbasedinCupertino, California,setupan ing advantageofaraceto thebottomamongUSstates:in2006, some ofitsprofitsthroughIreland.Appledoesthe samebytak- Science Foundation it shouldbenoted,wasdevelopedwithfundingfrom theNational of taxevasion.Google more complicated.Foronething,largecorporations aremasters on itsinvestmentsbytaxingtheresultingprofits. Thetruthis got hardlyanyofTesla’s profits. the successes.Taxpayers footed the billforSolyndra’s lossesyet with the costs of the failures while earning next to nothing from that governments,unlikeventure capital firms,areoftensaddled will necessarilyencountermanyfailures.Theproblem,however, is Of course, if thegovernment is to act like a venturecapitalist,it government’s sorrytrackrecordwhenitcomestopickingwinners. in 2011and,amongfiscalconservatives,becameabywordforthe repaid itsloanin2013.Solyndra,bycontrast,ledforbankruptcy In theyearsafterward,Tesla was wildlysuccessful,andthefirm manufacturer, gotapproval forasimilarloan,$465million. US DepartmentofEnergy;thatsameyear, Tesla, theelectric-car panel start-up,receiveda$535millionguaranteedloanfromthe of SolyndraandTesla Motors.In2009,Solyndra,asolar-power- by theBritishandFrenchgovernments).Considertwintales financing), therearemanyConcordes(awhiteelephantfunded are losers.ForeveryInternet(asuccessstoryofUSgovernment uncertain prospects,someinvestmentsarewinners,butmany within threeyears.Realinnovationcantakedecades. (usually throughapublicofferingorsaletoanothercompany) look, emphasising finding an ‘exit’for each of their investments venture capital firmshave become more shorttermintheir out- for suchlong-terminvestmentshasonlyincreasedovertimeas early stage companies,includingApple in 1978. In fact,the need ness Administration,hasprovidedcrucialloansandgrantsto wealth creator. Governmentrevenues havealsoshrunkdue to a falsenarrative abouthowtheprivate sectorservesasthesole Fixing theproblemisnot justamatterofpluggingtheloop- Economists mayarguethatthestatealreadyreceives areturn As isthe nature of early stage investing intechnologies with — — has lowereditsUStaxbillbyfunnelling whose game-changing search algorithm, whose game-changingsearchalgorithm,

Part IV: Systemic Shapes 353 be abletotaxitsincemayhavemovedabroad.Andalthough particular government that has funded a given company might not otherwise. What’s more,givenhowmobilecapitalisthesedays,a been showntoproduceanyR&Dthatwouldnothavehappened tax incentives aimed at promoting innovation, few of which have losses fromSolyndra. TheyearTesla received its governmentloan, a stakeinTesla, itwould havebeenabletomore thancoverits company into a cell-phone giant. Had the US government had it wasanearlyinvestorin Nokia’s transformation fromarubber under theFinnishparliament, hasdonethesamesince1967,and 1993. TheFinnishInnovation Fund,orSitra,whichisoperated backed Yozma Group,whichmanagespublic venturecapitalfunds,has do. Indeed,somecountriesadoptedthismodellong ago.Israel’s the companiesitsupports,justasprivateventure capitalfirms earnings were publiclylistedfrom2003through2012…used 54%oftheir has bornethisout:“The449companiesintheS&P500 indexthat and executivepay. ResearchbytheeconomistWilliam Lazonick nies hoard themor spend themon share buybacks,stockoptions, Today, however, insteadofreinvesting theirprofits,largecompa- profits inresearch,adealthatledtotheformation ofBellLabs. over thephonesystembutrequiredcompanytoreinvestits 1925, theUSgovernmentallowedAT&T toretainitsmonopoly ships shouldbesymbiotic,ratherthanparasitic,relationships.In ing thewaytheypartnerwithbusinesses.Public-private adjusted basedontheirprofits. the recipientsofstateinvestmentscouldhavetheirrepayments student loansgettheirrepaymentsadjustedbasedonsalaries, For example,justasgraduateswhoreceiveincome-contingent loans andguaranteesthatgovernmentshandouttobusinesses. table lossesthatarisefromthisprocess. focused ontheshortterm increasingly be the case as financial markets become even more If thestateisbeingaskedtomakesuchinvestments making directinvestmentsincompaniesorspecifictechnologies. health care,andresearch,theydon’t begintocoverthecost of taxes areeffectiveatpayingforthebasics,suchaseducation, An evenbolderplanwouldallowthestatetoretain equityin Another wayforstatestoreapgreaterreturnsinvolvesreform There arevariouswaystodoso.Oneisattachstringsthe — — and retainedequityin a totalof$2.4trillion — then itwillhavetorecovertheinevi- — — to buy back their own stock.” to buybacktheirownstock.” early stagecompaniessince — as will - - Mariana Mazzucato — The Innovative State 354 foster interactionsamong multiplefields.NASA’s missiontothe change, thenitwon’t. Infact,mission-oriented policiesneedto ply, then shale gas will do, but if the mission is to mitigate climate governments wantfromthe energysectorisastablesup- also askwhattheywantfrom thosesectors.Forexample,ifwhat must notonlypickvarious technologiesorsectorstoinvestinbut governments backthis missionthe rightway. Forstarters, they tential benefitsandtheamountofmoneyatplay, itiscrucialthat have settledontheirnextmission:greenenergy. Giventhepo new industriallandscapes creating thetypesofpublic-privateinteractionsthat canproduce winners fallbythewaysideasmoredynamicquestions about crowdingoutprivateinvestmentandunwisely picking the keyquestionsofeconomicpolicygetreframed. Questions innovation. Onceoneacceptsthismoreproactive state purpose, cused notonminimisinggovernmentfailurebutmaximising They occurredbecausestatesundertookboldmissionsthatfo about astheresultofminortinkeringwitheconomicsystem. to thespaceprogrammeinformationtechnology Past technologicalrevolutions right. things go wrong and too slow to reward them when things go the mediahavebeentooquicktocriticisepublicinvestmentswhen returns couldbeusedtofundfutureinnovation.Politiciansand of preferredstocksthatgetpriorityinreceivingdividends.The not holdacontrollingstake,butitcouldequityintheform even fiscalconservativesmightfindattractive).Thestateneed they mayaswellearnareturnonthoseinvestments(something given thatgovernmentsarealreadyinvestingintheprivatesector, tion maybeanathematomanypartsofthecapitalistworld,but shares inTesla tradeabove$200. figure had risen to $93 by the time the loan was repaid. Today, the company went public at an opening price of $17 a share;that rocketry to telecommunications to textiles. Likewise, the green moon required theinteractionofmany differentsectors,from The prospectofthestateowningastakeinprivatecorpora- Today, manycountries, fromChinatoDenmarkGermany, THE NEXTREVOLUTION — rise tothetop. — from railroads to the automobile from railroadstotheautomobile — did not come did notcome — about - -

Part IV: Systemic Shapes 355 from theventurecapitalworldanddiversifyitsportfolio,spread ing products last longer. Accordingly, the state should take its cue more efficientlymaintaininginfrastructure,andnewwaysofmak solar power, and biofuels but alsoinnewengines,waysof energy revolutionwillrequireinvestmentnotjustinwindenergy, cannot innovate. have happened with limiting thestate’s intervention to fixing problems after they exploration. Thatwillrequireabandoningthecurrentobsession future, turning them into hotbeds of creativity, adaptation, and And most of all, they should build the public agencies of the them to share in the profits from their successful investments. cal developmentofwindandsolarpower. goals forcarbonemissionsreductionsandsubsidisingtechnologi and substituteitwithrenewables;isdoingthisbysettinglofty or ment hasfollowedthisapproachinitsenergy-transitioninitiative, through acombinationofcarrotsandsticks.TheGermangovern bitious targets,notintheoldcommand-and-controlstylebut experiment withthespecifics.Governmentsshouldprovideam- strong, clear direction for change, letting various entrepreneurs technologies thattheprivatesectorhasignoredandprovidea ing capitalacrossmanydifferenttechnologiesandenterprises. Energiewende, whichisdesignedtophaseoutnuclearenergy In makinggreeninvestments,governmentsshouldfundthose More broadly, governments should strike agreements that allow — and smashing the popular myth thatthestate February 2015,pp. Volume 94, January/ in ForeignAffairs , This textappeared 1 61–68. - - - -

356 Estate Aleksander Komarov — — — — — The Urals,Russia Chapter I asbestos mineinAsbest metallurgical factoriesinNizhniyTagil gold mineinBerezovsky copper depositinRezh

xxx 357 Deutsche BörseinFrankfurtamMain,Germany Chapter II xxx 358 Germany — Germany — — Chapter III entry hallofCommerzbank,FrankfurtamMain, “Art atWork”, DeutscheBank,FrankfurtamMain, EVN collection95–05,book

359 — — Chapter IV Frankfurt amMain,Germany Yekaterinburg, Russia contemporary art. [MarieEgger] and commenton corporatecollectionsof to unfoldanarration onglobaleconomy industrial locationsinRussiaandGermany, Estate isasequenceofshotsfrompost-

360 Moscow, 1 What amIdoinghere? Yanis Varoufakis — st October 2015

Otto Snoek, 22 September – 01 October 2015

Part IV: Systemic Shapes 361 discipline; students of economics are taught to think as if economic discipline; studentsofeconomicsaretaughttothinkasifeconomic and self-criticalaboutthis:Economicsisaverystale,uncultured Biennale forContemporaryArt2015.Letmebemorespecific is not immediately obvious why I am speaking at the Moscow What am I doing here? A political economist and politician. It society from the aesthetic, and from the musical, has always been but notassomethingcrucial inourlives,assomethingessential. it atbestassomethinggood tohaveontopofimportantthings down Iwouldbecontemptuous oftheworldart.Iwouldsee the politicians, I should not have been invited as, in the end, deep because ifIreallybelieved inthepracticesofeconomistsand Biennale for Contemporary Art 2015 were mistaken toinvite me, imperialistically linkedtoart.Inasense,thecurators ofMoscow mist. Allthisendeavourisonlytangentiallyand, ifyouwant, the bigissuesarediscussedincabinet. government. Hedoesnothaveveryimportantthings tosaywhen ning ofacountry. Theministerofculturehasaminorpositionin to you,eulogisingyou.Butitisnotseenasessential intherun- narrative power to politicians. Somehow like havinga bishop next sionals, for exampleartistsand curators, lend a degree of social, be goodtohavethis title, itgives youanaura.Culturalprofes the ministerofcultureitisconsideredademotion.Attimes,may minister offinanceorforeignaffairsandafterwardsyoubecome down inthepeckingorderofgovernment.Soifyouhavebeena point intheircareer. It isnotanessentialministryandverylow Culture servesapoliticiantobecomeministerofcultureatone is completelyinessentialtounderstandhowtheeconomyworks. in theworldofeconomics,cultureisagoodthingtohavebutit mass murder, whichis whatyoudoasageneral.Similartothis, have. Theyareadditionaltowhatisnecessaryinorderperform job properlyonthebattlefield.Mannersaresomethinggoodto the right fork. Butitiscompletely irrelevant foryoudoingyour invites you to dinner. You need to be able to know the right spoon, Russian, theFrenchorAmericanarmyandyourpresident good manners.Theycomeinhandyifyouareageneralofthe of their officer training one of the things they learn is savoir-vivre, culture, artormusic life canbefullydescribedandunderstoodindependentlyfrom The attempt to isolatethequestforwhat mattersforagood I am a politician. I am a political economist. I am an econo Politicians lookatcultureasaveneer, asasourceoflegitimacy. — somewhat likeamilitaryacademy. Aspart - - Yanis Varoufakis — What am I doing here? 362 I wasastudent,mystruggle tosolveanequationandtheclick an artistandthemethod of amathematician.Iremember, when see thattherewasadirect correspondencebetweenthemethodof these experiencesthrough herlens about concepts which I thought I had grasped while looking at etc. Itwasinterestingfor me toseehowmuchmoreIunderstood border, the separation wall in Palestine, Belfast, Ethiopia, Kashmir, continents, tracingdividinglines,theUnitedStates andMexican of view:globalisation,harshdivisions.We travelledaroundallthe I hadfoundintriguingfromaphilosophicaloranacademic point world toexperienceupcloseandpersonalallthoseconcepts which office andmyarmchairmademetravelwithher aroundthe tice; duetothefactthatsheactuallygrabbedmeaway frommy experience whatIhadalwaysbeenconvincedabout, butinprac- of essence.WhenImetmywifeDanae,hadtheopportunity to this cultural input, you would have missed out on a great thing recognise thepoliticalandeconomicdifferences. the eyeofartistandbylookingataesthetic,wecanalways of Leni Riefenstahl to the aesthetic of Sergei Eisenstein ment oftheidealsFrenchrevolution.Compareaesthetic tore upthededicationtoNapoleon,dueNapoleon’s abandon - Then listentothemusicNapoleonwaslisteningafterBeethoven listening to,towhomBeethovendedicatedtheThirdSymphony. thems ofthetime.OrevencompareittomusicNapoleonwas Beethoven’s NinthSymphonyandcompareittothePrussianan- great dealabouttheessenceofSpanishCivilWar. Listento Guernica withFranco’s art:onequicklookalreadytellsyoua show. Andfurther backinthe1930s,whencomparingPicasso’s mation thatnoarticle,book,degreeofpoliticisationcould or sangandtothemusicthatContrasplayedgavemeinfor were thebadguys?ListeningtomusicSandinistasplayed West: Whoisrightandwhonot?werethegood between theSandinistasandContraswasalsopolarising very important:Inthe1980s’NicaraguanRevolution,conflict of whatwasatstake,theaestheticandmusicalwerealways an economistandpolitician.AndIrememberthattomakesense tried tounderstandwhenIwasayoungman,beforebecame alien tome.Irecallvariouspoliticalandsocialconflictsthat way an artist struggles with a concept and at some point ‘it’ clicks way anartist struggleswithaconceptand atsomepoint‘it’clicks when yousuddenly knewhowtodo it. Itisverysimilartothe If youhadstudiedpoliticsoreconomicswouldnothave — the lens of an artist. Also, to the lensofanartist.Also, to

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Part IV: Systemic Shapes 363 of makingsensetheworldwelivein. known theoretically:Artisnotaluxury experiences which and theworkiscomplete,conceptually, inthehead.Theseare since the Euro Crisis began, we have a delicious irony: a continent since theEuro Crisisbegan,wehavea delicious irony:acontinent about doingthings together, aboutcollective action.InEurope,ever at itaesthetically. understand thattheEuro wasgoingtobeintrouble You do notneedtounderstandeconomicsorpoliticsinorder to artists toproducefourth gradedesignsofnon-existingarches. work of art. A decision was then made to commission third grade Cologne Cathedraleither, sotheycouldnotselectanyexisting a preciousMichelangeloimage,theycouldnotthen includethe on the Euro notes. Without the Parthenon or the Colosseum or that ofa‘soft’currency. SotheydecidedagainsttheParthenon tion is going toleadfromtheParthenonGreece the Euroto the ParthenonorColosseum,buttheythought: Theassocia- in theBundesbank.Why?Notbecausetheyhavea problemwith or theParthenonon50euronotewasano-no inFrankfurt could notagreewhichonestoselect.Theideaofthe Colosseum of thesetreasuresonits notes! Doyouknowwhy?Becausethey extremely richculturalandartisticheritage,hasnotdepictedany pictures ofrealarchwaysorexistingbridges.Europe,despiteits figments ofsomesecondgradeartist’s imagination.Theyarenot the euronotes.Butthesearchesandbridgesdonotexist.Theyare depict eitherabridgeoranarchway. Thatisthemaindesignof 50, a 100, or, if you are rich enough, a 500 euro note. Its two sides No matterwhetheritisa5euronoteor10note,20, look atit is thematterwitheuro,youshouldtakeoutaeuronoteand forefront ofthis.Butifyoureallywanttotakeaglimpsewhat black hole.Iwastheministerofabankruptcountrythatat part of that union is traumatised and continuously pushed down a is fragmentingunderpressurefromglobalcapitalism,theflimsiest union thatsimplywasnotdesignedfortheworldwelivein.Asit is inthenews,becauseweareflimsiestpartofamonetary common currency, is terribly constructed. The reason why Greece tion ofwhatiswrongwiththeeuro.However, theeuro,Europe’s the EurozoneCrisis,Iamnotgoingtobotheryouwithanexplana Some ofyoumayhaveheardthatIhadsomethingtodowith The theme of previous keynotes of the Moscow Biennalewas — aesthetically. What doyousee?Averyboringdesign. — thanks toher — confirmed what I had already confirmed whatIhadalready — it isanessentialpart — just look -

Yanis Varoufakis — What am I doing here? 364 sheets music falls to the ground, she reaches down to pick up her in Cracow’s mainsquare.Aprotesteraccidentally knocksher, the through ademonstration(in favourofthereunification of Europe) invited foranaudition asingingpart.Afterthatsherushes in Polandareinterspersed withonegirl,Veronica, whohasbeen to bereunited.Thereisa scene wherejubilantcrowdsinCracow the twowomenonlycrossonceinmovie,asEurope isabout were bothplayedbythesameactress,IrèneJacob. Thepathsof land was one woman and Véronique in France was another. They bonds betweentwoidenticallookingstrangers:Veronica inPo The deviceinthemoviethatKieślowskicameup with werethe amongst thoseofuswhoweredreamingaborderless Europe. division, but also conveyed a certain brooding, a certain angst upon theemotionalimpactofendingEurope’s post-war Krzysztof Kieślowskicapturedthisspiritelegantly andreflected Vé of Life Double touched meverypersonally:The Curtain wascomingdown,thereoneparticularmovie,which overcome thedivisionsColdWar haderected.AstheIron Russians, andfromamongallofus,tocomeclosertogether, to will recallthattherewasanurgefromamongEuropeans, also inMoscow, whatwastheculturalmilieuattime? (not justtheBerlinWall) beingremoved,beginninginBerlinbut time, when these debates where happening, with the Iron Curtain towards afederationofunitedstatesEurope.Aroundthat a Europeanmonetaryunionbysharingcurrencyasfirststep to the agreement that a reunified Germany should be embedded in went onestepfurtherandarenowdividedbyacommoncurrency. that BritainandAmericaaredividedbyacommonlanguage War, wasdividedbyacommoncurrency. OscarWilde oncesaid ferent cultures and languages for decades after the Second World that was uniting, that was doing things together, under many dif- double music folder, andassheiscoming upsheseesVéronique rand ofFranceandChancellorHelmutKohlGermany)came union. TheFrench and the Germans (PresidentFrançoisMitter of theconditionsforGermanreunificationwasmonetary and Europe’s common currency are historically intertwined. One the BerlinWall wascomingdown.Indeed,Germanreunification rency wasbeingdesigned:Theeurocametousatthetimewhen I believethatifwelookbackat1991,essentialyear, we Let metakeyoutotheperiodoftimewhenthatcommoncur — getting ona tourist bus.Thisistheonly timethetwo by ronique by — — her we we - - -

Part IV: Systemic Shapes 365 experiences anoverwhelmingdeepsorrow, whichiscompletelyin collapses anddies.Andatthatverymoment,VéroniqueinParis And whileonstage,singingherheartoutintheperformance,she ond. After the successful audition, Veronica lands the solo part. women seeeachother. Theyonlymeetforthatfractionofasec- And ofcourse theyareinfluencedby celebritycontractorsand finance and the logic of the market to the artistic market place. lecture toartists.Economists whoareextendingtheimperiumof the postmodernistcurators, invitingeconomistslikemetogivea ily marketedatconcertseries, atforumsinwhichthestarsare showcased inblockbuster exhibitionsinlargemuseumsorheav- are increasinglyinthepockets ofcommercialpower. Theyare guided bybureaucratsin Brussels, byfundinginstitutionswhich under theaegis,dominanceofmarketforces. Theyare lacks a heartland, an anchor. Music, art, even theatre, have come and for the arts, a marketplacethatknowsnoboundaries and would behomogenisedwithinaglobalmarketplace formusic get arecordingcontractinParisorLondon,but hermusic Europe’s cultural goods.Nowadays,thePolishVeronica might of homogenisation,globalisationhavedevaluedand fragmented together andsolidifiestheunityofEuropeans the singlemarketwhichwasheraldedascement thatbringsus borders, atleastwithintheEuropeanUnion,and triumphof Véronique today? day’s Europe?CouldKieślowskihavefilmedThe Double Life of Cold War. Couldabeautifulmovielikethat,emergefromto but actually grew in the shadow of the harsh divisions of the mised Europeanunity. Europeasaunitthatnotonlysurvived a film, an artwork, can heal such divisions. These movies epito- Northern Europe and Southern Europe, and the manner in which symbol intheWest ofthebifurcation,divisionbetween Vé of cause ofthedictatorshipwehadinsixtiesandseventies. solidarity withSouthernersinGreecewhohadbeenleftoutbe- Europeans and those who were left behind the Iron Curtain. Even a solidarityandculturalspiritualconnectionbetweenWestern when Veronica diedinCracow, symbolised,frommyperspective, and Veronica explicable to her. That emotional musical bond between Véronique The ironyofourpresentmomentisthattheeradication Another movie,IwouldbundletogetherwithThe Double Life ronique, isCosta-Gavras’Z

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the radical absence that Véronique in Paris felt (1969),whichhadbecomea — that these symbols that thesesymbols - -

Yanis Varoufakis — What am I doing here? 366 painting againsttheenemy hastobeentakenveryseriously. The we despisetreatingothers asenemies,Picasso’s pointaboutusing anything else Semitism, must constantlyremember that,howevermuchwedespiseanti- Mussolini. culture whileatthesametimebeingagreatsupporter ofBenito Pound isapoetwhocelebratedhisimmenselove for European kling ofvirileanti-Semitismthrowninfor‘good’ measure. Ezra was athoroughlynastycharacter and agreatpoetwithsprin- D.H. Lawrencesupportedaragingcontemptfordemocracy; he Symphony toNapoleonandthentoreupthededication inanger. enemy. Beethoven, asImentionedbefore,dedicatedhisThird decorate, apaintingismeanttoworkas weaponagainst the said (andIlovethisquotation) that apaintingis notmeant to features thatsitdecorativelyontopofcivilisation.Picassoonce and under tiful culture,artandmusicofEuropewasdrenchedinblood that. But yet, he is right in that scene when he says that the beau- the history of Switzerland is a lot more nuanced and richer than and peace,whatdidthatproduce?Thecuckooclock.” land they had brotherly love Michelangelo, LeonardodaVinci, andtheRenaissance.InSwitzer had warfare,terror, murder, andbloodshed,buttheyproduced theory of culture: “In Italy for 30 years under the Borgias they when HarryLime,playedbyOrsonWelles, utteredanimpertinent Orson Welles movie would movetoParisandstealherjob. Véronique wouldprobablybeworriedthatthePolishVeronica from NewYork, orParis,mostlikelyLondon,andtheFrench ably beboundbyacontractdrawnupgloballegalcompany by guilt,culture;todayVéroniqueandVeronica wouldprob- listened tothesamemusic),insteadofbeingbondedbymotion, bonded bymusiclikeVeronica andVéroniquewere(becausethey corporate sponsorswhodetermineeverything.Insteadofbeing the enemy as in racism, the enemy as in all those forces (economic the enemyas inracism,theenemyas allthoseforces(economic enemy notbeing otherpeople,butthe enemyasindestitution, from theheightsoffamousFerrisWheelatPraterinVienna, Now letmetakeyoutoanothermovie.Recallthescenein When talkingaboutculture anddoingthingstogether, we This isveryimpertinentandunfairtoSwitzerland,because

— pinned by conflicts. Art and music are far from benign

and I do despise anti-Semitism more than I despise — however much we despise conflict, however much however muchwedespise conflict,howevermuch The Third Man (1949), when looking down — they had 500 years of democracy -

Part IV: Systemic Shapes 367 should befearedbythepowerfulinoursocieties.Ifyouarenot a dangerousweapon.You folksinhere,youartistsandcurators, (referring tohisgun).Hewasrightthinkthatcultureisindeed that: “WhenIhearthewordculturereachformyBrowning!” dyne, culturecannotbedecorative.HermanGöringoncequipped setting one proud cultureagainst another. Art mustnot be ano- primarily) thatarepushingpeopleandsocietiesapart,therewith we needhere istorecallhow, sincethe1970s,finance hasbeen the Soviet Union… But that is a long story not to be told now. All pleases, andthesequelsof eventsthateventuallybroughtdown cialisation, thecompleteemancipation ofthebankertodoashe collapse wastoheraldanumber ofdevelopmentssuchasfinan- in theseventies,whenfinance andbankingwasunleashed.Its of thefirstphasepost-war capitalismbegatfinancialisation designed, alsoknownasthe BrettonWoods System.Thecollapse 1970s underthesystemthatNewDealersin UnitedStates kept verytightlyinabox,andbankingwasboring untilthe including culturalvalues.Inaboutthe1970s, bankers were has beenwipingthefloorcleanwithanyotherform ofvalue, knows howtoproduceindroves? gadgets andtoxicfinancialderivativesofthekindthat Wall Street in thestockexchangeofart,culturealongsidejewellery, cars, another realmwhereplayfulnessandsubversion aretraded the potentialofcultureforpoliticalsubversion,turning itinto the bureaucrats,auctioneers,andcuratorscaneliminate stormtroopers intothetheatresandartist’s studioswhen Single MarketandtheBrusselsbureaucracy. Indeed,whysendthe simply by making it go through the revolving doorsbetweenthe artists with imprisonment. Culture could and is being diffused of the powerful, better than the gulag, better than threatening ket didthejobofturningcultureintoananodyneaccomplice never understood that he had no need for his revolver. The mar European commission’s fundingformulae for the arts.Göring by cunningcurators,sanitisedthroughthemeatgrinderof This is being accomplished by expert gallerists, postmodernised as possible. Now, of course, culture is becoming commodified. tion inordertoextendtheirownrealmasfarandfurtherafield it isgoingtobeagreatthreatforthosewhousecommodifica your jobproperly. Aslongascultureresistscommodification, considered dangerousbythepowers-that-be,youarenotdoing For severaldecades,threedecadesatleast,exchange value - - Yanis Varoufakis — What am I doing here? 368 To keep Europe civilised, to keep Russia civilised, to keep Europe bilise, tociviliseit,isamarket thatfailsevenbymarket-criteria. A marketwithoutapowerful demostocounterbalance,sta demos, apeople,thewordfromwhich thetermdemocracyderives. planet andthesoonerwe disposeofthemthebetter. There isnothingwrongwiththat.Bordersareawful scarsonthe Vladivostok andChinaJapan,beyondthat toAustralia. the AtlantictoUrals,orindeed,sincetopic isEurasia,to There isnothingwrongwiththeideaofasingle marketfrom ish. Theproblemwastheconstantretreatofpublic sphere. It isnotatallthatwebecametoore-unifiedforculture toflour should gobacktothebattlefieldsothatculturecan berevivified. too pacified without any more wars. I am not suggesting that we Véronique’s releasein1991.ThatisnotbecauseEuropebecame ticularly virulentformintheEuropeanUnionaround thetimeof by atechnicaltrickwhichtomarketthesmellofmeadows. smell ofthemeadowinspringtimeisnotaproblemtobefixed ful to an audience like this one. That the inability to privatise the about humanity, including all thoughts that are potentiallyuse That theeconomistisnotsomebodywhocanknoweverything to price,andthatnoteverythingisamatterofdemandsupply. pendent ofitsmarketvalue.Thethoughtthatvalueisirreducible thought, forinstance,thatasongorpoemcanbevaluableinde think thoughtsthatamoreconfidentpastusedtoallow:The with whichtoachieveotherobjectives. of themarket:marketasanobjective,notinstrument new norliberal,thisneoliberalismwasallaboutthefetishisation however, thisiswhatneoliberalismdid.Beingneitherparticularly objectives, notassomethingtobefetishised.Aftertheearly1970s, erals inpreviouserasbelievedmarketsasinstruments,not in themselves ushered in the new creed according to which markets are an end of thebankerswhosepenchantforgreaterlibertythemselves respect forindustry, labourandparliaments.Itistheideology of emancipatedfinance)hasbeensubordinatingliberalism’s subordinating industry, andneoliberalism(whichistheideology power and Russiacapable ofproducingculture thatisdangeroustothe The problemisthatmarket economies require apowerful While commodificationisaglobalphenomenon,ittookpar This processledustoaradicalfailure,inability ful, asingle market, amarketeconomy requiresademo — that theyareonlyanswerableto…markets.Lib------

Part IV: Systemic Shapes 369 Every timeyoubuyaniPad,itisavoteforApple.Andthehigher I gotoashop,wevotewithourrubles,euros,dollars. controlled onthebasisofone-person-one-vote.Whenyouand greatest powerfromthecommodificationprocess,butwhichis cratic state.Astatethatiscontrollednotbythosewhogainthe cathedral where the remains lay of Charlemagne, the great Christian autumn, itwas September. Two suitedmen enteredAachen’s produced overthelastfew centuries. that we Europeans, Russians, Greeks and Germans so painfully authoritarianism, allatthe expenseofculturalandpoliticalvalues alliance between exchange value (that is, price) and bureaucratic gigantic markets. This will lead, as it always does, to an unholy and colossal bureaucracies that are incapable of stabilising those if wefailindoingthat,willendupwithgigantic markets cultured peoplecanconjureupandsupplyoursocieties with, and underthecriticalscrutinythatonlyartists,musicians and ing theeconomybyputtingitundercontrol of democracy democracy. Ifwe donotfollowthisinstincttowardsstabilis place asarealmthatcansubstituteforculture, politics,for lised, wehavetoremain exceptionally scepticalofthemarket naturally produces crisesinthesamemannerwhichit iPods: promoting akindofmarketthatwillfallonitsface.Capitalism itself, they are not even good at being liberals, because they are And thosewhoprioritisethemarketandturnitintoanendin process which is necessary in order to stabilise the market itself. those incredit;asopposedtodebt.Democracyisapolitical embellish politicsandeconomics,democracyisnotaluxuryfor stable marketsociety. as-you-have-dollars system,youarenotlivinginapotentially market process, the one-person-one-vote against as-many-votes- ever. And unless you have the political process to stabilise the you arerich,poor, well-educated,stupid,Russian,Greek,orwhat vote, andthatyouhavethesamenumberofvotes(one)whether euros, or dollars. Thebeautyofdemocracy is thatyouhaveone person-one-vote, youhaveasmanyvotesrubles,yen, volve votingsystems,exceptthatinthemarketplaceitisnot-one- votes wegivetoApple.Soinasense,themarketandpolitics- the demandforiPads,moreexpensivetheyareand Let metakeyoutoaninteresting moment,in1978:Itwas In the same way that art and culture are not useful add-ons to — it isinitsnature.To keepoursocialeconomycivi - - -

Yanis Varoufakis — What am I doing here? 370 in Ken Loach’sFreedom Cry colours) saidduringtheSpanish CivilWar, beautifullyreproduced of Hitler. As Spanish anarchists (whose flagfeatured red and black and Europeanist,butalso ofFrenchmenwillingtodieindefence be the symbol of Giscard d’Estaing, who was a great democrat conference inBerlin1942, undertheNazis.Charlemagnecan Europe. Theideaofacommoncurrencywasfirst discussed ina and Greekstogether, thisisnotnecessarilygoingtoaugurwellfor rency, justbecausewehaveavisionofpullingFrench,Germans But justbecauseweareintegratingandcreatinga commoncur in thewrongdirection.We havetodothingstogetherinEurope. of hidingbehindthecocoonnationstate going backtoournationalcurrencies,ofdoingthings separately, each otherweshallfail.Theideaofre-nationalising ambition,of Doing thingstogetherisimportantbecauseifwe workagainst history allwrappedup.Ourattemptstogettogether areessential. bitter end.Whatwastheregimentcalled?Charlemagne. moment. Ofthose11,000only13survivedastheyfoughttothe the oneswhofoughttoothandnailtodefendHitlerlast Frenchmen whowerecollaboratorsoftheNaziregime.They last freshunitoftheSSisformedinBerlin.Itcomprises11,000 third dimension,whichisprettynasty. ItisDecember1944.The his duty according to… Charlemagne! Let me give you now a European MonetaryInstituteatthattime),felthewasdoing Central Bankwascreated,thepresidentofthatbank(calledThe draw anothertwohistoricalparallels.In1993,whentheEuropean one of the Eurovision Song Contest’s aesthetic. But let me also This isaculturalreference.ItbitofEurokitschandreminds felt trepidation,anxietyandtheyneededCharlemagne’s blessing. to thetombofCharlemagne?Theirownexplanationisthatthey the end,broughtaseuro.Sowhydidtheygotocathedral, create amonetaryunionbetweenFranceandGermanythat,in beginning ofEurope’s commoncurrency, whentheydecidedto It wascalledTheEuropeanMonetarySystemTreaty. Itwasthe ing towhattheytolduslater, isthattheyhadjustsignedatreaty. cellor Helmut Schmidt of Germany. The reason they went, accord suited menwerePresidentGiscardd’EstaingofFranceandChan king whounifiedEuropeintotheHolyRomanEmpire.Thetwo dark sideofour soul. the colourred, butalsohavethecolour blacktoremindusofthe What I am saying is this: Europe has a brilliant and a disgusting What Iamsayingisthis:Europehasabrilliantanddisgusting : We have to keep hope alive with — those aresteps - - -

Part IV: Systemic Shapes 371 hate the Greeks, the Greeks hate the Germans, the French and the hate theGreeks,GreeksGermans,Frenchand under thecommoncurrency, havebackfired.Today, theGermans Aachen, andtheirexcellentambitiontobringEuropetogether Schmidt’s andGiscardd’Estaing’s Eurokitschpilgrimageto Russia’s andAmerica’s innercoresare fragmenting.Promoting other sideof the Atlantic.Butatsame time,Western Europe’s, the oldSovietUnionhere inRussia,a‘GreatAmerica’onthe towards reconstructingCharlemagne’s empire inWestern Europe, Europeans. increasingly convincedthat theyaremoredeservingthenother rational economicarchitecture forEurope;withsomeEuropeans against another, withno seriousdiscussionofhowtocreatea waterboarding, aformoffinancialtorture.Onepeople isturned our governmentwassubjectedtoinJuly2015 nation afteranotherisbeingsubjectedtothekind oftreatment core disintegrateatthetimeofeastwardexpansion. Oneproud the Middle Ages. Today, the European Union is also seeing its and politically. Thiscreatedaculturalvacuumalsoknownas Why? Becauseitsinnercorewasimplodingboth economically became toobrittlewhileitsborderswereexpanding eastwards. remind themthattheRomanEmpireimplodedwhen itsinnercore of formerYugoslavia, Croatia,Slovenia,Serbia…AtthatpointI wants tobepartofit.TheBalticstateswantedjoinit,the You areverycriticalontheEuropeanUnion,althougheveryone about timewetranscendedthem. against themselves, they turn Russians againstthemselves. It is toxic, theyunderminethebestintentions,turnEuropeans in thefoot. These divisions, theseseparationsare lethal, they are private sectormustdominate.Itcannot,withoutshootingitself space. We have diminished the public space, thinking that the the notionofgettingtogetherinaSingleMarketfrompublic political; thesocio-economicfromartistic.We haveseparated not doneitproperlybecauseweseparatedtheeconomicfrom worked well.Becausewehavenotdoneitproperly. Andwehave in short, being torn apart by their common currency. It has not Germans willturnagainsttheGermans…Europe’s peoplesare, Greeks havebeguntoturnagainsttheand,verysoon, Italians loathe the Germans who look at them with contempt, the I shallfinishonacommentaboutEurope.Peoplesaytome: In Europe,overthelastfewyears,wehaveseenhowHelmut There is a tendency among the elites towards expansionism, — what I call fiscal what Icallfiscal

Yanis Varoufakis — What am I doing here? 372 unstable, dystopianglobalisingmarket. been pittedagainsteachotherinthecontextofaruthless,single, and multinationalcorporationswouldhave.Theyhave no bond,mysticalconnection,exceptthebondsthatlawyers would havebeenaflop.VéroniqueandVeronica wouldshare in London,Athens,andSanFrancisco.Today thatmovie resonated perfectlylikethisinMoscow, inCracow, inStuttgart, fall oftheIronCurtain,afilmlikeThe Double Life of Véronique litical, culturalcoreisamajorthreatforcivilisation.Beforethe expansionism attheexpenseofamoral,ethical,economic,po -

373 Center of Eurasia Almagul Menlibayeva — ments (VDNKh). [BartDeBaere] Exhibition ofNational EconomicAchieve tral space of the central pavilion of the Heart oftheIslandEurasia’). this (‘ActinginaCentreCity inthe title ofthefinalbiennialstillreferred to was considered to be the heart. The sub Lisbon toVladivostok),ofwhichMoscow largest islandintheworld,stretching from notion, inclusive of Eurasia (seen as the and Japanese. sia in three languages,English, Russian the steppeandidentifiescentreofEura north ofKazakhstan. sia, nearaformernucleartestsiteinthe centre of Eura- taken at the geographical Almagul Menlibayevaofferedthisimage, Biennale was focused on a progressive The firstset-upofthe6 The pyramidstandsinthemiddleof Menlibayeva puthercentreinthecen th Moscow - -

374 Park Chan-kyong,Anyang,ParadiseCity,HDFilm,101mins.,2010,videostill Anyang, Paradise City Park Chan-kyong — exclusively bywomen. cultural heritage.Itisusuallyperformed the dancewasannouncedasanintangible bolic ritualforKoreannationalidentity, the 1988 Olympic Games in Seoul. A sym programme oftheopeningceremony at in theyear. Thedancewasincludedinthe full moontoguaranteearichharvestlater ditionally performedonasummernightat is oneoftheoldestKoreanritesandtra the KoreanfolkdanceGanggangssullae.It scenes shows a group of women dancing film byParkChan-kyong.Oneofitsfirst City isafeaturelength Paradise Anyang, in Anyang,onthe outskirtsofSeoul,in case ofafirein factorythathappened of agroupfilmmakers whoresearchthe Park’s film tells asemifictitiousstory - - together. [MarieEgger] age ways to try and review our situation us to the other, to the dual, and encour culture. His observations may sensitise Park encountersthedualismsinKorean traditions andneglectofvaluableheritage, global context),andontheexploitation of workers withinthishistory(aswell asina its currentsituation,ontheroleof female where itisset. the traces of this incident to the present, young protagonistsofPark’s filmfollow that alsoservedastheirdormitory. The because they were locked in the factory During thefire, 20 young womendied 1988 With an eye on Korean heritage and — shortly before the Olympic Games. shortly beforetheOlympicGames. -

Part IV: Systemic Shapes 375 of theFree World Europe: theReconstruction and RobertMenasse — Ulrike Guérot cal historical interlude. foreseeable futureitwillbe regardedagainasashortanduntypi- constructed anddefended, isthehistoricalexception,andin are generally regarded as normal and which are once more being mal. Onthecontrary, thesystemofpolitical borders,whichtoday national law. Thisiswhatpassesfor‘normality’nowadays. by otherstheywanttofencethemoffasapartonly oftheirown and versetoprovetheseare‘universal’;butinthe face ofclaims to claimtheirhumanrights,concernedcitizenscan quote chapter people wanttocome‘overhere’earnmore.When theywant it’s cheapertobuystuffthere,buttheydon’t understanditwhen over herelookingforwork.Theydrive‘overthere’ themselvesif when itappearsthatthepeoplefrom‘overthere’ want tocome rest oftheIronCurtain,butcitizenswantborders backagain ria, aswesawwiththefallofBerlinWall, andindeedofthe culture’. Thesuddendisappearanceofborderscan sparkeupho- culture’, but at home they perceive the ‘Other’ as a threat to ‘our they wanttoexperiencethe‘Other’as‘aninterestingdifferent at theborderandpreventedfromentering.Attheirdestination, borders, buttheywantothersenteringtheircountrytobestopped as possible, and ideally invisible. They don’t want tobe held up at But whentheytravelabroad,wantborderstobeasporous state bordersaredefendedandpolicedasrigorouslypossible. citizens ofanystateareathome,theywanttoknowthattheir futuristic planforaborderlessEurope. ways ofincluding‘Others’withinourownborders.Aradical recognising this, we can start to open our minds to imagine new approach suggeststhisisinfactaveryrecentdevelopment.By they reallythenormalstateofaffairs?Acriticalandhistorical something thatistakenforgrantedandindeednecessary. Butare National borders are a reality Historically, however, politicalbordersareanythingbutnor In politicalpsychology, evenschizophreniaisnormal.When 1 — and for most people, they are - Ulrike Guérot and Robert Menasse — Europe: the Reconstruction of the Free World 376 of thepassport hadonlyprovisionalvalidity untilthe“complete is interesting (butsadlyforgotten):namely thattheintroduction the League’s definitionof an internationally-recognised passport ment enabling travel and the crossing of borders. The preamble to look inorderforittoberecognised bytheworld’s statesasadocu of Nationsdefinedwhatshould beinapassportandhowitshould only existed since 21 of speech.” “Before 1914,” wrote Heinrich Mann, “‘abroad’ was just a figure took thecoachfromVienna toLvovandstoppedoverinBudapest. guilders northalers,anddidonehavetoleave Europeifone described. Norwasitnecessarytochangemoney then,neither from ParistoMoscow, changinghorsesinBerlin,asStefanZweig no borders.Before1914,youdidn’t needavisatotravel by cab to Galiciaontrackswhich,forhundredsofkilometres, crossed the heartlands ofthe Habsburgs throughBohemia and Moravia national borderofFrance.Anditwaspossibleto travelfrom of theBrenner. TheRhine, ontheotherhand,neverbecame south andnorthofthePyrenees,Tyroleans southandnorth to divide homogenous cultural regions: the Basque people live topographical borderssuchasriversormountainswerenotable did notdivide:onthecontrary, theyboundEuropetogether. Even were importantandpalpableinEurope,buttheseculturalborders gious andgeographicalborders,certainly, butnotnationalones, Rotterdam asfarBologna.Cultural,culinary, linguistic,reli Federal Republic.Mediaevalstudentsfollowedtheirteachersfrom to Prague,notallofwhichstillliewithintheborderstoday’s Prince-Electors indifferentEuropeancitiesfromLuxembourg a sortofmobile Imperial EstatesoftheHolyRomanEmpire,wasaperipatetic into the19 natural stateofaffairsinEuropefromtheMiddleAgesuntilwell restitution of historical normality: An absence of borders was the phenomenon inEuropeanhistory, butonlyasteptowardsthe of theEuropeanintegrationproject.However, theyarenotanew goods, servicesandcapital)arethegreatestpost-warachievement The so-calledfourfreedoms(thefreedomofmovementpeople, Moreover, whatweunderstand todayoftheterm‘passport’has In theMiddleAges,GermanReichstag,orDietof th century. — THE BORDERSTHAT BIND assembly with no fixed location of the German assembly withnofixedlocationoftheGerman st October 1920. That was when the League — - -

Part IV: Systemic Shapes 377 the recent European history of integration, is therefore misleading. torical phenomenon,anabsolutelyrevolutionaryachievementof gradually re-establishedinthenearfuture”. return topre-warconditionswhichtheconferencehopessee why theymust maintainthefictionof nationalinterestsinorder certain isthat theyareonlyelectedinnational elections,which is in whichtheyhavemade their careers.Andwhattheyknowfor anything otherthanwhat theyareusedto the Europeanproject,but theyaretoooldtobeableimagine too youngtohaveunderstood atthetimefoundingpurposeof are manyreasonsforthis: thecontemporarypoliticalelitesare is anambitionthatwasalready abandonedsometimeago.There to EuropeaniseEuropeagainandovercomethe nation-states, discourse, toseetheEUasaprojectwhosefounding purposewas tion offencesandwallswithinEurope.Infact,in the European border controlsandfortifications,witheven theconstruc back tothedarkestchapterofmodernEuropean history, with refugee crisis,whichisbeingexploitedasanopportunity tolink speed frompreciselythatoption,andnotjustsince theso-called Thirty Years War’. ButtheEUtodayisdistancingitselfatgreat in the20 dreds of years and which was only brutally and bloodily destroyed normal stateofborderlessnessinEuropethatenduredforhun without sayingthattheywouldwishtore-establishthehistorically believing thatwhattheynowknowasnormality, thenitgoes If Europeans understood European history, rather than simply refugee crisis. discuss howtheEuropeanregioncanandshouldmanage of theculturaldiversityEuropesingleEuropeanspace. merely defined the cultural regions that have always created out of borders,whicharen’t actuallybordersatall,butwhichinstead area shouldbetoday of affairs,simplysothatwecantalkaboutwhatthisEuropean Europe was,forhundredsofyears,acceptedasthenormalstate On thecontrary, itisimportanttoremindpeoplethataborderless To thinkoftoday’s borderless‘SchengenArea’asauniquehis To remindourselvesofthisisalsoimportantsothat wecan th centurybythetwoworldwars AND TODAY’S EUROPEANREALITY UOEN HISTORY — EUROPEAN — namely, whatit alwayswas:apalimpsest — — by Europe’s ‘second the nationalsystem - - - Ulrike Guérot and Robert Menasse — Europe: the Reconstruction of the Free World 378 to Europe. and itsplacewiththe‘others’: withthepeoplewhowanttocome remains fortheEUistoopen up closed torefugeesisnot possible. Theonlyrealisticoptionthat states. Butaborderthatisopentolorriesandat the sametime now beginningtodawnontheeconomicministersof themember if lorriesarenotwastingtimeheldupatborders; allofthisis and efficient customer inventory management areonlypossible mean quantifiablebottom-linecosts;thatjust-in-time management tion, and ultimately our living standards lorry traffic that aretobeexpectedwithintheEUmayaffect(and threaten) that theborderclosureshavealreadytakenplace andthose and needsopenbordersfortrade,butnotpeople. Thefact on anorganisationalleveltodealwiththefactthatEuropewants routes theEUmostcertainlydoesnotwanttocutitselfoff. Nostrum, thequintessentialEuropeansea is worthremembering,inculturalhistoricalterms,asMare the EUcannotcutitselfofffromMediterranean force, theseaborderofEUtosouthcannotbe‘defended’: Mediterranean beaches, orto turn back refugee boats with armed Because aslongtheEUdoesn’t decidetolaybarbedwireacross they willbeoverrunbyrefugeeswhateverdotopreventit. Balkan route many orDenmark.ButGreeceItaly, orthecountrieson European stateswithoutanexternalEUborder, forexampleGer withdrawal; which, however, is available in practice only to those yet to be realised, then all that remains is the flight to national in additionacommonandcoherentEuropeanforeignpolicyhas of theexternalborders,asisnowoftenbeingcalledfor refugees withinEurope,nor, asaminimum,tocommondefence issue is not in sight pean andthenationallevel.IfaEuropeansolutiontorefugee not fortheEuropeanproject. to rallythesupportoftheirelectoratesforoffices,though The refugees are now intensifying this regression at the Euro- The question today is therefore how it will be possible in future The questiontodayisthereforehowitwillbepossibleinfuture — — and thusbusiness,production,tradeconsump whether EUmembersornot

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neither with regard to the repartition of — it willhavetoshareitsspace — — and that closed borders and that closed borders and from whose trade and fromwhosetrade — have nochoice: — which, it — and if - -

Part IV: Systemic Shapes 379 There are,atthismoment,60millionpeoplefleeingwar, hunger each of which only grants asylum to around 10,000 refugees each each ofwhichonlygrantsasylumtoaround10,000refugees and destitutionaroundtheworld.TheUSA,AustraliaCanada, pipelines to broadband to the high speed trading of the financial pipelines tobroadband tothehighspeed tradingofthefinancial system of networks, of permeability and of borderlessness: from thing elseexceptpeople,the globalisedworldisalreadyonesingle borders andtosettlewhere theywant,especiallysince,forevery- for allintimesofpermanent migration. commons beyondthenation state;aboutprovidingahomeland global righttoahomeland; aboutuniversalaccesstotheglobal way in).This appliestotheEuropeanareaaswell.Soit’s aboutthe borders fortheirowncitizens(andmillionaires who buytheir privilege whichenablesthemtoreservelandwithin theirstate to maintaintheirinsistenceonterritorially-basedstatehood asa put nation-statesunderevengreaterpressure:they will beunable of theglobalreductioninfertilesoilsitwillbring about,will independent ofanyspecific‘statecitizenship’. of HumanRights:thattherecognitionhumanrights shouldbe and torealisethepromisecontainedinUniversal Declaration challenge mustthereforebetoorganiseextra-territorialdemocracy define aterritorialrightofabodeforpeople.Inthefuture, live anywhereintheworld.Giventhishumanright,statescannot are bornequalandthereforehave an equalright in principleto “right touniversalhospitality”,whichassumesthatallpeople expression “sharing the world” as a modern extension of Kant’s conflict andinawaythatishumaneforall? question becomes:Howcan this processbeorganisedwithout forced tobecomenomadsinsearchofanewhome,thedecisive has a right to a homeland and to security. In times when many are citizenship, andbothareincreasinglymergingintoone.Everyone fare provisionariseoutoftherighttoasylum,independent arise outofcivilrights;basichumanrightstoshelterandwel- is entitled to asylum. Social welfare entitlements for state citizens a sharedresponsibilitytowardsrefugees,andthateveryrefugee Convention, whichstipulatesthatthecommunityofnationshas year, have effectively withdrawnfromthe 1951 Geneva Refugee In the future, everyone must have the right to cross national In thefuture,everyonemust havetherighttocrossnational The comingclimatecatastrophe,withalltheconsequences The BelgianauthorandpsychoanalystLuceIrigaraycoinedthe MERGING ASYLUMRIGHTSANDCIVIL

Ulrike Guérot and Robert Menasse — Europe: the Reconstruction of the Free World 380 Almagul Menlibayeva

Part IV: Systemic Shapes 381 to language courses or even to a Leitkultur asylum-seeker status,orreceivedstate money, orhad tocommit modation, ortohaggleover familyreunification.Nobodywasgiven anyone thentodivide families, orto place them in separate accom York, the Italians occupied an entire district. It didn’t occur to New Hampshire,Hamburg, andsoon.InLittleItalyinNew built theircitiesthereagain. centuries and many-layered global network, instead of delimiting national and many-layeredglobalnetwork,insteadofdelimitingnational system. Whatisneededtodevelopapoliticalformofthediverse challenge nowistoreflectthisfactinanewpoliticalinstitutional tice functioned for a long time unhindered by national borders. The markets andproductsupplychains,everythinghasalreadyinprac which carries within it the risk of large-scale social unrest. which carrieswithinittheriskoflarge-scalesocial unrest. EU refugeepolicyisthecorrectone,focusedasitonintegration, Against thisbackground,thequestionarisesofwhethercurrent Sociology teachesusthatsegregationisalsoaformoftolerance. for real-lifeplansandmodesoflivingexistingalongsideeachother. as limitstohomogeneity. Thiscreatesagiganticspaceofpotential which wouldcountas‘European’,butthedissolutionofborders tion ofethno-culturalhomogeneitybyhomogenouspopulations unlimited transitarea.Infuture,itwouldnolongerbethesalva- of asylumrightsandhumanrights.Thisleadstothecreationan local/regional andtheglobalbeyondstate,thusamerging Luce Irigaray;thatis,anovelformofdirectconnectionbetweenthe tion of ‘Otherness’ in a legal system of obligations, in the words of and everyonecontributestoit. What is needed isthe free organisa of allinwhateveraffectsall.Everyonehasastakethesystem, to oneconstitution;thenormativebondsenableparticipation both thelegalandnormativesenses.Thebondstieeveryone is forhomelandstobeboundtogether:thismustincludebondsin enclaves whichcannotbejustifiedinKantianterms.Whatisneeded masses duringthefaminesandpoliticalcrisesof 18 European migrantsdowhoemigratedtotheNew World intheir lutions thathavealreadyprovedtobesustainable: Whatdidthe Let us look back into recent history to seek inspiration from so- Across America we find cities withnames suchas New Hannover,

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the Irish, the Italians, the Balts, the Germans…? They GIVING SPACE TOTHE‘OTHERS’: CITIES FORMIGRANTS? , a dominant national , a dominant national th and19 th - - -

Ulrike Guérot and Robert Menasse — Europe: the Reconstruction of the Free World 382 begin withbyprovidingtemporary dwellings process, Europe, with the support of the UNHCR, can help to to helpthemmakeastart. Asurbanconstructionisnotaquick for securityandpolicing, can begivenbyEuropetotherefugees integration andlanguagecourses, forfencesandborderprotection, ment bythenewarrivals. All themoneythatwenowgiveoutfor such asenergy, ICTandtransport,butotherwisefreefordevelop land, thatis,landalreadyconnected uptoinfrastructural services arrivals. Insteadof‘Leitkultur’,civicrightsforall. equality beforethelaw , ius EU lawappliestoeveryone.Andthatisimportant: Aequum their hospitals,radiostationsandnewspapers. And their citiesinEurope,squares,schools, their theatres, their culture,cuisine,musicandsocialstructures. They recreate ‘otherness’ the wrongway. Inshort:wedon’t needintegration.We respect We don’t needtorubupagainsteachotherand against housing and jobs for the lowest quartile of our own society. to playofftheirrightshousingandworkinnewhomeland down towarmtheheartsofpatrioticnationalists.We don’t have We don’t havetoconcentrate theminrefugeehomestobeburnt desolate dilapidated tion. We don’t need tocramtherefugeesintoour cities fornewarrivals.Thenwedon’t needtostressoverintegra- large (and will soon be empty) enough to build a dozen or more New Enugu or New Ondo for the Nigerian refugees. Europe is also NewKandaharorKunduzfortheAfghanrefugees, or NewErbilandDohukfortheKurdishrefugees.Perhaps so oncouldarise in the middle of Europe. Or New Diyarbakir In thisway, New DamascusandNewAleppo,Madaya real-life plansandmodesoflivingexistingalongsideoneanother. maintain ‘otherness’?Thatwouldcreateaspaceofpotentialfor neighbouring theEuropeancities,butatasufficientdistanceto and reconstructedtheiroldhomelandthere.We canlearnfromthat. culture. TheEuropeanrefugeessimplyarrivedinanewhomeland who areinvolved withrefugeecamps andwhohaveresearched kind ofcontainer dwellingthatisprovided now. Town planners Europe givesbuildinglandassupporttogetstarted The newarrivalsthenlookafterthemselves,inaccordance with What ifrefugeesinEuropeweretobeallocatedbuildingland — no man’s landscapes in the countryside between them. — — and weletthenewarrivalsbeintheir‘otherness’. suburbs orintothe — for old EU citizens as well as for the new for oldEUcitizensaswellthenew — sometimes sprawlingand — that is, exactly the that is,exactlythe — — sometimes improved improved -

Part IV: Systemic Shapes 383 ter onlyafewweeks.Bigthoroughfaresandsmallsidestreets UNHCR containersweremovedaroundandre-positionedaf nature. InLebanon,thecarefully positioned andrigidlyaligned the refugeesareleftinpeace.Buildingtownsseemstobehuman them report thatrefugeecampssoonturnintotowns, aslong from adifferentworld. in theUSAtoday later children. Thenthefirstvisitsfromparents.Three generations Damascus. Thencomethefirstlovestories,and then thefirst dents seekingcheapaccommodationrentflatsto share inNew look, topaintandwritepoetry. Hipstercafésspringup.Stu interesting food,andanunknownspiceortwo.Artists cometo enous townsbecomecurious.Thenewarrivalshavedifferentand need asylum-seeker’s support.Theresidentsoftheolderindig boutiques there,sellwhattheyproducethere.Nobodywould the nearby‘European’townstowork.Ortheywouldopentheir gether quitenaturally. Thenewarrivalswouldmaketheirwayto a creativenetworkofdiversity. with respect, an alliance of alterity under the same European law, In short:whatisneededamulti-colouredEurope,proximity say thatinlessthansixmonthsarefugeecampturnsintotown. suddenly therewerelittle theatresanddancefestivals. Experts handymen andamateur mechanics built mopeds out ofscrap; emerged name Another hundredyearslater, itwillprobablyonlybethetown’s guage ofthe new homeland dren ofthefirstgenerationnewarrivalshavelearned thelan- began totakeplace,andlittleboutiquessprangup;street-smart camp waschristenedtheChamps-Élysées.Outofnothing,trade Over time, theresidents of the different towns would mix to- — — that’s howlongitusuallytakes like NewHannover, orParis,Texas, orVienna, Virginia — for example,themainstreetinoneLebaneserefugee IMAGINING NEWWORLDS — that reminds peoplethatits founders came — simply because it’s more practical. — the childrenofchil- 1 European Journal on was releasedinthe Green An Englishtranslation on 11 Le MondeDiplomatique in theGermanissueof This textappearedfirst 1 st March2016. th February2016. - - - 384 Moscow, 22 Who are we, thecitizens? Saskia Sassen — Keynote SaskiaSassen,MoscowBiennale,22 nd September 2015 nd September2015

Part IV: Systemic Shapes 385 borders ofcountries;theyaresystemicedgesconstitutedinside want totakeyouacrossasetofsystemicedges.Thesearenotthe are mostlybecomingbiggerandricher, buildingbeautifulstuff.I are managingratherwell.Ifyoulookatourbig,richcities,they A majorityofusexistsinways,domains,spaces;andwe stand backand sayinfullhorror:“Amazing, wepulledthatoff.” cannot juststand backandsay:“Ohmy God,howterrible!”Ialso we. We havetheequivalentallover world.Itisacapability. I vast seatoasliver. We madethat.AndImeanaverycollective (Fig. Today, wearemakers.We make.Thisisakindofaccomplishment with betterbuildings…That isjustonelittlepieceofabigpie. democracy. No matter that our cities lookmore beautiful, richer, very negative moment. This is one of the worst periods in liberal built intoliberaldemocracies. system wecanneverovercomethatfoundationalinequality. Itis democracies firsttookoff;fundamentallyunequal. Within this the beginning,‘sub-’in‘subjects’wasconstituted whenliberal tions ofliberaldemocracyor, inotherwords,capitalism.From under certainparticularconditionsintheWest. Underthecondi- citizen, Iamreallythinkingaboutthecitizenasa subjectmade rights inourliberaldemocracies.AndwhenIspeak aboutthe multiple epochs.Itseemstome,thatwe,thecitizens,arelosing a constructionwehavemadeandwhichhascometousthrough ‘death’. sounds toobeautiful,pretty. Iwantthebrutalityofword land’ and‘deadwater’ratherthanclimatechange.Climatechange dead waterwehaveintheworldtoday. AndIusetheterms‘dead in frontofus…thatwhichishighlymaterial. actually capable of rendering invisible that what is standing right we wouldgocrazy. Whenwewalkintoaroom,select.We are another eye. If we could see everything, if we took in everything, we are almostbydefinition theoretical in how we see; seeing with rial conditionshaveacapacitytobecomeinvisible.Partlybecause categories, ourlanguage,cannotcaptureit.Thus,theirverymate so extremethatweloseit.Itisourconceptual systemic edgeisamomentinprocesswherethefamiliarbecomes national territories,insidecities.Theyareintheinteriority. The Thinking aboutthecurrenttime,wearedealingnow witha The cityanditscitizensarethetargetofthistalk.citizenis The clearestexampleformeistheamountofdeadlandand 1). We madethis.In20years,wemanaged toreducethis 1 - Saskia Sassen — Who are we, the citizens? 386 Extent ofSurfaceMeltoverGreenland’s Ice Sheet Fig.2 A comparisonoftheAralSeain1989(left)and2014(right) Fig. 1 July 8,2012 No Data Ice/Snow Free Probable Melt July 12,2012 Melt No Melting

Source: Viñas, Maria-José. “Satellites See Unprecedented Greenland Ice Sheet Source: NASA, Accessed June 2, 2017. https://commons.wikimedia.org/wiki/ Surface Melt.” NASA. Accessed July 30, 2012. http://www.nasa.gov/topics/earth/ File:AralSea1989_2014.jpg features/greenland-melt.html.

Part IV: Systemic Shapes 387 emerge fromthis.Thewholeworld,wedidthat. have cometothemeltingofpermafrost.Methanegaswill eliminated somethingthathadexistedforbillionsofyears.We mid-2013 to mid-2014, US$600billion wereinvestedinbuying that tookoff afewyearsafterthefinancial crisis(Fig. units. Thenumbersrefer to justoneyear. This isadevelopment are talkingbigcorporate investments and often theybuymultiple for example,is$5million. We arenottalking cutelittlehouses.We rate. Anditisverylarge.The minimuminvestment,inNewYork foreign iscompletelysecondary. Whatmatters isthatitcorpo- investment, bothnational andforeign.Whetherthisisnationalor my list of ahundred cities that are the main recipients of corporate property isaverygoodinvestment. of 2008,whensuddenlybigcorporateshave decided thatbuying There isanewdevelopmenttakingoffafterthefinancial crisis citizen todayareincrisis. who livesin,occupiestheplace…Butboth cityandthe And thismeansthecitizeninabroadsense:resident,someone epochs. Itisnotgoingaway. Neitherthecity, northecitizenare. too, becauseitiscomplexandincomplete,hasoutlivedmany state. I am using state here in a very generic sense. And citizenship And youwillhavetorebuildsomethingelseinitsplace.) system andisverysoontobeobsolete.Thenitwillfinished. possible. (Anofficepark,forexample,isnotacity. Itisaclosed that mixtureofcomplexityandincompletenesswhichmakesthis survive throughdifferentepochs,theyincorporatethepast.Itis ments ofall sorts, multinational corporations, et cetera. Cities capacity of cities to outlivepowerfulactorslikekings, govern system. Inthatmixtureofcomplexityandincompletenessliesthe cipal, itisthecity. Ithinkofthecityasacomplexbutincomplete cannot covereverythinginashortperiodoftime. of us.ButitisthisparticularlinethatIwanttotakebecause emphasise thefactofournatureasmakers.Thisisjustonepart Now, oneplace thatwehavemadeisapeople’s placeinprin- These areveryproblematic ways of makingbutI want to We also made this (Fig. I like to think of citizenship as an incomplete contract with the I liketothinkofcitizenshipasanincompletecontractwiththe WHO OWNSTHECITY? 2). In a very short period of time we 2 Actually, Moscowisalsoon 3). From - Saskia Sassen — Who are we, the citizens? 388 50. Birmingham (UK) 49. SanAntonio 48. Manchester 47. Oslo 46. Dublin 45. Milan 44. Portland 43. Tampa 42. Charlotte 41. Raleigh/Durham 40. Minneapolis 39. Nanjing 38. Seoul 37. Philadelphia 36. Brisbane 35. Beijing 34. Singapore 33. Toronto 32. Hamburg 31. Osaka 30. Hawaii 29. Stockholm 28. Orlando 27. Madrid 26. SanDiego 25. Munich 24. Amsterdam 23. Shanghai 22. Austin 21. Denver 20. Phoenix 19. Frankfurt 18. Melbourne 17. Seattle 16. Berlin 15. Houston 14. Sydney 13. HongKong 12. Boston 11. Miami 10. Atlanta 9. Dallas 8. Washington 7. Chicago 6. Paris 5. SanFrancisco 4. LosAngeles 3. Tokyo 2. London 1. NewYork Metro Total InvestmentVolumes InTop 50RecipientCities(Q32014-Q22015) Fig. 3 *

Compared to theprevious12months. Source:Cushman andWakefield, Real CapitalAnalytics. 3,708,838,018 3,727,740,580 4,224,580,070 4,250,853,127 4,257,624,236 4,258,359,663 4,459,699,959 4,763,108,826 4,763,778,197 4,867,567,697 5,098,620,802 5,190,516,937 5,264,240,793 5,333,247,720 5,368,732,014 5,408,756,455 5,575,750,013 5,780,113,060 5,794,518,685 5,839,892,968 6,048,702,620 6,338,824,520 6,981,214,900 7,097,274,018 7,251,264,452 7,271,540,067 7,942,738,059 7,978,366,830 8,046,028,787 9,029,533,977 9,312,751,061 9,845,334,528 11,078,147,297 11,609,540,148 11,814,090,834 12,365,902,892 14,075,615,656 14,447,415,389 15,365,776,426 15,949,703,541 16,022,394,226 16,296,780,618 18,515,548,212 20,036,200,994 22,955,312,136 32,355,485,613 37,457,376,509 37,971,179,153 55,206,679,357 74,799,870,615 Volumes (US$) 27.4% 58.7% 25.2% 92.7% -3.7% 142.1% 91.5% 55.5% 46.2% 86.1% 64.1% 142.6% -16.0% -22.0% 39.2% -25.9% -24.4% -23.9% 23.7% 26.1% 48.5% -20.7% 55.1% 164.3% -0.3% 9.9% 13.3% -19.6% 45.3% 19.6% 53.5% 14.4% 33.1% 31.9% -6.2% -6.2% 7.9% 4.9% 43.2% 74.5% 60.7% 13.4% 29.5% 39.4% -0.2% 35.9% 14.4% 0.7% 13.4% 36.3% Growth*

Source: Cushman & Wakefield, also based on information from Real Capital Analytics, Oxford Economics, Guardian News and Media Ltd., The World Economic Forum, Urban Land Institute.

389 point. The point is that this is not gentrification—these are two than theQueenofEngland.Frankly, whoownsmoreisnotthe For instance,theQatariroyalsnowownmoreofcentralLondon significant amounts. to mid-2015,itwentupoveratrillionUSdollars.Theseare tion… ifthiswereadded,thefiguredoubles.Andfrommid-2014 existing property at the2016HabitatmeetinginQuito. this indepthmycontributionto The Quito Papers wepresented deeper, thatwehavenotquitethoroughlyunderstood.Iexplore very richroyalfamilies.Itissomethingelse.This reducing the habitat formanymodest-income households acquisitions account foraconsiderable amountofurbanspace, This isnotgentrification either. Itissomething else.Thesebig the majorityofbuyersare Chinese New York andParis.InHongKong,pricesaremuchhigher, but wants tocomeShanghai, forexample,andbuy. Itissimilarin made marketdealswith buying uppiecesofthecity. Everyone nationalities whoarebuying inthosecities(Fig. super prime housing in international cities. It also lists the main analysis failus. invisible; wherewelosetrackofitallbecauseour categories for are systemicedgesbeyondwhich,oncecrossed,it allbecomes language tocapturetheseverity. Thereisaruptureandthere South! This is a moment for which we do not have adequate is being invaded, but the largest refugee camps are in the Global all inthecitiesofGlobalSouth made inmanydifferentways. brought byenvironmentaldestruction.Itismadeinmining;it The lossofhabitatispartlymadethroughdeadlandandthedeath where youcanlive.Thislossofhabitatispartlymadeincities. of habitat;habitatinthefull,complexsenseword which welackalanguage.Ultimately, thisisaboutamassiveloss it justaboutrefugees.Thereisadeeperhistoryinthemakingfor tions thatarecurrentlyhappening.Thatisnotmigration,nor of themigrantsandrefugeeswindupincities,includingmost Many peoplesaythatthisisgentrification.Idonotthinkitis. Back tothemainsubjectofthislecture! There is an invented market, which sets minimum prices for And citiescapturethisinaveryacutewayinsofarassomany If I may digress, I make the parallel argument about the migra — this excludesnewdevelopmentandconstruc 4 — — that isalsoveryinteresting. 3 Europe keepsthinkingit 4). This privately 4). Thisprivately — — a place a place there there - Saskia Sassen — Who are we, the citizens? 390 Azerbaijan, Belarus,Kazakhstan,Kyrgyzstan,Moldova,Russia,Tajikistan, andUzbekistan. Note: a)CISreferstotheCommonwealthofIndependentStates,whichincludesfollowing countries:Armenia, City Foreign BuyersintheSuperprimeHousingMarket2007–2012 Fig. 4 Shanghai Dubai London Monaco Paris Singapore New York Hong Kong Moscow Australia, UnitedStates,Canada India, UnitedArabEmirates,Greece, United Kingdom,States Russia, CIS Argentina, Canada China, Singapore,Australia,Brazil, United Kingdom,France,Italy, Spain, of foreignbuyers Country oforigin Switzerland France Canada, Japan,Malaysia,Germany, Hong Kong,Taiwan, UnitedStates, Arabia, Russia,India,Iran Kenya, Somalia,Tanzania, Saudi Russia, France,SouthAfrica,Italy, Russia, CIS Australia, UnitedKingdom Indonesia, China,Malaysia,India, China CIS a a a , Italy, France,Germany, , UnitedKingdom,Italy, 7.8 15.9 8.8 10.0 of $) (in millions superprime qualify as price to Minimum 18.9 6.4 8.0 8.3 15.4 10 75 90 50 2007 (of allbuyers) % foreign 100 34 45 24 12 10 85 95 50 2012 100 10 60 31 35

Source: Powley and Warwick-Ching 2012

Part IV: Systemic Shapes 391 a spacewherethosewithoutpowergettomakehistory. stand thecity, itisacomplexbutincompletesystem.Butalso to thequestion:Whoownsit?Whydocitiesmatter?AsIunder more modestmiddleandworkingclasses.Thisaddssignificance are nowhousingcrisesinmoreandofthesecitiesforthe is notabout money It isthesector thathasdominatedthe last20to30years.And it A storyaboutthecapability offinance.Financeis a capability. losing somethingveryimportant. enormously. Themore privatised they become, the more we are collectively, acrosstimeandspace, iscities.Andtheymatter frontier zone.Sointhat sense, oneofthethingswehavemade there before but it isfar less urban, itis not acity. There is no a privatisedmegaproject.Itmaybefardenserthen whatwas a whole part ofa city, oftheurbantissue,andtransformitinto these massiveinvestmentsincitiesaresodisturbing: Theytake office complex,notinaprivatisedmegacomplex. Thisiswhy an in cannot comeinandstandsayestamos presentes —not in itsfullsense dense, isnotacity, anditisnotnecessarilymarkedbyurbanity A citymakesthatpossible. ing youforsomething,wejustwanttotakenoteexist. discriminated, withoutpower, withoutmoney…;wearenotask- is powerlessness. InLatinAmericawehaveabeautifulphrasewhich powerful, buttheycanenableyoutohavecomplexityinyour and that is what cities can do. They do not necessarily make you empowered by this, but their powerlessness becomes complex up andsay:“We arepresent,wehere.”Theydonotbecome is a combat zone. But one where those without power can stand and religionscoexistinourbigcities.Thefrontierisinside,it cetera… Therearemanymixedcities;differentnationalities same religionbutyoumaybelongtodifferentworlds:poor, rich,et are manyencounters:youmayhavethesamenationalityor today? Itisnotatthoseedges.rightinourbigcities.There there arenoestablishedrulesofengagement.Whereisthefrontier between twoactorswhobelongtodifferentworlds,forwhom empire. I definefrontieras a spacewherethereis an encounter Estamos presentes. Itmeans‘We arepresent.’We, thepoor, the Now, attheothersideofallthoseinvestors issomethingelse: An officecomplex,amegaproject,however, evenifhugeand 200 years ago, for the West, the frontier was at the edges of — it isaprivatespacewherethosewithoutpower — it isacapability. Financesells whatitdoes -

Saskia Sassen — Who are we, the citizens? 392 today’s worldwithanewsystemics? I juxtaposethesedifferent worlds,is:Arewereallydealingin ship, to actually develop it. Aquestion that I ask myself when The city has been a critical space for us to construct our citizen - certain kindofsubjectrightnow. are small.Buttheymatter. Whatisimportantthis:We area quite a bit abouttherightsthat we are losing: some are big,some democracies, wherewearetryingtotrackthis.And Icouldtalk I haveanetworkaroundtheworld,thatis,inmostly Western and so forth. It is not easy to find out if we are losing rights. But digging: toseeifyou have lostarighthere,and here and there, distributed set ofspecialisedlaws.Thatiswhereyouhavetogo we donotexistasthecitizeninWestern law. We existacrossa one ismissingyousay:“Oh,myGod,we’velostaright!”No, as aChristmastreewheretherightsaredecorations;if — How manymorerightsarewegoingtolose? corporate investmentsyoucanseewhatonepossibilityisatleast. there. We havealotofemptyurbanlandandwhenyoulookatthe is not because youdonotwant to; youdo not thinkabout going where there are all these empty houses? You justdon’t gothere.It invisible inalltheirmateriality. Whywouldanybodygotoareas Both the emptyhousesand those 30 million people are basically cities. 15 million households means at least 30 million people. You seevaststretchesofemptyhousingin certain partsofUS Over 15millionhouseholdshavebeenthrownoutoftheirhomes. one totwo,three,ormanymorepersons)areevictedeveryyear. like theonesImentionedatbeginning. very low incomes. To this extent, finance is a negative capability and with such highly complex instruments it can also extract from sectors andextractwhatitneeds.Itdoesthatbyveryfancymeans, not have.Ithastoinventextraordinaryinstrumentsandinvade crisis (Fig. no simpletaskinaliberaldemocraticsystem.We donotexist According totheUSCentralBank,millionsofhouseholds(of Corporate profits grew and grew and shot up until the financial Corporate profits grewandshot upuntilthefinancial It is a hobby of mine to look at the rights that we are losing What Iamreallyaskingis:Whoarewe?Thecitizenstoday. 5). Afterthat shortcriticalmoment,corporate profits NEW SYSTEMICS

Part IV: Systemic Shapes 393 the storyweareseeing. there is a divergence: some gain and somelose.And that ispartly Corporate assetskeepgoingfurther. Thedisturbingthingisthat the poverty line! Yet we have a growing concentration of wealth. people: 50%ofthepeoplewholiveinNewYork Cityarebelow actually higherrate.Atthe same time,think of allthosedisplaced sis. Alotofcitizens’moneyisputintothesectortogeneratean kept growingevenfurtherwhilemosthouseholdsarestillincri- philosophy. But many of the physicists have been recruited by the plexity andopenness.Andtherearetwo:physicscontinental forms ofknowledgethisperiodhavetobeablemanagecom we reallyadmire,suchas physics. AndIalways thinkthat the that todaywehaveincrediblycomplexformsofknowledge developing thesekindsofinstruments.Onemyargumentsis firms, wherethesecretariesusedtosit,arenowfullofphysicists the financialinstrument.So,backroomsofbig modest assetbutnottoallowitsvaluebepresentin developed sixteenenormouslycomplexstepstomakeuseofa I describethis,letmetellyouthatthesebrilliantphysicistshave can enterallkindsofdomains,evenmodestlittlehouses.Before Corporate ProfitsafterTax intheUnitedStates,1940s–2010s(inbillions) Fig. 5 I want to clarify how finance has to be seen as a capability that I wanttoclarifyhowfinancehasbeseenasacapabilitythat

Source: Federal Reserve Bank of St. Louis 2013a, in Saskia Sassen, Expulsions: Brutality and Complexity in the Global Economy, Harvard University Press 2014, p.19 - Saskia Sassen — Who are we, the citizens? 394 haps almostathird.Today thevalueoffinancestands atovera than thetotalvalue of finance. At thatpointin2007,it was per the world.IttendstobehigherthanGDP, butismuchless the currenciesissuedbycentralbanksofallcountriesin look atthecurrencyyouandIdealwith,whatvalueisofall accepting thesenumbersasnormal.Forinstance,Iask,when from theIMF, butIkeepinterrogatingthesedata,ratherthanjust in theworld. that ofthevalueglobalGDP finance. And theUS$600 trillion value of financeis several times measured byoutstandingderivatives—thebasicmeasureusedfor $62 trillion represented just 10% of the global value of finance as Hardly anything has thatrateofgrowth. In 2007,that value of under US$1trilliontoUS$62trillion;ittookjustafewyears. value ofcreditdefaultswapsrosebetween2001and2007from capacity of finance to jump orders of magnitude: For instance, the more andsectors. that arethenusedbythefinancialsystemtoextractvaluefrom financial sectortodeveloptheseenormouslycomplexinstruments I workwithprettystandarddatafromtheUSCentralBank, Now, backtofinanceasacapability. Fig. Rising Value ofCreditDefaultSwaps,2001–2008(intrillions$) Fig. 6 — the GDPofallcountries 6 is an example of the 6 isanexampleofthe

Source: Varchaver and Benner 2008, based on data from ISDA in Saskia Sassen, Expulsions: Brutality and Complexity in the Global Economy, Harvard University Press 2014, p.142 -

Part IV: Systemic Shapes 395 Can weputittogooduse?bringdowngroundlevel best waytounderstanditanditspowersisthatacapability. it isnotaboutmoney, orcurrency, itissomethingelse.Andthe dollars. Andthistellsyousomethingaboutfinance,namelythat global GDPofallthe countriesintheworldstandsat270trillion It hadallbeen boughtupbycorporates. TheMormonsofUtah certain areas, inthegoodruralareas ofFrance.Theycouldn’t. family wantedtogoback tofarming.Theytriedbuylandin young Frenchpeoplewho hadFrench-stylefarmingintheir happening inEurope.For instance,whenthecrisishit,alotof buying ofland,ruralland. Africaisthemainmarket,butitalso destination is still Africa. This also takes off after the crisis And GoldmanSachsbought landinUkraine.Anyhow, themain that theylistedonthestockmarket,itwasnoteasy tobuyatall. very complicatedprocedure:Theyhadtocreatea fictiveentity not exclusively, intheGlobalSouth. when wefocusoncitiesalonearethelandgrabs, especially, but my God, most people live in cities.” One element we do not see The questionformeis:whatdon’t Isee?Whenjustsay:“Oh You know the famous phrase: Most people now live in cities. This isnotinnocentbrilliantknowledge. thrown outoftheirhomesinashortbrutalhistorytenyears. of thestorythatproducedalmost15millionhouseholdsbeing which financeisunderstood.Financialinstrumentsareonepart sectors. Yes, itisextractive…andyes,thisnottheusualwayin needs todevelopcomplexinstrumentsinvadeothereconomic is commerce.Financesellssomethingitdoesnothave,andthus which sellsmoneyataprice-interest.We allneedloans.Rather, it finance asanextractivesector. Itisunliketraditionalbanking elementary limit,verysimpleformsofbrutality. SoIthinkof truly problematicandnotatallimpressivepurposesand,the liant intelligencesandtheirknowledgeareputtotheserviceof is alsobrilliantknowledgetobefoundhere.Too often thesebril- clean-up oftoxicdumps?Thatisaverydifficulttask.Butthere and materialiseitintotransportsystems,socialhousing,orthe quadrillion dollars By theway, JPMorganoncetriedtobuylandinRussia.A IN THESHADOWSOFURBANISATION — three zerosmorethanatrillion!Whilethe — the Saskia Sassen — Who are we, the citizens? 396 of us,full-time.Ifyouhave beenintheUSAfor2days,youare There are10,000plusbuildings thataregatheringdataaboutall anything intherestofAngola.Thisisveryproblematic. done withthat,theyareoutofthere.Itisnotabout developing as a platform for accessing natural wealth. And when they are there isalmostnothingthere.Luandahasbeenfully re-invented most expensivecityforhigh-levelprofessionalsto go tobecause national corporateworldisdoingthat.Rightnow, Luandaisthe ing up Luanda as a platform to access natural wealth. The inter Luanda, the capital of Angola. A predatory elite in Angola is build particular set. The latestaddition to oneof these geographies is These areveryparticulargeographiesandallthatmatters isthat are totallyembeddedinWestern finance.Andothersthatarenot. east andwest.TherearepartsoftheChinesefinancialsystemthat privilege andthatarecentredincities;cutacrossnorth,south, but alsoofgeographiesprivilege.We nowhavegeographiesof geographies ofdeadlandandwaterthatareleftbehind, the wholecountryinvolved.TheimagethatIhaveisofthese it is dead and they move on. They do not care at all about getting imperialism. Theygetwhateverpieceoflandandwilluseituntil of imperialism,becauseithasnothingtodowiththeold-style caused throughtheseinvestments.2)Thisisaverydifferenttype populations, especiallyincertainpartsoftheworld,waspartly big citiesandgoestocities.Whichiswhyallthatgrowthinurban and soforth.Wheredidallofthatgo?Itgoestotheslums quickly. Theyevictsmallfarmers,theyruralmanufacturing, and basicallyevictfaunaflorasothelandearthdiemore cultural land…1)Theywanttomakeplantations,setupmines very differentkind.Whenthesebuyerscomeandgetallthatagri up against:Whoownsnationalterritory? owns thisland?”,youwillfindthatotherstoryIhavecome around theuniversity… have boughtavaststretchoflandaroundCambridge,England, secret clearance andisveryinternational. Ifyourbestalgorithm in thatdata-set. Itishuge.includes amillionpeoplewithtop This maybeseenasimperialism,butitisanimperialismofa When youbegintolook,whenputonthelensof“Who WHO AREWE,THECITIZENS? - - -

Part IV: Systemic Shapes 397 systems. Theirlogicisaverypeculiarone:Forsecurity, we,the The UK,France,Germany information aboutallofus.So,again:Whoarewe,thecitizens? does nothavetobeanAmerican.Thesystemkeepsgathering builder isanIndianmathematician,sheinthedata-set.She , but spaces. Butnotonlythat.Thinkofthestreetasjustarue,but of indeterminacy are becoming critical today. They are frontier Problematic. we, thecitizens,first,arepositionedassuspectforoursecurity. than surveillance,butitisusedforsurveillance.So,oursecurity, citizens, areallbeingsurveilled.Itisreallydatagatheringmore tures something aboutthecapacityof thecitytoneutralisewhat It isafamiliar imageandhasallended in greattragedy, butitcap Coming backtothestreet, thereisanimagethatIwanttoshare. no fasterthanapersonwalking. It says:allofthat,nothere. Here,yougojustlikealittleworm, capabilities areneutralised. Theyaregone.Thecityhasspoken. amazing. Itarrivesatacrowded downtownand,puff!,allthose beautiful, wonderfulcar made for any terrain, any road, something makes usintourbansubjects. that Ijustmentionedisthewayinwhichcity has speech,it but we do not know how to see it anymore. This rush hour run in thatarticlethat:Yes, wehavespeechandthecityhasspeech, speech becausewecanvote.Itisnotchatting,ittalking. Iargue significant categoryofits own. We, thecitizens,have political speech?” enabling urbancapabilities,inthissenseapositivething. is onespacebesidesotherurbanspacesthatcanbethoughtofas necessarily themurderer, butyouknowwhatImean.Thestreet catch thetrain.We areallurbansubjects.Ilikethatimage,not poor, immigrants,probably murdererstoo,weareallrunningto nic, weareurban.DuringrushhourinManhattan,therich, we areallurbansubjects.We arenotreligious,weeth streets. Thestreetisasortofspacewhere,atleastformoment, lot ofthestuffthatIhavedescribedtoyouisdoingawaywith talking about a highway that might be running through a city. A as anundeterminedspacethatcanbeusedinmanyways.I’mnot What areallthedifferent formsofspeechthecitytoday? Another verysimpleexamplethatIoftenuseisthis: Imaginea I havewrittenapieceaboutthis,asking“Doesthe cityhave Coming backtocitiesandthecitizen,Ithinkthatspaces 6 Onspeechasacategorydistinctfromthelaw, asavery 5 — all countriesintheWest havethese - - Saskia Sassen — Who are we, the citizens? 398 artists areoftenactuallyverygoodatit;unlikesocialscientists. rights. We need to beginunderstandthisspeechofthecity. And citizens, gain access into today’s world where we are losing our The biggerstoryhasendedintragedy, butnotthatmomentofit. is, ofcourse,inTahrir Square.Thatisaverypowerfulimage. What Ilikeisthemassesofpeoplewhoneutralisetanks.This is notmeanttobethere(inthiscasethemilitary)andurbanise. In thatsense,bythisnotionofthecityhavingspeech,we, See: http://www.newyorker. city-brown.pdf. publications/the-global- saskiasassen.com/pdfs/ in here,see:http://www. the globalcitydebatefits For ananalysisastohow 15 languages). 2014, (nowtranslatedinto Harvard UniversityPress in theGlobalEconomy, Brutality andComplexity Sassen, Expulsions: short article,seeSaskia of theissuesraisedinthis For afulldevelopment have-speech.pdf. publications/does-the-city- saskiasassen.com/PDFs/ See: http://www. city-brown.pdf. publications/the-global- saskiasassen.com/pdfs/ See: http://www. edu/content/2/2/204. See: http://socdev.ucpress. design?intcid=mod-latest4 down-bottom-up-urban- com/business/currency/top- 2 1 6 5

Part IV: Systemic Shapes 399 finance ascapability(fromLatincapere, do notactuallyown.Thisiswhatshecalls allow firmstoinessencesellwhatthey ments suchascreditdefaultswapsthat nate finance “a newsystemics”thathascometodomi In Saskia Sassen’s keynote, shespokeof of “generalintellect” firstdevelopedby knowledge brings tomindtheconcept and numericaltechniques. calculus, timeseriesanalysis,andstatistics partial differential equations, stochastic the mathematicalskillsrequired include management alternatives”…Concretely, exposures, structure transactions,” “risk “automated tradingalgorithms,”“analyse “cutting-edge derivativepricingmodels,” possesses itsowncuriouspoetryofcapital: as thefieldisknowninfinancialcircles, advertisement for positions in “strats,” and identify market opportunities.” The create financial products, measure risk, “mathematical andscientifictrainingto business problems,”i.e.toutilisetheir nological techniquestosolvecomplex website explains the aptitudesneededtodevelop firm’s on-goingthirstforindividualswith postings forGoldmanSachsrevealsthe Indeed, even a quickglimpse at the job her recentbookExpulsions: the worldofbanking.Assheelaboratesin outside whatwenormallyassociatewith forms ofknowledgethatrequireskillsfar terising ofthesefinancialinstrumentsas is perhapsmostinterestinghercharac- ‘to take’),ratherthanmoney. Butwhat Considering finance asaformof boardroom. the highlypaidexecutivesof beyond theunderstandingof the backroomismostlywell physicists. Themathematicsof backroom iswellstockedwith plifying itall,GoldmanSachs’s microeconomic models.Exem- here, notthemathematicsof and itsmodelsthatareinplay is themathematicsofphysics ing complexinstruments.It work ofinventinganddevelop- At theheartoffinanceis — the riseofcomplexinstru- 1 —“quantitative andtech Thoughts after Saskia Sassen Saskia after Thoughts — as the - - finance update thestrategy fourdecadeslaterin a prescientgesture. RobertMorriswould ful ofthebonds were eversold ultimate failureof theplan from hisroulettewinnings.Despite the investors a return of 20%, to be funded write his interest in gambling, promising to use the sales of these bonds to under doesn’t belongtoyou 1938)? Duchamp’s artists. Wasn’t thisthegestureofMarcel sent asasitethatmightbeoccupiedby the artmarket.Ithasalsolongbeenpre rithms used to model the behaviours of of theincreasinglysophisticatedalgo to thisrealm,andnotonlyintheform financial engineeringisn’t entirely foreign rary art?We mightbeginbyinsistingthat extracted fromthatintellect. surplus value is being most effectively of suchindividuals.Andfinanceiswhere today itisfixedinthebodies,andminds, the greatmachinesthatpoweredindustry, general intellectwassomethingfixedin be prolonged.If,inthe19 research at JP Morgan… the list could ling atMorganStanley, toquantitative at GoldmanSachs,tostratsandmodel to workincreditandmortgagestructuring centres inthefield Switzer jects intoprivatefinancialfirms.From from publicly funded scientific pro literally, withthedrainingofphysicists gain. Thiscanevenbeunder this publicgoodtowardendsofprivate the realmoffinancialengineering,turns over centuriesofpain pure mathematicalknow lective, social.” tion, becomesnecessarily“exterior, col its placewithinthemeansofproduc good.” Intellectualactivity, onceitfinds exterior andcollective,[…]apublic tary reflection butratheras“something to be under public-ness ofthought,whichisnolonger Briefly, generalintellectinsistsonthe range ofpost-operaistcriticaltheories. Marx but more recently redeployed in a — one ofthemostprestigiousresearch What hasthistodowithcontempo 4 land’s CERNparticleaccelerator — AswithSassen’s definitionof the sellingofsomethingthat stood as secludedandsoli Monte Carlo Bond Carlo Monte 2 Butthemobilisationof — — scientists haveleft staking inquiryin Duchamp hoped ledge, acquired — th century, the 3 only ahand stood quite — (1924– it was ------

Saskia Sassen — Who are we, the citizens? 400 truly innovative, creative usesofknowl there were actually two fields in which financial engineering,shementioned that Sassen’s lecture. Afterherdiscussionof sider alast,parentheticalcomment from private andcollectiveproperty. realm ofart,workingontheborders of of knowledgeintothe“autonomous” gous operation,divertingfinance’s forms Duchamp andMorrisperformananalo very differenteconomicstructure,perhaps return them tothegeneral intellect. In a them to their origins in the common, we tive skillstoobserveapainting,werestore motive. Whenwemake use of ourcalcula into aspaceofperceptionfreetheprofit ity ofthemarketplaceandshiftingthem been subjectedtothemeans-endrational ists taking“formsofknowledge”thathad realms, perhapsthiswasamatterofart- continuity fromcommercialtoaesthetic angle? Ratherthaninsistingonasimple we notseeitfromaslightlydifferent ways of seeing in the visual arts, but might of seeingintheconcretesocialworldand was a matter of a homology between ways aesthetic observation. exercise thosesameskillsinthespaceof deployed byartists,sothatonemight day commercialdealings were beingre they hadtomakeuseofintheirevery distance —that of weight, calculation —of suggested thatthemathematicaltoolsof new meansofrepresentingtheworld,and of thepaintingsandfrescoesutilisingthis stituted theprimarypatronsandaudience ered theFlorentinemerchantswhocon the techniquesofperspective.Heconsid- mental horizons that framed invention of sance, exploringthespecificperceptual “period eye”oftheearlyItalianRenais 1970s, MichaelBaxandallanalysedthe art history. Inafamoustextoftheearly tion? Perhapswecanfindananalogyin tions ofthespacefinanceandspecula- funds inthestockmarket. in whichheinvested$50,000ofatrustee’s the Whitney’s “Anti-Illusion” exhibition, Money (1969-1973),aworkproducedfor phy. Heretoo,itisamatterofthegeneral as wehaveseen,and Continentalphiloso edge wereoccurring atpresent:physics, But beforeconcluding,weshouldcon How shouldweconsidersuchoccupa 5 For Baxandall, this ForBaxandall,this ------/

for anewsubject? to be an active form ofcreation, a medium one componentofthe general intellect,but relation. Whatelsecouldweaskofartas simply submittingwhollytotheexchange tistic practices their ownparallelsincontemporaryar for thenewsubject.” form ofwritingthatwouldbethemedium tion finally, todevelopanewstyleofexposi to questionthebasisofsubjectivity;and, an interventionintothepoliticalarena; unity oftheoryandpraxis;toseeitselfas itself withineverydaylife;toinsistonthe to divorceitselffromexistence;inscribe experimental modeofthought:torefuse He namesfivecharacteristicaimsofthis “the adventureofFrenchphilosophy.” intellect, andofwhat AlainBadiou calls Tom McDonough — “to turnphilosophyintoanactive

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at least those that resist 6 Perhapsthesehave - -

Part IV: Systemic Shapes 401 Verso, 2012. ture ofFrenchPhilosophy, Alain Badiou,TheAdven - 1988, c1972. Oxford UniversityPress, History ofPictorialStyle, A PrimerintheSocial in Fifteenth-CenturyItaly: Painting andExperience See MichaelBaxandall, Press, 2008,p. to theWar Economy,MIT From theNewEconomy Capital andLanguage: See ChristianMarazzi, pp. 37–38. 2004, Forms ofLife,MITPress, Analysis ofContemporary of theMultitude:Foran Paolo Virno, AGrammar p. 119. Belknap Press,2014, in theGlobalEconomy, Brutality andComplexity Saskia Sassen,Expulsions: 6 5 4 3 2 1 44. 402 ANNA: Butyouunderstoodthat,inthe IVAN: Yes, asinalackofproductionand ANNA ZHURBA:Areyousayingineffi IVAN ISAEV ALEXANDER ZHURAVLEV: The6 consider abiennialmechanismof partial supportforSasha.You may we needtoprotest? took place,inefficiency isexactlywhat specific contextin whichthisbiennial pear tobeaninstrumentofresistance. included init.Allthesame,itdoesap pleasant enough for those who were nale wasunattendedandshort,but mentioned thatthe6 come the opposition. You’ve already be inefficient,andasaresultalso- a strategythatwemayuse.We should materialisation ofobjectsarepart productivity, anti-production andde- regime. From that point of view, anti- tries toofferanoppositionthis neoliberal consumerism.Artalways for contributingtotheconceptsof part ofthetourismeconomyand often rightfully criticised forbeing resistance. Atthesametime,theyare 2015 editionofthebiennial. efficiently. Just as efficiently as the loosely definedbudgets,quietlybut their business without excessive and for silentprojects,whichgetonwith money. Maybethetimehascome are projects that need more than just time to reconsider: ambitious projects easily hidebehind.Butperhapsitis the sortofthingthatyoucanreally positive, benevolentandbright.It’s tious, to say something new, to be international exhibition to be ambi everyone expectsacuratorofglobal, sive techniqueofresistance.Normally, lack of ambition is a fairly progres that critiquebutdefendit.To me,that a lackofambition.Iwanttogowith Contemporary Artwascriticisedfor edition of the MoscowBiennalefor productivity. ciency isaformofprotest? : I want to add to that my th MoscowBien- On inefficiency th th - - -

MARIA MKRTYCHEVA : Itseemstome IVAN : Inthatcase,weoughttoprotestthe ANNA: Still,itseemstomethatifwe IVAN: Economicefficiencyalwaysde EKATERINA SAVCHENKOdepends: It ANNA: SocialprotestinRussiaiswholly IVAN: Whatdoyoumean? indicators, forexample thepursuit define itinterms ofquantitative on howwedefine efficiency. We may against inefficiency. that Annawantedtosaysomething ciency intheeconomy. that weshouldprotestagainsteffi at the core of neoliberalism. I believe indicators fortheglobaleconomyis efficiency, maximising the quantitative organisations toachievemaximum cantly. Givenallthe attemptsofthese cally ledthepriceofoiltofallsignifi- some sortofsetback, which specifi- of oilproductionintheArcticsuffered duction). Imagineiftheprogramme unprofitable (suchasshaleoilpro dangerous methodsofoilproduction It willmakecertainmarginaland the ecologicalsituationincountry. cause itwillhaveapositiveeffecton and welcometheloweroilprices,be- doubt. We shouldwelcome the crisis efficiency oftheeconomy, withouta indicators… thinking globally, we return to general stop thinkingonlyofRussiaandstart group ofpeople. built toservetheneedsofanarrow the efficiencyofthateconomy. Itis person isnotaparametertodetermine on. Butthewell-beingofanaverage certain indicators,suchasGDP, rely tively easy, withoutrisks.Thatiswhat system allowspeopletobenefitrela- for that our economic system was built in mind.Ifyoulookatthepeople pends onwhoseinterestsyouhave nomic tomanagerial,etc. inefficient inallitsforms,fromeco — 1 it wasbuiltveryefficiently. The - - - -

Part IV: Systemic Shapes 403 MARIA M.:Andallwhileachievingour ALEXANDER ALEXANDER: Yes, I doseethatasa ALEXANDER: Iwanttospeakabout IVAN: Well, a gatheringinitself is apro- down to some extent, socialist ideals. Of I thinkthatallmodernartcarries, quality? But canwealsodefineitintermsof largest numberofvisitors,artists… of thelargestquantityoil, more smoothlythan ours. ual goals,becausetheirsystemworks complicated to achieve your individ individual goals.IntheWest itismore liberal economy, oranythingelse. system: thecommunistone,neo knowledge abouthowtodestroyany the West, we are a treasure trove of and wehavewon.Inthatsense,for fight against neoliberal economics, Here, wearethechampionsin of inefficiencyisindisputablyaplus. being seeninthe West as a champion important. Infact,thistalkofRussia to Western realities,and whythatis what hashappenedheretotheWest, congregate inapublicplace. bidden formorethantwopeopleto test, sinceasweallknowitisfor something, that’s whatIcallaprotest. of groups,gatheredtogethertodo would beaformofprotest.Theidea of protest.Inourcontextefficiency Ivan’s ideathatinefficiencyisaform cisely theBiennale…Ijustoppose communication. Therefore,itispre in thefieldofinefficiency, including but evidently our countryis champion socio-political and economiccontext, tors were able to comprehend our don’t knowto what extentthecura in thebroadestsenseofword.I project liketheBiennaleseessociety of efficiency. Itseemstomethatany is notthegenerallyacceptedmeaning nomy foracertaincliqueofoligarchs course, theimprovementofeco side, becauseit isveryeasy : Maybe this is naïve, but - - - - -

IVAN: MARIA S.:Whentheycame tothedes ALEXANDER: Ifweaddresswhatthe ALEXANDER: Well, yes, in a way. And to MARIA STEPKINA understood straight away… troyed central pavilion, they probably from within… we have,ofbreakingthesystemdown experience offightingthesystem,like the Russians there. They’d get abit of sia isthattheybecomeRussian,like the curatorswhentravellingtoRus The worstthingthatcouldhappento observer itissomethingavant-garde. jects ofmodernart.To theWestern in aseriousofincomprehensiblepro- just anotherincomprehensibleproject unprepared Russian observer it was understood byanyone.Butforthe to thisbiennial,andthatitwasn’t hard tohidethefactthatnoonecame bien toric gesture. visited. Itbecameaveryradical,his- artists takingpartandthepeoplewho of luxurygivenbythebiennialto nale. That’s anexampleof inefficiency, observer gotnothingoutofthisBien- Biennale’s expense.Inprinciple,the coming together and relaxing at the nels but, in fact, it consisted ofpeople financed usingallinformationchan whole biennialwaspromotedand to aCaribbeanislandrelax.The rists, his friends, and taking them all collecting a group of artists and theo- budget wasblownbythecuratoron ibbean Biennale,wherethewhole of thisBiennaleisdifficult. talk intheWest abouttheinefficiency ence inefficiencyfirst-hand… sian observer. will seemalittlestrangetotheRus about theefficiencyofthisBiennale less, whatIwassayingisthattalking certain personal gains. But neverthe once you’ve destroyed asystem toget There’s anexampleofthe6 nial didfortheRussianpublic,it’s : Because they experi th Car ------

On inefficiency 404 Zhuravlev Alexander ALEXANDER: Well, whynot?…Maybe IVAN: Doyoumeanthatthecollapseof ALEXANDER: Yes indeed,it’s allabout Maria Stepkina Sona Stepanyan Ekaterina Savchenko Maria Mkrtycheva Ivan Isaev Anna Zhurba big projectslikethat. it’s perfectly possible; the collapse of start withthesixthinMoscow? the institutionofBiennalewill inevitable…? Biennale alsohastoacceptthe here tosufferdefeat, came heretolose,andHitler maybe thebiennial,justlikeNapoleon the destruction of the system. And — maybe the beyond. in Moscow, Russiaand with afocusonits impact re-evaluated thebiennial workshop meetingsthat sation duringtheseveral is atranscriptofconver this publication.Thisone several contributionsto participants cameupwith During theirmeetings,the notion oftogetherness. platform toreflectonthe Foundation asadiscursive shop, conceivedbyV-A-C Young Curators Work- This textisaresultofthe 1 -

Part IV: Systemic Shapes 405 Citizenship Constitutions of Transnational The Global CivilParade. Pascal Gielen— Turnhoutsebaan, the then mayor of Antwerp abolished the city the normsand valuesoftheircountry.” Inresponseto theriotson saying, “Young people and immigrants must urgently be re-taught the formerBritishprime minister puthismoralfingerintheair dung-heads]. Whenithappened inDavidCameron’s backyard, ister MarkRuttentalkedabout ‘achterlijke [dim-witted gladiolen’ du banlieues’ [thevillainsofthesuburbs] whileDutchprimemin works. Atthetime,Nicolas Sarkozy coined the phrase ‘les crapules politicians havealreadyproventofallshortoninterpretive frame remains elusive. other words,whilethesymptomisclear, theunderlyingdisease is going to burst or whether there will be no eruption at all. In sides, itcanbeparticularlydifficulttoimaginewhether thedam also, quitemassively, triggeracivicroar, remainsunclear. Be However, thereason reactionsaresosevereandwhythey controversial arrests,orevendeathscausedbypolice violence. the Schilderswijk of The Hague; game aroundAntwerp’s Turnhoutsebaan orthestreetviolencein of London,inBrussels’Molenbeekdistrict,thecat-and-mouse any comprehension. those ofunusuallylargedestructiveproportionsthatarebeyond its immediatecausecanbeidentified,eruptionsarise,especially as muchincomprehensiondoesterrorism.Althoughsometimes traceable toGodoranyparticularcountry. Thatiswhyitemits explanation forthekindofviolenceaddressedhereisnotdirectly startled atintervalsbysuddenbutintenseoutburstsofrage.The oozes throughouttheworld.Overpastdecadewehavebeen That violenceincludesaformofaggressionthatratherinsidiously distract usfromanotherkindofviolenceIwanttodiscusshere. The terroristattacksandpervasivethreatsthathangoverustoday Surprised byasuddeneruption,themainstream media and Whether it be riots in the banlieues Antwerp, October 2016 CREEPING RAGE — its cause is often ascribed to of Paris, in the suburbs - - - Pascal Gielen — The Global Civil Parade 406 ultimate medicineforsocial diseasessuchasviolentoutbursts. ‘Big Society’andactivecitizenship seemedtobeDavidCameron’s citizenship’ andthe‘participatory society’cametothefore.The participation policies.Thereby, eversooften, thenotionsof‘active years, relief has also been sought in improved integration and must be addressed proactively and more thoughtfully. In recent rational solutions.Themotleycrewandtheirsenseless violence and mediahavecalmed,thehorizonisclearopen formore As soon as feelings have cooled down and insults in the streets who isandnotpartofthedreamsociety.” concept ofcitizenshiptopromoteadiscoursethat makesclear the formalsense.Thestateistryingtoeffectthisby adaptingthe will leadtoaquasi-eliminationofcitizenshipformanycitizensin of citizenship.When‘integration’isthenseenas‘citizenship’,this citizenship becomesthecentrebyemphasisingformalaspects stretched moreandintoday’s policy. Themoralsideof Willem Schinkelputit:“Citizenshipisaconceptthatwillbe citizen is, or should be and should do. As the Dutch sociologist includes theextra-legalnormativeinterpretationofwhatagood citizenship concernsthelegalstatusofacitizen,moral moral interpretationoftheword:Whereformalconcept confronted withanotableshiftinmeaning sion andexclusion.However, overthepastdecadewehavebeen ship has always existed to create aregulatory mechanism of inclu very least,doubtful. Dutch, RussianorEuropean.Theirrighttocitizenshipis,atthe are justnotworthyofbeingAmerican,Belgian,British,German, may indeednotsimplybeforjustanyoneanymore.Somepeople do notwant to change must relocate. The city and thecountry ric. Citizens must be retaught norms and values, and those who on thestreetsareaccompaniedbyastrikinglymoralisingrheto- longer foreveryoneanymore. slogan ‘TheCityisofEveryone’.Fromthenon,thecitywasno European citizenship wasfirstofficially mentionedintheTreaty But wealso see theseconceptsemerge onaEuropeanlevel. The responsestotheseviolenteruptionsremindusthatcitizen Repressive measures such as zero tolerance and more police ACTIVE CITIZENSHIP — from aformalto 1 -

Part IV: Systemic Shapes 407 A similarshiftcanbeobservedinthedefinitionof participation. competitive anddynamicknowledgeeconomyoftheworld. citizenship wasunderstoodasameansofmakingEuropethemost again eightyearslaterattheLisbonCouncilofEurope.There, of Maastricht in 1992. The notion of active citizenship emerged We see thesepersonalandsmall dependenciesinthereturn of more appreciation thanlegal-technical orpoliticalrelationships. cracy ofthewelfarestate. Moralandemotionaltiesthusreceive selves, asopposedtothealoof nationallevelandfacelessbureau the intimatelocalandaffective relationshipsamongcitizensthem the government. are calledupontocarefor eachotherandbelessdependenton are slidingtowardsaratheraffect-ladendiscourse.Herein, citizens At thesametime,legal-technicalsemanticsaround citizenship the participationrightofacitizenisrenamedmoral obligation. observe areturnofthedebatetobalancerights andduties: a politicisation as well as an individualisation. Thus, again we the politicaltomoraldimensionofcitizenship impliesboth political participationtoself-reliantparticipation. The emphasisheredrawsequallyfrominfluencing policieson global economy.” ously engageinlearningsoastokeepupwiththedemandsof right ofthestatetodemandallitscitizensthattheycontinu- individuals needtotakeresponsibility, whileithasbecomethe that lifelonglearninghasincreasinglybecomeadutyforwhich vide resourcesandopportunitiesforlifelonglearning,itseems individual’s right,whichcorrespondedtothestate’s dutytopro- rights andduties:“Whereasinthepastlifelonglearningwasan terms ofeducationleadtoaninterestingre-definitioncivic economy. According totheDutchpedagogueGertBiesta,these first andforemostadesiretointegrateparticipateinthe people settlewithinthelabourmarket.Thus,citizenshipincludes how to be productive. That way, education is supposed to help perspective (oflearninghowtobehuman)oneof transformed thepoliticallandscapefromonewithahumanistic Over thepastthreedecades,missionofciviceducationhas The new politicised morality of affective citizenship focuses on The newpoliticisedmorality ofaffectivecitizenshipfocuseson THE PARTICIPATORY SOCIETY 3 4 The swing from Theswingfrom 2

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Pascal Gielen — The Global Civil Parade 408 tional setback,attitudesabout governmentresponsibilitieshave her servicesavailabletosociety. or hecannotfindwork,the citizenmustvolunteertomakehisor performs afunctionforsociety, theeconomy andtheGNP. If she new rhetoric,acitizencan onlyclaimcivilrightswhensheorhe also thattheyareavailable(andflexible)forwork. Within the they wanttointegrate,participate,learnthe language, but duties. Someone wishing to be a citizen must thereforeshowthat active citizenshipisthereforeoftenaccompaniedby anappealto these functions,heorsheisentitledtocitizenship. The appealto that heorshefulfilscertainfunctions,atleastintends tofulfil one whohastodosomething.Onlywhenaperson canprove rights, butthepersonwhocandosomething,and particularly It isnotthewholepersonwhichtakenassubject ofcivil humanistic vision of citizenship toward a functionalist perspective. The ever-louder callforpersonalresponsibilitysawashiftfrom of normsand values. as asolutiontoboththecrisisofwelfarestateandblurring From apoliticalpointofview, thenotionofregularityispresented searching foranewbalancebetweengovernmentandthecitizen. rich andpoor, etc.). and thesick,betweenemployedunemployed, solidarity structurally(betweengenerations,betweenthehealthy becomes lessandthedutyofgovernmenttoorganisethis Solidarity issimplyapersonalmissionandresponsibility, andit solidarity, clearlyreflectingthetrendtowardsindividualisation. citizenship, focusshiftsontoone’s ownresponsibilityandactive sibility’ or simply ‘taking part’. With the emergence of affective terms suchas‘personalstrength’,‘civilpower’,respon- to the notice of civic duties. For example, in Belgium in the autumn to thenoticeof civicduties.Forexample, inBelgiumtheautumn changed aswell. Atleastthegovernment obligations areattached that representsareceding,minimalstate. this signification fits well with a neo-liberal conception of society government. Itrequireslittleargumentationtodemonstratethat (individual) responsibilityoftenimplieslessforthe In linewiththisshiftfrom ahumanisticperspectivetofunc- With thetermindividualresponsibilityrulersarealready FUNCTIONAL CITIZENSHIP 5 Activecitizenshipwithafocusonprivate

Part IV: Systemic Shapes 409 in exchangeforchildbenefits? school attendance.Canwecoerceparentstoteachtheirchildren ally grantchildbenefitswithouttheneedforthistobelinked of 2015,apoliticaldebateeruptedonwhethertouncondition critical citizenship. Already, socialcriticismoftentimes derives relations. Active citizenship seems to displace the possibility of more, theylearntounravel deepersocial,politicalandeconomic learn toargumentwith others andothers’opinions.Further cesses ofsubjectification whenindividualsareconfrontedand tencies thatallowthemto putthisorderintoquestion. an existingsocialorderand culturewithoutempoweringcompe- and integrationstrategiesaredesignedtointroduce individualsto terms, mainlyasamatterofsocialisation.Thatisto saythatcivic political order.” “the citizenwhowillcontributetothereproduction of theexisting macro-political problemsarekeptoutofsight. less reflectedinthediscourseoncitizenship.Thus, structural and pose politicalquestionsortoadoptademocraticrole tobemuch deeds. Ontheotherhand,wefindcallstobecourageous, topro- they mustintegratesociallyor should simplyprovidegood She orhemustdeveloptheirowntalents,theybedynamic, will bepresentedontheotherhandwithawiderangeoftasks. to someversionofaminimumpackage.This‘minimumcitizen’ larly doingtherounds:Thecitizenisstripped. better-said ofcivilrights.Or, asonephrasehasit,whichispopu- of thewelfarestatealsogeneratesa‘shrinking’citizenship,or vate pensionsavingsandprivatehealthinsurance.Thedismantling one’s ownaccount.Thesamecanbesaidaboutencouragingpri- as acivilrightandcollectivepublicdutytopersonalchoiceon student loansintheNetherlands,forinstance,reduceseducation carry theirownrisks.Therecenttransitionfromscholarshipsto citizens do not only take individual responsibility, but they also taneously linkedtotheincreasingobligationsofcitizens.These not onlybeingreduced.Theremainingpublicservicesaresimul- the Rhinelandmodelasobviouspublicservicesforallcitizensis tion, etc. are increasingly questioned. What was guaranteed in benefits suchassocialsecurity, pensionschemes,(free)educa Criticism and political action, on the otherhand, assume pro- The Belgian dispute is an example that shows how welfare The active citizen, according to Biesta, is therefore primarily Nearly everywhere,formalorlegalcitizenshiphasbeenreduced 6 Integration and citizenship are cultivated, in his - - -

Pascal Gielen — The Global Civil Parade 410 Almagul Menlibayeva

xxx Pascal Gielen — The Global Civil Parade 412 government would not consider entitled to these rights. Dissensus government wouldnotconsider entitledtotheserights.Dissensus policy (orthosewhodon’t want to seethem)orthosewhothe out civilrightstothosewho cannotseethemundertheprevailing losopher JacquesRancière. what isnotyetvisible,to speakinthewordsofFrenchphi- between differentopinions. Itsmainconcernistomakevisible sensus doesnotjustmeandiscussion,argumentor disagreement agony anddissentarethecoreof(deliberative)democracy. Dis- by therhetoricofactivecitizenshipandparticipatory society. But well astheneedfordissentamongcitizensseemsto bereplaced especially its shape, must constantly be a topic of discussion, as discourse inthepoliticalarena.Thefactthatdemocracy, and zenship isthusinlinewiththeshiftfromademocratic toamoral deserve politicalrights. Apparently, theretardedorthosewhoare‘ofdevil’cannever politicians likedtouseafterviolentoutburstsofprivatecitizens. such as‘crapules’orachterlijke gladiolen’ thatleadingEuropean of Evil’aftertheSeptember11attacks,rememberabusivewords language usedbyGeorgeW. Bushwhentalkingaboutthe‘Axis for politicalreasonsbutonmoralgrounds.Rememberthewar Those whodo not want to embrace these values are not excluded form ofpolitics,anyonewhodoesnotendorsethisisoutlawed. assuming thatliberalrepresentativedemocracyistheonlytrue political space.Astheconsensusmodelclaimstobecorrectin ing normsandvalues.Thosewhodon’t, simplyfalloutsidethe thus assumes also that every potential citizen endorses the exist- (liberal representative)democracyareinconsensus.Themodel but alsothatthedecisionsbasedwithinandbeliefsabout Which assumesaconsensusabouttheexistingpoliticalmodel, disobedience. zenship toinciteneighboursorcolleaguesactivismcivil potential employers.Itbelongslesstotheregisterofactiveciti- a ‘socialskill’toallowcitizensspeakwithneighboursand emancipate. Empowermentnowadaysisreferredtoasprimarily active citizenisthusencouragedtocontribute,buthardly marily withone’s ownlimitedactivityandresponsibility. The pri from self-criticism.Whatgoeswrongintheworldhastodo ecological, social, political or economic rights; rights which no can alsomean thattheinhabitantsof acitymayclaimcertain The previouslyidentifiedtransitionfromformalto moralciti- New conceptionsofcitizenshipfitademocracyconsensus. 7 Dissensus means for example to point Dissensusmeansforexample topoint -

Part IV: Systemic Shapes 413 one another. interconnection makesitsothattheylearnfromand strengthen sequence ofactivitiesthatcounts.Moreover, theirgrowingglobal disappear asfasttheypopup.Butperhapsitisthe continuous into anewcivilsociety. Ithastobesaidthattheiractionsoften background ofalltheseinitiativesmaybe,theyare allkneaded in Italy to over againtoalwaysindicatedifferentpossibilities. claim. Dissensusquestionsandbreakstheconsensusover one placed all over the world. Virtual connections and global networks tives may appear, the components for a new civil society are being be unstoppable.However heterogeneoustheseactionsandinitia nects withtheKitchenware RevoltinIceland.Theflowseemsto explains indepthhow, forexample,theEgyptian Revolutioncon ments in the Internet Age, theSpanishsociologistManuel Castells and IndependentCultureinCroatia,fromTeatro Villa Occupato Amsterdam, fromAnonymousinCanadatoCulture 2Commons Universal inSpaintotheoccupationofMaagdenhuis in to Pussy Riot in Russia, from immediate globalforum.FromtheZapatistas in Latin America ties subversive orarevolutionarypractice,forfunreformistactivi net todayisaninstructivemanualforcitizens’initiatives.Beita organisational formsobtainadirectglobalresonance. only disseminatetheirmessagesinstantly, alsotheirtacticsand mirror allovertheworld.Virtual networksandsocialmedianot locally, buttheir activitiesapparentlyaresoinfectiousthatthey are holdingaparadeacrosstheglobe.Inmanycases,theyoperate Today, however, processionsofactivistsandcitizens’initiatives global vigourofthiscivilmovementmostprominentlytolight. ing worldwide.PerhapstheIndignadosandOccupybrought kets, between unions and employers, further civil space is open- dissent ismentionedmoreoften.Betweengovernmentsandmar The remarkablypositiveeffectoftheoutlinedevolutionisthat Networks of Outrage and Hope: Social Move - Social Hope: and Outrage of In hisbookNetworks Anyone browsingthewebunderstandsquicklythatInter — — new meansofcommunicationprovidetheseinitiativesan apart fromthemselves Hart boven Hard in Belgium boven Hart THE CITIZENS’PARADE — would assumetobeallowed Recetas Urbanas and Sanidad Recetas — however diverse the - - - -

Pascal Gielen — The Global Civil Parade 414 scope, andthenewcivilianwillbeaglobalcitizen.Thismay tions rate.“Where isthepleasureinmy profession?”musesthe of allthis?”wondersthe surgeon whenhechecksoffhisopera- forms oncompetencesand contacthours.“Whatisthemeaning teacher askshimselfinthe eveningwhenheisgoingthrough of theverymeaningit all.“WhyamIstilldoingthis?”the as theeconomisationof(active) citizenshipcausesaquestioning might havebeenfoundin education,justiceandhealth,asmuch bureaucracy crushesanymeaningorprofessionalsatisfaction that parameters, hindersthegrantingofmeaning.An accumulating as managementpolicydeprivescitizensofallmeaning. or politiciansingeneralarethereforelosingtheirpublic support, administration seemsalmostheartless.Authorities,administrators along with technocratic audits, accreditations and monitoring liberal economicmeasures,cutsandrestructuring operations, of ‘natural’competitioneverytime.Harshrepressive politicsof subsequent actionsbreachthedemocracyofconsensus andmodels varied andvolatiletheactivitiesofthesecivicparadesmaybe, actions arebringingpreciselythisintothelight.Nomatterhow economic ideology. Emergingglobalsocialmovementsandcitizen private property and capital. Our voting policy hides a political- Liberal representativedemocracyservesnotsomuchcivilrightsas of thecurrentpolitics. it’s thatitisbecomingincreasinglydifficultto hide thetrueface structures. Ifthereisanythingpositiveabouttheon-goingcrisis, budget servesas an excusetofurtherreducewelfareandsolidarity nations, infactappearstofulfilaneoliberalagenda.Abalanced backyard. Afterall,democracy, asisdemonstratedinquiteafew to denythatanewdemocracyisinthemakingtheirown subjects bymeansofliberalrepresentativedemocracy, itishard national governmentsofEuropethinkthattheycanrestraintheir all soundsomewhatpremature,andoptimistic over thisphenomenon. make it so that national governments have less and less control judge who now finds himself in a competitive atmosphere with his A technocratic policy that only navigates according to economic A technocraticpolicythatonlynavigatesaccordingto economic The new civil space that stands in scaffolding has a global MEANING — but whilethe

Part IV: Systemic Shapes 415 with meaning.Theymakeitpossibletogivemeaningourown windows andstreetfurnituretosmithereens. enjoy our civil rights?” the mob thinks when they smash shop colleagues. “And why do they even involve us when we hardly ignored fordecades, whotheyhaveneglected inevery(electoral) and mediasuddenly turntheirattention tothosewhohavebeen significance. Andindeed, when theriotsdobreakout,politicians resort tothosewishing be noted,wishingtoprovidethemwith When everyaccesstomeaning isdenied,thefistfeelslikelast sense thatitisthelaststraw formanywhostilldemandanysense. ever-expanding meshofthedwindling welfarestate. comes moreandtorelyonviolencewhenfaced withthe It isthereforenotsurprisingthatthegrowinggroup inquestion increasingly deprivedofthepossibilityameaningful existence. functional. Whatitcannotprovideisa‘soul’.Thus thecitizenis state, butalsobetweenemployeeandemployerseems simpleand with society. This rationalisedrelationshipbetweencitizenand sees herselforhimselfmore and moreinacontractualrelationship start calculatingmorethemselves.Inshort,thequantified citizen she orhe still paystaxes. Anyone whois quantified isgoing to free educationandhealthcare,thecitizenindeed wonders why culture andpoliticalidentity. tive citizenstooareincreasinglylosingasenseoftheirnational to assignthemselvesmeaningintheircountryofdestination,na- while refugeesandothernewcomersfinditincreasinglydifficult this resultsinstress,burnoutsandsometimesdepression.And work inside the society in which they dwell. As is well known, People are finding it increasingly difficult to give meaning to their Besides money, there is something else that makes a civilian life. poverty; butnewcomersmayoftenbegivenaverymodestincome. leads theso-calledprecariattodespairinlatecapitalistera. capitalist times),itisnowratherthedeprivationofmeaningthat lying disease(namelytheexploitationofproletariatinearly revolts andindustrialactionswerethesymptomsofanunder process ofsignification.We mightputitthisway:Whileworkers’ liberal policy that focuses on quantity now blocks precisely this being, our place and identity in a society. The continuing repressive This so-called‘senseless’violence isindeedmeaninglessinthe When thestateisphasingoutstructuralsolidarity, hampering For now, thedoctor, teacherorjudgelivetheirlife,notyetin Both professionalism and citizenshiphave a great deal to do Pascal Gielen — The Global Civil Parade 416 or politicalbut cultural.Theactionsof Anonymous,PussyRiot erogeneous struggle isnotexclusively economic,environmental their profession,own beinginsociety. Therefore,thehet- The citizens’paradewants toregainmeaningfortheirexistence, mon struggle.Butwhatis thesharedpoint? and educatorsareincreasingly findingiteasiertojoinina com- and women’s rightsorganisations,artistsanddoctors,architects mands. Thepointisthatecologistsandtradeunionists, migrants’ represents atotalchangethatcanonlylayoutheterogeneous de- is, however, preciselythecruxofmatter. Thecitizens’parade dismiss them aspeople who donotknow whatthey want, this encounter awholejumbleofdemandsandconcerns. looks atthebulletpointsofIndignadosorHart boven Hard will own lives,asthetradeunionsofyesteryearoncedid. Anyonewho social movementsarefightingnotonlyforlabour rights intheir is thatthismotleycrewconstantlymixingwitheach other. New feminists andtradeunionactivistsemerges.Whatisstrikinghere immigrants, artists, scientists, homosexuals, environmentalists, it increasinglydifficulttosufferitscitizens,acolourfulparadeof their ownlives;andwhenliberalrepresentativedemocracyfinds to presentapicture of the full cultural richnessand diversity in to giveahearingallvoices,whenevenpublicbroadcastersfail life itself.Whenthemainstreammediafindsitevermoredifficult tives emergestoreturnmeaningwork,citizenshiporsimply Athwart thesenselessviolence,however, avitalisticfloodofinitia ‘krapuul’ andgladiolen’. That istheparadoxicalsenseof‘meaningless’frenzy the onlywaytoreclaimmeaning,writeoneselfintoaculture. a man has been cut offfromculture,sometimesviolence seems or sensewithwhichtosignifyapersonandhisenvironment,when of culture. When a culture can no longer provide sufficient signs wards oneself(asinsuicide)isfound,otherwords,ontheedge any meansofexpression.Aggressiononthestreet,butalsoto violence isthefinalresortofexpressionforthosewhoaredenied meaning, fromwhomtheyhavetakenawayanysense.Inshort, Presumably thisisthealready identifiedmatterofmeaning. While quiteafewmainstreammediaandpoliticians easily THE CULTURAL COMMONS - - 8

Part IV: Systemic Shapes 417 and society. new, differentwaytopermitthemgivemeaningthemselves intention isthateconomics,politicsandsocietyareshapedina litical, economic or concern gender equality. But their primary or rights welose, thebiggerhunger formeaningandculture the higher management stacks bureaucracy, and the more civil optimistic aboutthis.The morerulershidebehindbudgetdeficits, keeps a true democratic culture alive. And we should be quite for meaningandpurpose. Butitispreciselythisdissensusthat Naturally, conflictingdemandsanddesires collideinthebattle a lotofsquabblingandbickering setthesceneofcommons. monious community. There is no hippie romanticism here, but the fewsanctuariesremainingformeaning. calculated awayinacivilbudget,thecommonsprovide oneof sional enjoymentandpridearedownsized,civil rightsare or ontheweb.Whenjobsatisfactionismanaged away, profes commons, isrestoringacommonautonomousplace inthecity semi-legal constructions,Wikipedia, opensource andcreative the civilianparadewithitspublicactions, shared city gardens, social placetheyaretryingtogenerateiscalledthe commons. of thismurmuringcrowdis,asstated,togivemeaning.Andthe form theconstituentcomponents.Thepurposeofcommunity arrangement ofourlifeinitstotality, forwhichallthesethings crimination againstwomen,butturningmoreandtothevery unequivocal concernsasafairincome,globalwarmingordis desires canbeprojected. generate animaginaryspaceinwhichthemostdiversewishesand demands. Preciselythismakesartisticexpressionpossible.They they hold together a motley crowd with the most heterogeneous they dohowevergenerateeachofthesepossibilitiesand,aboveall, world differently. Howeverfictionalorutopiantheymayappear, that theyofferanimaginaryspaceinwhichtoconceptualisethe Hard paradeallhaveincommon boven the giantsofHart of PussyRiot,theguerrillaarchitectureRecetas Urbanas, and plays acrucialroleintheiractions.Thesubversiveperformances movements. Hencecultureasareservoirofmeaningandpurpose Recetas Urbanas undeniably have aims that are social, po Recetas We should not delude ourselves: The common is not a har Between marketandgovernment,privatepublic property, The growing citizens’ actions are no longer limited to such The construction of meaning is the central concern of all these - - - - Pascal Gielen — The Global Civil Parade 418 all, togivelifemeaningagain. is spreadingworldwidetohelpburyneoliberalismonceandfor and meaningfulparadesarebeingheldtoo.Thecitizens’parade happens throughviolentoutbursts,butmoreandcolourful will becomeandthehardercommonsact.Sometimesit 9, p. 192. 196, heidswet, 93(5),pp. ing. Tijdschrift Gezond- de participatiesamenlev- erschap vanouderenin Betekenissen vanburg- Ruwaard, D.(2015). man, K.,Jansen,M.en Van Hees,S., Horst- p. 66f. Ibid. Sense Publishers,p. and society.Rotterdam: ing democracyinschool Biesta, G.(2011).Learn- p. 48. pp. 265–283, 36(2), ship. CriticalSociology, Virtualization ofCitizen- Schinkel, W. (2010).The 4 3 2 1 34. 191– mtra, pp. 19–66. Amsterdam, dation ofPolitics . Valiz: No Europe:Onthe Foun- Gielen (Ed.),NoCulture, European common’.InP. The substructurefora T. (2015),‘Culture: See Gielen,P. andLijster, New York. Aesthetics. Bloomsbury: Dissensus. OnPoliticsand See Rancière,J.(2015) Sense Publishers,p. and society.Rotterdam: ing democracyinschool Biesta, G.(2011).Learn- p. 11. bureau, Sociaal enCultureelPlan- Rapport 2012.DenHaag: heid, SociaalenCultureel eigen verantwoordelijk- verzorgingsstaat, meer oep opdeburger, Minder Vrooman (red.),Eenber Jonker, L.vanNoije&C. heid. In:Veldheer, V., J.-J. burgers, regisserendeover V. (2012).Responsabele van, Jonker, J.J.,Veldheer, Vrooman, C.,Noije,L. 8 7 6 5 43. - -

Part IV: Systemic Shapes 419 The Invention of Eurasia Venkov, Vasily Zharkov — Evgeny Gontmakher, Dmitry Ilya Budraitskis, BorisDolgin, Moscow, 30 EVGENY GONTMAKHER: I’mnotahistorian.more ILYA BUDRAITSKIS:Let’s talkaboutthestrangeandproblem tions ofEuropeandAsia. values andintereststhatdifferfundamentallyfromtheconcep or withoutexclusionlogicsand2)apoliticalprojecttoinsiston without borders,colonialism,racialinequality the discoursesplitintoaninterpretationofEurasiaas1)aspace bate inRussiaforalmostacentury. Thetwomaindirectionsof political pointofview. Zharkov discussedthenotionofEurasiafromaneconomicand Gontmakher, artist Dmitry Venkov and political scientist Vasily Ilya Budraitskis,politicalscientistBorisDolgin,economistEvgeny in a Centre in a City in the Heart of the Island of Eurasia, historian On theoccasionofMoscowBiennaleHow to Gather? Acting The conceptofEurasiahasbeenacontroversialtopicde th Kazakhstan and theEurasianEconomic Union. has somehow beenreducedtooneof Russia, Ukraine, view, SyriaisalsoEurasia.Buttheconcept ofEurasia interested ingeography. Fromageographical pointof the establishedorderofthings? understood notasastate projectbutasanalternativeto rooted inoppositiontothatofEurope?CanEurasia be to reflectonaspecialRussianhistoricalpath?How isit really behindit?HowwasEurasiainventedasaproject contexts. vocabulary ofpoliticalelitesthaninculturalandsocial Today, theidea ofEurasiaismuchmorepresentinthe various ideological,politicalandculturalspeculations. atic conceptofEurasia.Itislocatedcentrallybetween September 2015 Eurasia needstobediscussedanddemystified.What is - - Budraitskis, Dolgin, Gontmakher, Venkov, Zharkov — The Invention of Eurasia 420 VASILY ZHARKOV: Thetitleofourdiscussion The Invention in whichthey couldlegitimisethispower. side withtheSovietpower andcreateforitaframework a toolthatallowedparts of theRussianintelligentsiato Europe, ofthebourgeois world. Here,geographybecame why itwasthattheSoviet Unionwasnolongerapartof young SovietState,Eurasia borethepotentialtoexplain in the1920sand1930s.During theformationof concept ofEurasianismachievedconsiderablepopularity it createsborders.Itisafruitofthehumanmind. The to Indonesia.Butpoliticalgeographyisunnatural; tions thenbeingexperienced. efforts andcollectiveexpectations,thetransforma - appeared intheeraofmodernityasaresultintellectual something natural,asifithadalwaysexisted.Actually, it which exploredhowthenotionofEurasiawasdefined as of Eurasiareferstothehistoricaltheoryconstructivism, Eurasia doesn’t haveanythingtodowithit. and self-reflectionmaybecomethebasesofeverything. unique andcandiscoverherorhisabilities.Thus,variety as globalisation.Societycansurvivewheneachpersonis as itdoesn’t causerupturesinsociety, wemayrefertoit diversity family values? mulated whatthismeansexactly. IsitOrthodoxy? But, frankly, not asinglepersoninourcountryhasfor to talkaboutaspecificsituation,traditionalvalues. individual insociety, inrelationtothestate.Somelove democracy oreconomics,butaboutthepositionof We sharethesameinstitutions.I’mnottalkingabout purposes… when makinguseoftheword‘geography’forpolitical countries. ThesamecountsforEurasia.Butlet’s becareful would laterbejoinedbyGermany, theUKandother regard forgeography. Itscreatorsprobablythoughtit Geographically speaking, Eurasia stretches from Lisbon Geographically speaking,EurasiastretchesfromLisbon I thinkglobalisationshouldnotunify, butpreserve How canwetalkofany‘specialpath’intoday’s world? The SovietUnion,forexample,wascreatedwithout — linguistic, ethnicandsexualdiversity. Aslong -

Part IV: Systemic Shapes 421 BORIS DOLGIN:It’s hardlyanattempttoself-orientalise.After ILYA BUDRAITSKIS:InhisbookInventingEasternEurope, dition spenta summerinMongoliato collectmaterial.In terns inthem. some purposes,wemaycombine ourgoalsandfindpat- another. Therearenosimilarcountries.However, for own way, whichisalsohowallcountries differfromone special ways.Eachcountry isspecialanduniqueinits need tobringitscorpsebacklife. project ofEurasia?Iwouldsayno.Anddon’t seethe concept oftheArabWorld… Is there, infact,apolitical find theconceptofMediterraneanrelevant,others the tion is,whatisthepurposeofsuchclassification? Some We mayclassifythemhoweverweplease.Buttheques- several objectives,separatingthembecomesaproblem. our forefathers,hadfailed. reality andthefactthatolderconcepts,inheritedfrom inherent featuresisthatitwasanattempttocopewith the establishmentofnewideas.Onemovement’s in emigration,notRussia,fromasocialdemandfor what washappening.TheconceptofEurasianismevolved There wasademandfornewideastotryandexplain tory schemes.Practically, theoldersystemshadfailed. émigré community:Therewasaneedfornewexplana- the Revolution,anumberofnewtrendsemergedin perspective dominatedbyWestern andAmericanviews. political projectthatcannotbefullyenteredintofroma universalised. So,Eurasiaseemstobeaveryspecial culture andtraditions,whichcannotbeexported geography (alsoofpoliticalformats)inrelationtoits within. Itimpliedconnectionswithaspecific,unique way: Itwasanattempttounderstandthisspacefrom Eurasianism however, emergedinexactlytheopposite salist paradigmsthroughaprocessoforientalisation. education, whichincludedEasternEuropeinitsuniver as aninventionnotbyitsinhabitants,butWestern Larry Wolff describestheconstructionofEasternEurope In 2007,aRussian-Mongolian anthropological expe- Could Isaytherewasa‘special path’?No.Thereare I’m astrongsupporterofnominalism.Whenwehave - Budraitskis, Dolgin, Gontmakher, Venkov, Zharkov — The Invention of Eurasia 422 ILYA BUDRAITSKIS:Thebinaryopposition oflarge,over VASILY ZHARKOV: TheEnglishlanguagemakesAmericaa EVGENY GONTMAKHER:Vasily rightlymentionedthat whelming and gloomymeta-ideas you live,youridentityisconnected withthatofothers. nical gadgetsandtheInternet. Today, no matterwhere of thepast.Now, youcanbeanywhere becomes secondary, makingEurasianism clearlyaconcept neighbour ofothercountries. Thus,geographicalidentity nomic sense,too,Eurasianismhasnofuture. paths, andtheconstructionofanewman.Butinan eco- is sufferingfromtheafflictionofEurasianism,special Eurasianism asaformofviolence.Russia,unfortunately, dangerous. Itakethecurrentpoliticalmanifestation of around themselvesandknowhowtodoit,itcanbe very when peoplecomealongwhoaimtoconstructeverything of few, butatypicallyEuropeanmission.Inthisscenario, degree ofdoubtintoeverything.Dissidenceisthemission but adiversityandclashingofopinionsthatintroduces and others.Europeannessisnotsomethingmanmade, that givesrisetochimeras,suchasfascism,Eurasianism broadest sense going. ThepeculiarityofEuropeanthinking off againstsomething,butdonotknowwhereweare Eurasianism isanevaluationofwhatwedeny. We push mythology, Shambhala isinAmerica. Tibet mean thatMongoliahasforgottenabouttheexistenceof the responsewas“InUnitedStates.”Thisdoesnot researcher asked,“Whatdoyoumean‘inAmerica’?”and reborn intheKingdomofShambhala creature, likeadevil.Andiftheybehavewell,willbe in MongoliaisBuddhism),theywillturnintoademonic think itnecessarytoremindyou,butthemainreligion person behaves.Iftheybehavebadly, afterdeath(Ihardly have?” Heansweredthatthefuturedependsonhowa inhabitant abouthisbeliefs:“Howshouldhumansbe- one ofthesettlementstheyvisited,askedalocal — no, allissacred,well.Butintheeveryday — is toputeverythingintoquestion.But — chimeras such as — — in America.The thanks totech- — in the -

Part IV: Systemic Shapes 423 be forsakenbyusunderanycircumstances. Eurasian afeature,butEuropeanone,anditmustnot minding theirownbusiness.Thisspiritofdoubtisnot a danceofthedistinctpaths,followedbyseparateentities formats, andasituationthatwouldleadtheworldinto ability tocooperateandcoexistwithdifferentpolitical like IranandChina,favoursexuberantdiversity, the project ofexclusivity, whilehe,togetherwithhisfriends ing ofAmericaasacarrieranexpansionist,universalist sible toplaywith.AsdoestheRussianPresident,speak- reflection; theseoppositionsarealsosomethingitispos- pluralistic conceptspronetoconstantquestioningand Bolshevism, FascismorEurasianism — and blooming,

Otto Snoek, 22 September – 01 October 2015 424 Green, yellow, red andgreen again Almagul Menlibayeva —

425 426

Part IV: Systemic Shapes 427 2015 Green Again,videostills, Green, Yellow, Redand Almagul Menlibayeva,   any observer. [BartDeBaere] live together?Theviewerisasfamiliar which Ivisitedtomeetfriends.How The video was filmed in different cities, understands thathehastocrosstheroad. face of a man from Brussels or Berlin, who light turns green / edit jump in / we see the traffic inAlmatyorAstana.The the trafficlight/editjumpinfor roads inBrusselsorBerlinarelookingat in AlmatyorAstana. jump in/forthepeopleoncrossroads Berlin trafficlight.Itturnsgreen/edit looking at/editjumpintheBrusselsor It isred.TheAlmatypeoplearewaiting, pedestrian crossing inBrussels orBerlin. ing atthetrafficlight/editjumpina A groupofpeoplefromAlmatyarelook- yellow, red. rhythm with one single language; green, lights inallthecitiesoverEurasiaa combination bringstogetherallthetraffic ing andwaitingforthetrafficlight.Their at acrossroadstocrosstheroads.Watch- in different citiesandcountriesstanding and SpringAgain. duk, the SouthKoreanfilmdirectorKimKi- The titleofthisvideoreferstoafilmby In the video there are groups of people In thevideotherearegroupsofpeople Or, onthecontrary, peopleatacross Spring, Summer, Autumn, Winter Summer,Autumn, Spring, - 428 Jimmie Durham Bekkah andSon,Elpidio Son’s businessmorethanheknew. to Sonseeifshecould get ajob.It’s Bekkah whotoldmethis. Cherokee womanatthe Community HouseintroducedBekkah went outtoCaliforniaover theyears,though,andablond-haired what exactlytheyweresuspicious of.ManyOklahomaCherokees A lotofpeopleweresuspiciousher, evenifnoonewouldsay Take yourbreathaway. violet eyesyouoftenseeinBlackCherokeesfrom the Carolinas. mortifyingly stupid. Cherokee families. are descendants of Africans who were slaves ‘belonging to’ some Oklahoma, exceptthatshewasBlack.Fromcommunity that Woman, ifonlywehadoursenseback.ShewasCherokeefrom his fatherwasYaqui. Apache. No, not always, now that I remember. Sometimes he said children butperhapsintendedtohave. was herfirstbornandhencegiventhename.Shehadnoother that strangeborderoriginally, butcametotheU.S.asachild.Son had nopoetry. Son’s motherwas Pima,fromtheMexicansideof close by. Hesaid thathecalledit‘Sonny’s’ becausethenameSon way oftalkingthatallowednointerruptionnordiscussion. else toread,though,andhadamile-a-minuteoverly-energetic writers I have always intensely disliked. He did not inviteanyone his favoritepoets,T. S.Elliot,Walt Whitman,E.Cummings; Every few months he would have an evening of reading from sometimes hisrapmonologswhichwereonlypoems. mostly a permanent stage where he could recite his poetry and I knewSonandBekkahinSanFrancisco. sort of tolerated him. At least that’s the way I always saw it. Son oftenhung outwithmoviestar-types, or maybe theyjust Probably notyettwentywhenshecameouttoSan Francisco. Bekkah wasawolf.Amountainlion.WhatwecallBeloved He hadaplacecalled‘Sonny’s PimaPizzaandPoetry’.Itwas She wasagoodwaiterand popularwitheveryone,helping Bekkah wasawarrior. ASpirit.Shehadthoseincrediblegreen- Oklahoma isreallyracistandCherokees canbe Son didnotknowhisfatheralthoughhealwayssaidwas The restaurantwasnotexactlyintheMissionDistrict,but 1 —

Part IV: Systemic Shapes 429 star, andhestartedhanging outattherestaurant. so loyaltopets. Kind oflikeapetIndianbutmoviestarsdon’t reallyseemtobe inCanadaforawhile. She’d beenreadingLouise Erdrichandwenteast. Elpidio. Stayedcompletely coldtoSon.Finallyjustleft.Went east. so together, ormaybeadecade,itwassostrong. ‘Legal inanypartoftheAmericas’,shesaid. the U.S.ShetoldmelaterinBostonthatElpidio is Purépecha. arrested him. night inlateSeptembertwogovernmentagents cameinand Pizza parlor. Elpidiowasthere.AbouttenthirtyonthatFriday of weeks. us.’ ‘Idonotspeaktrashlikeyoudo.’ Pima?’ ‘You needmylicense?’‘Mycertificate?’‘Itoldyouabout Bekkah. He didn’t makeashow-downornothing.Startedbeing badto he lovedotherpeople’s humor. them withouteventrying.Andhewasagoodguy. Notfunny, but act dangerousandbad.Inevercouldfigureouthowhecharmed away, anddifferentkindsofolderworkingwomenwhocanoften a waythatwasreallyrough,butchildrencottonedtohimright ing outtogether. Easy toseewhy Elpidio. I guessSonis stillinCalifornia,haven’t heard anything. She learnedFrench,moved toParis. No oneeversawhimagain. It getsworse.Ugly. SonhadtogoLosAngelesforacouple Once theyhadafight.Hesaid,‘You evenspeakCherokee?’ You knowwhathappenednext.HeandBekkahstartedhang- But there was a guy from Mexico,moreanactor than a movie I heard from a Penobscot guy that she lived with Darrel Cannuk I heard from a Penobscot guy that she lived with Darrel Cannuk She toldmeshedideverything shecouldbutnotfind When IsawherinBostonthoseyearslaterwespent aweekor From what Bekkah could find out Elpidio was not legally in Bekkah andacoupleofothersweretakingcare thePima Bekkah isawarrior. She wentcold,astheysay. ‘You speak So youcanalsoseewhathappenednext.Songotjealous. One timethisguybroughtanotherMexican;named — Elpidio wasgood-lookingin

Jimmie Durham — Bekkah and Son, and Elpidio 430 and Ontario. Nations peoplein Quebec mon surnameamong First scent itisstillafairly com- Canadians ofFrenchde- pejoratively against the word‘Canuck’isused to Canadians:although in Vancouver. Specialnote Museum ofAnthropology Paul Yuxweluptun atthe art showbyLawrence for theoccasionofan piece offiction,written 2014, Napoli 1 — j d This isa

Part IV: Systemic Shapes 431 Bekkah inEurope Jimmie Durham— time shebegan tomeetother, moreinteresting guys.Sothat for the cheerful apolitical attitudes began to drive her nuts. At the same was alwayshappytobewith Pascalbutshesaidlaterthattheir part ofaverystrange ofParislife.TheartisticmusicShe to Parisshefellinwitha crazybunchandwasinastrangeway less inlovewithBekkah. I mean,prettymuchassoonshegot less Oklahoma.Butherenow: oneoftheboys,Pascal,fellmoreor Creek eventhoughnoneof themhadeverbeentotheU.S.much daughter. ThesethreeyoungFrenchpeoplewereveryproudtobe music business.Shehadonesonwhointurntwo sonsanda another guyalsoFrenchbutIdon’t knowwhathedidinthe lived withacomposer-guy foralong,longtimebutthenmarried think she was really gracefully proud of the forgetting. She had she forgoteverythingaboutOklahomaandthelife thereandI so much. I wasquiteofteninParisthosedaysfrombeing inStrasbourg to be even more violet than they had been. Ok, sorry, it’s just that be evendarkerthanithadbeenandsometimeshereyesseemed but stillnottypicallyAfricanhair. Sometimesherskinseemedto had turneddeep,deepred,blackishredandwasmorethancurly at thesametimeitwasCherokeeafrohair. Somuchofherhair She hadletherhairgrowtoshoulderlength.Itwasafrobut beauty hadfoundherandshewasn’t evenexpectinganything. she wasbeautifulinwaysthatarenotdescribable.Itlikeher her Maryanne’s addressandtoldMaryannethatshewascoming. she usedtobragthatneversangCarmen.SoHombartgave and shewasnotonlyafolksingerbutalsosangopera for morethanthirtyyears.Maryannehadbeenfamousearlier, and heisthebrotherofMaryanneWolf whohadbeeninParis done so many years earlier. Sheknew Hombart Lyle back inTulsa Montreal; shesaidhewasalwaysactingabouthimself. So BekkahlandedupinParis. She knew it wasnot going to workoutwithDarylCannuk in Maryanne Wolf youmightsay hadbecome French. I think Back inSanFranciscoBekkahwasreallyaknock-outbut now But she didn’t justwashupin Paris likeJamesBaldwin had CHAPTER TWO Jimmie Durham — Bekkah in Europe 432 know, hehadamother, Georgina.Hismotherwasevenstronger car parts. Now, as strong this guy was, maybestillis for all I things with the parts of cars that he could not resell as regular these toolsandhetriedto make,ormaybeIshouldsay, unmake, and a short hatchet. He could take abandoned cars apart with This isthekindofarthe was making. Hehadabighandledax a system where there are few artists and abunch of pretenders. He saidhewasaborndiplomat.tryingto be anartistin people whocouldgetthingsdonebetweenallofthe otherpeople. the varioustribesinGhanaormostpowerful, they werethe bunch ofusthatalthoughtheGhawerenotmost populousof tribe inGhanaandoncewhenIwasvisitingheexplained toa He hadnonothingbuthewasalwaysup. from theGha like oneofthoseguyswhocoulddoanything.Hehad nomoney. Bekkah metaguyandlivedouttheresomewhere.He waskindof urbs. Itisacityofgiantandinvisibleunacknowledged suburbs. quiet therestofthatevening. looked atherbutshedidn’t sayanythingandstayedprettymuch not beingAmericanbecausetheirancestorswereslaves!”Bekkah were slaves,youarenotCherokee?That’s likeAmericanBlacks around Tahlequah lookEnglishorIrish!Justbecauseyourfamily to OklahomaseveraltimesandIhaveseenthatmostCherokees not recognizedasCherokeesbecauseyouareBlack?Ihavebeen said to Bekkah, “But do you mean that you and your family are Coast. SomewomanwhowaskindofFrenchbutmaybeAlgerian, anne’s house,includingacoupleofIndianartistsfromtheWest way thattheyhadtoknowwerebeingputdown. Cherokee?” Andshewouldrattleoffsomeinsultingphraseina “How isitthatyouarePink?”Peoplewouldsay, “Doyouspeak And withafiercenessthatwasalmostphysical,shewouldsay, any nonsense.Peoplewouldsay, “HowisthatyouareBlack?” better realFrench.Shegotareputationveryquicklyfornottaking was. AndoverthatfirstyearherCanadianFrenchgotbetterand Maryanne’s introduction,butbecauseeveryonecouldseehowshe love affairs, political actions and even tried some singing herself. next yearshewasinwhatwemightcallaconstantwhirlwindof her likeamother butlikeaclosefriend whichshewas. and tookto Bekkah naturallyrightaway. Bekkahdid nottreat But therewasthisonetime,abunchofusatMary- She hadalotoffightsandshewasableto;notjustbecause Not somanypeopleknowthatthetruthaboutParisisitssub -

Part IV: Systemic Shapes 433 sort ofplannedaction;kindspreadlikewildfire,youmightsay. other neighborhoods. It was as though people were ready for some women involved.Firstfromthatneighborhoodandthen they did: they started an organization and they got many other things withwild animalsinnorth-western Venezuela. but alongtime. Bekkah hadbeenlivingin Venezuela. She didn’t knowhowlong the womanwhohadtold meabouthertoseewhatallsheknew. the hotelbutshehadchecked outthatmorning.ThenIlookedup a week.”“Where?Doyou knowwheresheisstaying?”Icalled you mean?” I said, “Where?” “Here, she’s been here for at least running up to me. “Did you see Bekkah?”, she said? “What do from theolddays.Shewasincityforaconference, shecame I wasinMexicoCityandsawsomeonefromSan Francisco knew herandIstillneveraskedanybodyabouther. the U.S.andlivedinNewYork Cityandneversawanybodywho I never asked anybody anything. Two years later Imoved back to quite oftenandIwouldgoaroundtowhereshe usedbebut I neveraskaroundforher. Iguesswasafraidto.inParis a dayortwo.Afterthatshedisappeared.Idon’t knowwhybut as though she was dead. I don’t know how long she stayed but just to Strasbourg whereI was staying practically dead herself.It was to Ghanaandbeforetheyearwasoutshedead. spending moretimeinGenevaandBrussels.Georginawentback said thattheymighthavebeenembezzlingmoney. Bekkahstarted couple ofweekslaterthatsomewomanintheFrenchgovernment affirm it.Shejusttriedtoignoreitbutthenwasn’t morethana Georgina oftryingtohavesexwithher. Georginadidnotdenyor woman in the organization, she wasn’t even from Ghana, accused right-on. Andofcourse,maybethatwastheproblem.Another zation grewanditneverstoppedworking.Neverbeing Brussels thanshehadeverseenineasternOklahoma.Theirorgani of timeinBrussels.Bekkahtoldmethatshesawmoreracism spent alotoftimeinGenevaandStrasbourg.They they wenttoGhana.TheySenegal.camebackand Nothing todowiththeguybutjustBekkahandherfriend: I guessnever stoppedbeinginlovewith herbutIneversaid More thanamonthpastbeforeIsawBekkahagain.Shecame I don’t know how to say about what they did but here is what Bekkah waspartofananimal rightsgroupwhoweredoing It wasmorethantwentyyearslatermaybealmosttwenty-five, - Jimmie Durham — Bekkah in Europe 434 pretty muchwasneverintheU.S.eitherbythattime. was backinBrussels.IalmostneverEuropeanymoreand more years passed by and I heard fromsomebody that Bekkah thought aboutgoingtoVenezuela butIneverdid.Theneven that toherandIwasneververyforcefulonewayoranother. I

Part IV: Systemic Shapes 435 Exhibition Architecture Igor Doshlygin — Fedor Dubinnikov and Fedorxxx Dubinnikov and Igor Doshlygin — Exhibition Architecture 436

437 Fedor Dubinnikov and Igor Doshlygin — Exhibition Architecture 438 Fedor Dubinnikov and Igor Doshlygin — Exhibition Architecture 440 would meet.[MarieEgger] tank whereartists,visitorsandorganisers the structuralneedsoften-daythink- the landmarkstatusofpavilionand architectural concepttookintoaccount team toworkonsitewiththeartists.The media machinefortheextendedBiennale possibility to discuss in a plenum and a mobile podiums, a main stage with the flexible use of wall space, reading areas, ing togetheringroups,scaffoldingsfor pavilions forintimateencountersorwork the pavilionasa‘parcours’:Theyinstalled ises inexhibitiondesignand conceived from StudioMEL.MELspecial by FedorDubinnikovandIgorDoshlygin No. The architectureforVDNKh’s Pavilion took placeovertendays,wasdesigned

1, where the 6 th Moscow Biennale - - Part Multitude Appearances of 443 Bëhuni Tolerante! Flaka Haliti— focus ofartists,definedassuch,rather image, that might also be acapacity and The biennialaskedfourartistsforan intervention by the artist, despite the deci gathered fromtheInternet,withoutany VDNKh, theimagewaskeptasitwas, in the Central Dome of Pavilion No. Contemporary Art.Installedasabillboard in Kosovo,totheMoscowBiennalefor nal image,asdisplayedinthecampaign the artist’s homecountry. environment intheRepublicofKosovo, is tohelpcreateasecureanddemocratic NATO’s peacekeepingforcewhosetask paign organised by KFOR (Kosovo Force), The picturewaspartofanimagecam country’s declaration of independence. Kosovo in2010 environment andpromotetolerancein advocate forthecreationofapeaceful tion. Acatandadogsnugglingoncouch Flaka Halitisentasherimagecontribu tolerant, socanyou!’saysthebillboard one ofthefour. than ageneric‘artwork’.FlakaHalitiwas Flaka Halititransferredtheorigi B ë huni Tolerante!huni —‘If theycanbe — two yearsafterthe 1 at - - - - future conditions.[MarieEgger] re-observed again stances andbearingthepotentialtobe again, detachedfromhistoricalcircum cluding a gaze from West to East and back an opaque,neutralisedversionofitself,in formerly applied to the picture. It became new contextandquasi-invertthelogic that event asonetore-placetheimageintoa for ContemporaryArtrightfullyreadthe send this image to the Moscow Biennale to Moscow. To thisdegree,herdecisionto attend thebiennialpersonallyandtravel legitimate statevisa,FlakaHaliticouldnot opposed toEasternvalues. slogan andaperpetuationofWestern as also inthesomewhatoffensivetoneof Serbs and Albanians to cats and dogs, but down act. Not only in the comparison of in Kosovo,isreadasanoffensive,top- Serbs androotWestern democraticvalues impose tolerancebetweenAlbaniansand gather?” Animagethatwassupposedto Haliti answers the question “How to It isexactlythisgesturewithwhichFlaka sion totransferitadifferentcontext. Without thepossibilityofobtaininga — potentially also under potentially alsounder -

444 MIGRANT A STORY OFANUZBEK ME-GRANT. SHE-GRANT. Babi Badalov — Moscow, 24 th September 2015

Part V: Appearances of Multitude 445 I metapoorandsadlookingoldwomanwithtornplasticbags: On myseconddayinMoscowIwenttohaveacoffee.There Babi Badalov withUzbek woman,Moscow, 2015  to buysomewater. her alotandtoldhowbeautifulsheis.Itwasvery touching. Turkish, Uzbek and Russian. She was unbelievably happy. I hugged didn’t speakgoodRussian.We weretalkinginamixtureofAzeri, She hastwosons.Talking toherwasslightlydifficultbecauseshe born inasmallvillagenearTashkent, thecapitalofUzbekistan. she insistedongoingtotheMetroandshowingitme. took therestofitwithher. Itoldherthatamhereforwork— and drankthecappuccino.Becauseshedidn’t finishthecake,she impressed andkeptsayingthatAllahhadsentme.Sheslowlyate and asandwichtotakeaway. puccino. Iwentandgotitforheraswellthecakewithraisins we hadbreakfasttogether. Shewantedacoffeewithmilk,cap- use thebathroom.” “Where areyougoing?” “Yes.” “Are youfromUzbekistan?” “Uzbekistan?” “Where areyougoing?” “I willgotothemosqueandprayforyou.” She couldn’t, didn’t wanttobelieveit.We satandshewasso By thewayImethertodayaswellwhencametoMcDonald’s The womanwas76yearsold.HernameMahira.She I suggestedthatcomewithherandtreattothiscoffee.So “I amgoingtoMcDonald’s tohavesomechaiandcake

446 Perhaps, afterall,NoManIsanIsland? ferences importantformaintainingpeace? from the masses? To what extent are dif- are we different from one another and not becomeobsolete?Howsignificantly Has theoppositionbetweenIandOther the rest? ing ofTheOtherasmoreimportantthan in theexcessivesegregationanduphold seen theprerequisitesforWorld War III or aflaw, is important. Buthaven’t we Without adoubt,preservingindividuality, Flaws createthemostbeautifulthings. stops usfromsinginginunison. The beautyofcivilisationisthatwhich Other. We don’t needauniversallanguage. It isimportanttofeelonenesswiththe Yes totheviewfromoutside. friendship, andtocreativity! Yes tofreedom,mutualassistance, No tothenorm. No tonormativity. No tohierarchy. No todemagoguery. No todogma. TEXT FROMPAPER GAMENO.2 On Otherness On 1 - to livetogetherindividually. Perhaps theonlythingthatislefttotry resembles reality. viduality is the last thing that remains that that themassesareutopia.Perhapsindi It seems that what followsfromthis is istence. willing torecogniseandrespecttheirex tant howbigourdifferencesareifwe something. In the end, it’s not so impor Plasticine, from which one can mould something formlessandhomogenous,like masses. Thewordmassisassociatedwith tant tonotthinkincategoriesofdifferent In ordertosavetheworld,itisimpor Maria Stepkina Sona Stepanyan Ivan Isaev Anna Zhurba Alexander Zhuravlev unfolded. text oncethepaper is to formaconsistent on afoldedpiece ofpaper, short hand-writtenliner where everyonewrotea evolved fromapapergame this publication.Thisone several contributionsto participants cameupwith During theirmeetings,the notion oftogetherness. platform toreflectonthe Foundation asadiscursive shop, conceivedbyV-A-C Young Curators Work- This textisaresultofthe 1 - - - -

447 Populations) (Male Display amongEuropean Tchám Krai KytõmPandãGrét Maria Theresa Alves — Maria Theresa Alves — Tchám Krai Kytõm Pandã Grét 448 EUROPEAN MAN:Crossingunderaladder. ANTHROPOLOGIST: Anyotherinstances? EUROPEAN MAN:Forgoodluck. ANTHROPOLOGIST: Anyothersituationsyoucanthinkof? EUROPEAN MAN:IfablackcatcrossestheroadwhileIam ANTHROPOLOGIST: Canyoudemonstrate? EUROPEAN MAN:To protectoneselffromasimilarfate. ANTHROPOLOGIST: Andwhydoyouthis? EUROPEAN MAN:Amanmusttouchhistesticlesifsomeone ANTHROPOLOGIST: We areherein atypicaltowninEurope Or ifamirrorbreaks. Or whenIspillsalt. If Iamgoingtogetajob. If Iamgoingtogetmarried. and hismotherhasdiedthen… Or isafriendhavingbadluck,let’s sayhiswifeisill Or ifanunpasses. Or ifapriestpasses. I letthecatpass. driving, thenIstopthecar. then fromafuturefate. Or incaseofanemptyhearsepassingwithnocoffin, Or ifsomeonesaysthatanothermanhasdied. says thatanothermanislazy. When isitimportanttotouchyourtesticlesandwhy? rounding thisritual… Our informerhasagreedtorevealsomeofthesecretssur touch theirwinpublic. investigating thecustomofsomeEuropeanmalesto -

Part V: Appearances of Multitude 449 450 Montmartre Spirit Fabrice Hyber—

451

Otto Snoek, 22 September – 01 October 2015 Fabrice Hyber — Montmartre Spirit 452 Fabrice Hyber, Montmartre SpiritattheMoscow Biennale, 2015 

Part V: Appearances of Multitude 453 invents, using the rhizome, proliferation and transformation to encounters. FrenchartistFabriceHyber, bornin1961,constantly tion Centre’s centralpavilion,creatinganinfinitepossibilityof a forumofexchangeforeveryonevisitingtheMoscowExhibi For thisexceptionalMoscowBiennale,Montmartre Spirit opened portraits and buildaterritorywhichone isperfectlyfreetoenter with covered map ofFrance, whichhostsMontmartre Spirit — are martre: portrait drawnjustasisdoneonthePlaceduTertre inMont to create. the movements of the world, imagine shifting pointsof view, and draw emergingnewthoughtsandtestbehaviours.To capture line that draws the skin, the boundary between inside and outside. who speak,theprimitivematerial diffusesitseffectsandupsetsthe of the outline. Just like the shared thoughts thatpermeatethose the individual’s portraitcannotbeperfectly confinedtotheborders extending beyondthecharcoal whichtracesthelinesofface: visits takesonaspecialmeaning.Crudeoilspreads outslowly, in aninstant,theactofdrawingportraitsevery personwho Moscow Biennale,creatingarepresentativesample oftheworld trait and therefore of every person. In the utopian space of the years. Here, they become the common denominator of every por nature havethesameoriginbutareseparatedby thousandsof the beginningoftime.Thesetworawmaterialsextracted from Dagestan from carbonisedwoodproducedintheVendée andcrudeoilfrom side thecentralpavilionofVDNKh,FabriceHyber usescharcoal to recognisethesubject. face, tostartadiscussion,anddrawsomelinesthatallowus front ofFabriceHyber:justenoughtimeforhimtolookattheir sary andtwochairsoneitherside.Eachpersontakestheirplacein around. There is a large wooden table with all the paper neces draws andthesubjectofportrait. An exchangeofwordsandthoughtsbetweenFabriceHyberwho journalists, directors, performers and gymnasts from Dagestan. tors, housekeepers,curators,children,grandmothers,assistants, a fewdays,becamethepretextfordiscussionwithartists,visi- In Moscow, he asked eachpersontositdownandhavetheir h caricatured Little by little, the walls of the Hexagone —the To drawthefacesofallthosewhoenterthisopenspacein Everyone isinvitedtoenter, sitinthechairs,andwander Montmartre Spirit . Thehundredsofportraits,madein Montmartre — fossilised woodthathaslainintheRussiansoilsince - - - - - Fabrice Hyber — Montmartre Spirit 454 Eurasia. [JulietteMalot] present moment,inacentre,city, intheheartofisland live together?Howcanwegather? which providesaresponsetothequestionsasked witnesses, one of the traces of what the Moscow Biennale was, the portraitsthateachpersontakesawaywiththem. offers newwaysofthinkingandbehavingthataresent off with nesses. DuringtheMoscowBiennale,itisactofdrawingthat opportunity toinventnewwaysofproducingworkswithbusi to Hyber’s work:fromthePOFs(PrototypesofFunctioningObjects) new behaviours,oneofthethemesthatrunthroughallFabrice we didawaywithallpassports? balised world?Howlonghasthepassportexisted?Andwhatif Can weconceivetheorganicmovementofpopulationsinaglo- numerous flows.Perhapsthesebordershavealreadydisappeared? we arefamiliarwith Very real and closed ate seed ofanexperiencedisperse.Discussionsandencountersperme nale, everyone can leave with their portrait; the memory and the (and apleasantplace)isthereforecreated.AttheendofBien A placefortheexchangeofwordswhichdrawsautopianterritory and exit,torunintooneanotherforthedurationofBiennale. réalisateurs, aschoolinNormandythatgivesyoungartiststhe Montmartre Spirit, withalltheportraitscreated,isoneof If Montmartre Spirit, echoingthecurrentconcernsoverborders. Montmartre Spirit evokesapopularcustom,theworkoffers —

— they arehoweverinnowayaccessibleto

with the catastrophic consequences that — with alltheurgencyof — How canwe - - -

Part V: Appearances of Multitude 455 Exchange Department for Information David Polzin— presence on site during the full duration of the biennial made him presence onsite duringthefullduration ofthebiennialmadehim simply remained in the bank, without a counter offer being made. counter, othertimes,theinformationwasgraded asvaluelessand sion wouldqualifyavisitor toenterthebankandseebehind collected inforemainedcryptic andopaque.Sometimes,asubmis as valuable intelligence) thevaluation andinterpretation ofthe what informationtheywould provide(lieswerealsoaccepted With no distinctions made as to who approached the bank or greet themfrombehindaglasswallthroughcounter intercom. would havetoringabelluntilmemberoffstaff cometo Department closeditselfofffromvisitorsasawooden box.Clients gates, guideposts, interphones, glass walls, cash desks, etc., the environment. being asdiscomfortinganyintelligenceagencyisin ademocratic Exchange fittedthecontextorganically, whileatthesametime Information of ral partofthattransformation.TheDepartment emergence ofthisagencyduringtheinstallationcameasanatu- the buildingtookonnewfunctionofhousingbiennial, for thisofficeweregatheredfromthepavilion’s basement.Whilst into thescaffoldingofexhibitionarchitecture.Thematerials a small,closed-offlocation;woodenshedthatsnuggleditself architecture was nearly fully installed, he arrived on site and built tion, realised,ledandrunbyDavidPolzin.Whenthebiennial’s worthy ofreceivinganotherintelligenceinreturnornot. value totheinformationandwoulddeterminewhetheritwas was, however, aninfrastructureinplacethatassignedaspecific check thedatadeliveredtoverifyifitwascorrectornot.There There was no way of knowing whether the Department would form of information. This information could be true or false. ment. Visitors couldasktomakeadepositatthebank turned tothesitedailyputinafullday’s workattheDepart- during theMoscowBiennale2015.TheartistDavidPolzinre The Inspired bybureaucraticarchitecturesuchasfences, barriers, David Polzin wasinitiallyinvitedby Suchan Kinoshita.His The Department for Information Exchange openedfortendays Information for Department Department of Information Exchange wasanorganisa Information of Department — in the - - - David Polzin — Department for Information Exchange 456 results ofitswork.[MarieEgger] agency tion of data and their flow of information is controlled by the subordinate toademocratic body, thecollectionand interpreta- deal withthis.Setup,forexample,asabureaucraticstructure and determining by themselves how transparently they should from an extremely powerful position when gathering knowledge the securityofsystemthatinstalledthem.However, theyact in a grey zone of both public and non-public sources, to ensure ties likenewsservicesorintelligenceagenciesgathertheirdata was realisedinaccordwiththebiennialset-upasawhole.Facili- Exchange end. ToInformation of thisextent,theDepartment a crucialcontributortowitnessthehappeningfrombeginning

—

with or without the constitutional right to act on the David Polzin, Department forInformation Exchange,2015 

457 458 Unfinished Film(Script) Evgeny Granilshchikov —

xxx Evgeny Granilshchikov — Unfinished Film (Script) 460 Cool… It washereabout. I stillcan’t seethewindows… What’s wrongwiththisshop? Let meturn! Will theyfineusforturning here? I donotunderstand. Or maybetheydrovefromtheoffice? They’re fromhere…ooh…they’rebreakingtheregulations… I thinkit’s totallyblockedthere. Everything isblockedthere. How didthesepeopledrivefromtheotherside?Don’t understand. Can’t seethewidowsfromhere,byway. And thatone? Oh, it’s closed. Maybe onthecorner…? You can’t turnintoGazetnyhere,aheadonly, yousee? The otherisoppositetheMayakovskyTheatre. There’re twoshops…oneinGazetny… Bye. Okay. Let’s trybyFriday. But I’musedtoit. Like acurfew. not asingleperson. There’s nobodyhere…likeearlyinthemorning.Emptystreets, Downtown. Goingbackhome… Walking… Please acceptourapologies. Dear Users,accesstothisresourcehasbeendenied. and personaldescription. open profile,listoffriends,emailaddress, HyperComments willreceivethefollowinginformation:

Part V: Appearances of Multitude 461 my dreamstheseplacesaremuchmorebeautifulthaninreallife. I oftendreamthataminacity. ParisorBerlin,forexample.In that they’reagainstanyideology… Which wasafterthe’90s…commonstateofthatprogressive And this…thislossofsomeanykindorientation…well… Wait, I’ll go into a side street, it’s more quiet there. It’s heavy traf In whatsquare? Can’t hearyou,badconnection. Say itagain. I’m onTverskaya. suffocate inthissmokingloungeandnoonewillever know. I remember sitting down on the floor and thinking: I will probably space filledwithsmokers.You could barelyseethroughthesmoke. like 15minutes. the plane is still here?” He started calling someone and it took was Ithinking.Andkeptsaying:“Canjustquickly board,since questions abouthowIhappenedtobelate,wherewas,andwhat told them to let me on the plane. The officer asked me a million So Iwenttothecheck-indeskandexplainedthatwaslate hear themcallmynamebecauseeverythingisreallyquietthere. was still on the tarmac, but they wouldn’t let me board. I didn’t the timeIlookedatmywatchboardinggatewasclosed. Somehow Ilosttrackoftime.Noideahowithappened,butby want tositdownincaseIfellasleep,sojustwalkedandwalked. at theairportthreehoursinadvance.Ifoundmygatebutdidn’t I hadaflightat4am.wassoscaredofbeinglatethatarrived Yeah, Ioftendreamoftravelling. I won’t havetimetovisitallthesightsbeforeIneedleaveagain. This makesmedeliriouslyhappy. ThoughsometimesIworrythat Bad connection, hey, Isaybad connection. Say itagain. At anintersection ofTverskayaandKamergersky. I say, it’s heavytraffic. public fic, Idon’t hearyou. I wenttothesmokingloungeandalmostsuffocated.It wasatiny I ran and through the glass doors I could see that the plane - Evgeny Granilshchikov — Unfinished Film (Script) 462 painter’s indifferencetothematter. suggested thattheunusualness oftheworditselfpointedat against accusations on the destruction of the column. André Gill istered inFrenchdictionaries, haslatelyhelpedtodefendhim Courbet’s usingoftheunusualverbdéboulonner,thatisn’t reg- ness… There shouldbeconnectednessevenifit’s astreamofconscious- And Iwantalittlemoreconnectedness.Likeintext, youknow? own speechorisitascript? understand ifit’s aplayoranimprovisation.Isitcharacter’s I wonderatwhatmomentyousuddenlyfindoutthat youdon’t Well, it’s naturalismandtotalartificialityatthesametime. Russian Federation.” but Ibelievethattodaythat’s forbiddenbythelegislationof “— Because thereisadialoguebetweenthegirlandoldmanin Of coursewedo,andheretoo.But we understand that it’s incon You know, wealwayscreateanarrative. And begintounderstandthatthere’s somekindofnarrative,but to teartheVendôme Column downbutcouldn’t gettheconsent by February 23, 1871,thepaintersays inafewwords,“Iwanted Yes, Iwatchedit,yes,startedwatchingbutnot…notuntil Which was described…orwasn’t described… bySartre…never Haven’t youwatchedityet? Of course. That’s thepoint.Ourguessgivesarisetofeelingthatitis… we can’t figureitout. But forallthat the end. mind. the café… ceivable forus.It’s thesupremenarrative. basically, I would like to radically express my views here, — it’s writtenbelow — in thelettertohisfather - Part V: Appearances of Multitude 465 of otherEmpirerelicts.About5:30p.m.severalmilitarybands National Defencetookstepstopreventthecrowd’s destruction parte. SoonafterthedownfallofEmpire,Government the onlytargetofgeneralindignationwithHouseBona of the Government.” The Vendôme Column was the main but not square fromthesideofSaint-Honoré,struckupLa Marseillaise . of theNationalGuard,whichwerestandingincorners have toleave, I’llfeel…don’t know… It would be very difficult for me to leave this country. And if I because ofthepainfulsituation thathadtakenplaceinmyfamily. To behonestIwashopingthatyouwouldn’t beathome.Ithought Just likefacetoface.Butalittlemoreone-way. Better doitbyphone. — Hi!Iwantedtotellyousomething…Was goingtosendyou Sunday. 9:58am. You haveonenewmessage. watching. Idon’t understandwhy… can movie,Stanislavski’s systemandit’s veryboring…butIwas It’s like three hours of infernal anguish, psychological Ameri the columnpedestal. then they brought red banners from the staff and raised them on stone. SeveralmembersoftheCommunedeliveredshortspeeches, the giantfragments,climbingonthemandlookingatlumpsof terrible noise,raisingadensecloudofdust.Theviewersrushedto leaned andsuddenlybroketopiecesthatfellthegroundwitha It was in tension for several minute, then the column rocked. It Everything wasreadyforthewenchtostartandropepulling. If nowIholdsomepolitical views,ithasallformed Oh, well,nevermind.Sorry… But anyhowit’s veryawkward. an e-mailbut… And allthese taboothemesthatareimpossible tospeakof. it wouldbesimpler. - - Evgeny Granilshchikov — Unfinished Film (Script) 466 script orinmyownwords?Well, keepthissceneforyourfilm. between speakingaboutMay6prisonersinthewordsfromyour it inyourscript…That’s what I want to say. What’s the difference film. It’s notcinematic.Ofcourse,youcouldhavewrittenabout bottles. Idon’t play. Thisconversationisbeyondtheboundsof other opportunity. It’s impossiblenottospeakabouttheplastic themes? Yes, it’s direct,itabsolutelystandsout.Butthere’s noany now. What’s thereasonof making a film if you don’t touch these this talking three yearsbecausetheythrewaplasticbottleatpoliceman?! two yearsago.Andsowhat?Howmuchdidtheyget?Two or War, forexample…OralltheseMay6events…Theytookplace About ten years have passed, but we still can’t grasp the Chechen So, nothinghascometoanend.Andalltheseactions, — it’s ourhistory. That’s whatIthink.don’t play

467 Erysichthon Jon Rafman — we seea childona360° swingcircling motifs ofself-cannibalism follow, until along circular server racks. Masks and magnetic cube. Then, the camera wanders shot offerromagneticputtyswallowing a virtual world.Thevideobegins with a internet, anonlinelandmassorsimply a dark net,deephiddencorners ofthe line, taken from what you might call the (2008) iscomposedoffootagefound on- Mestra, untilhefinallyatehimself. all his property and even sold his daughter get worsethemoreheate.Hefinallylost tiability. Hisnever-ending hungerwould Erysichthon toeternalhungerandinsa Demeter revengestheactbysentencing capable servant and brings the tree down. grabs anaxe,knockstheheadoffhisin- When itwon’t fall,Erysichthonhimself tree thatissacredtothegoddessDemeter. a monarch who oneday decides to fell a Erysichthon, inOvid’s Metamorphoses , is Jon Rafman,Erysichthon,2008,HDvideo,8mins.,still Jon Rafman’s videoErysichthon -

Egger] circular repetition oflife’s phases.[Marie unity, autonomy andinfinitythrougha surrounding. The Ouroborossymbolises exist asanauto-entityindependent ofany It eats,digestsandre-consumesitself, to of livingbeing,ithasnobeginning orend. in thevideo:symbolisinganultimate form of asnakeeatingitself,repeatedlypops up decrypted. TheOuroboros,acircularicon ending tothevideo,norareclippings the work.Thereisnodramaticpeakor ity towatchthevideoinloop. reaction thatmayleadtoone’s incapabil- to expulsion.Itcausesagruellingphysical information, thevideoactuallyneverleads of media,news,images,knowledgeand a referencetotheconstantconsumption well asanendlessnessofthings.Possibly self-destruction andcircularrhythmsas that ofasnakeeatingitself,speaks around. Theunnervingfootage,suchas Curiously, onestillfeelsdrawninto 468 Third Paradise Michelangelo Pistoletto — represent ourlifeintheworld. element iscreated,which didnotpreviouslyexist.Inchemistry, potential toovercomethe dualityoftwoelements,acentralthird number three.Thesedynamics areacreationproject.Bearingthe TrinamicConcept, in anewway. you havetofindawayofcombiningdifferences and opposites conflicts andwar. So,todevelopaconceptofpeace,forinstance, ments different situations,twoconditions, differentele some helpinbetweenitstwocircles the centre. And that is finity. Ifelt that the infinity symbol needed in theoryitsoundsfantastic,butyoucannottouchit. volatile; it escapes and you cannot grasp it. Similar to freedom; two circles.Infinityasaconceptisfamiliartoallofus,butit is basedonthesymbolofinfinity, whichasyouknowconsistsof have neverexistedbefore. needs to be organised to enable the creation of new situations that are thusnowenteringathirdstageofhumanity. Thatnewstage two different situations humanity has previously arrived at. We that didnotexistbefore. in order to mix the natural and the artificial into a third situation overcome the distance between the first paradise and the second; from thefirstparadise. until todaybyahumanitywhichhasescapednature.Itisdistant The secondsymbolisestheparadisethathasbeenproducedup paradise, wherehumanbeingslivedtotallyinaccordwithnature. have beentwoearlierparadises.Onecirclesymbolisesthefirst This isthesymbolofrebirth,third paradise. Itmeansthere create water. United,thetwocolours blueandyellow create green. hydrogen and oxygenaretwoseparate gasesbuttogetherthey Why? That iswhyI use the symbol in relationtoa project I callThe The symbolforthethirdparadisecomprisesthreecirclesand We needtobeable to createanewworlddepartingfrom the Because wehaveaconstantnecessitytoputtogether two In ordertomakebothendsmeet,youneedaddsomething to The thirdparadiseistheoneweneedtobuildtodayinorder — that mayevenbeopposite.Allthoseoppositionscreate which simply refers to the dynamics of the Moscow, 23 — a thirdone rd September 2015 — that would -

Part V: Appearances of Multitude 469 When twooppositionsclashorareincontrast,itmayresultwar. before. Socio-politicalsituationsmaybedescribedthesameway: them together, youhave achild,thirdpersonthatdidnotexist and femininearerepresentativeofthetwoopposites,butifyouput Two voicestogethercreateathirdvoice,harmony. Masculine creating athird futurelife.Andthemoment forthatisnow. will one, thethirdtime that wemayhavehadtwo births,anaturaloneandcultural out ofitwastheEmbassyRebirth . concept andtheseconditions inmanydifferentplaces.Whatcame spring, a renaissance. That is why we started to work with the call thisthelastdayofworldorfirst theworld.A are obligedtofindawaybalancethetwoextremes. We may a conditionwheretheartificialisgoingagainst naturalwe We areworkingagainstnature,oneofthetwoprinciples.So,in science, technologyandeconomics)wearedestroying ourplanet. certain wayofusingourcapacitiescreatingand producing(in are in a bad condition. With so many crises in the world and a to reflectonourcurrentsituationandthereisno doubt thatwe was definitelynotgoingtoend.Nevertheless,it anoccasion end oftheworldaccordingtoMayacalendar We havealsocreatedextensionsthroughotherpeople. that may be used by anyone. Iactivate the symbol with people. I prefertothinkofitasacertainwaythinkingorsomething Then trytomakeaproductivecombinationofthetwo. and look for the opposite of what you were thinking of doing. that whenyouhavesomethinginmind,stopforamoment to combine opposites. When teaching in school I usually propose ample, oreconomicsandeducation.Itisanattempttofindaway connections withthem.Betweenspiritualityandpolitics,forex- tion… Itenablesyoutothinkbetweensystemsandtrymake for somethingnew. can applythisprincipletoeverything.Thereisalwaysapotential this sign,forme,symbolisescreation.AndIamconvincedyou that istheresultofanaestheticandmoralsolution.Thatwhy But we need to find ways of producing and creating something In fact, the idea of rebirth is integrated in the symbol. Thinking In fact,theideaofrebirth is integratedinthesymbol.Thinking On December21,2012,thedaythatwasspokenofas This project,thesymbolIhavecreated,isnotsomethingsell. The concept may be applied to politics, economy, in educa — would result fromacombinationof the twoopposites, — the thirdparadiseor circle,ifyou — the world - Michelangelo Pistoletto — Third Paradise 470 create something. If we’re not giving them the capacity to be able create something. Ifwe’renotgivingthem thecapacitytobeable the childrenoftoday, whowillworkover thenext20yearsand may helpinthinkingabout changingtheworld,butitisyouth, tion toeveryone.Startingfrom schoolsandchildhood.Personally, I ety. We have to offer opportunities to participate in the job of crea recognise themfortheresponsibility theyare. and makeuseoftheautonomyfreedominour handsand autonomy andfreedom.Butnowwehavetogoback tosociety the individualwasanincrediblesuccessbecause it gaveartists to any religious or politicalconceptof society. The revolution of because, finally, theartisthaspossibilityofnotbeingaslave and authority, really. Nevertheless, it was an important revolution has notchangedtheworld.Itwasabigrevolutionin individuality solutions, bigsurprisesandsoforth.ButIthinkthat thisfreedom freedom. Everybodycandosomething.Artistsmake fantastic well asartists.Inthetwentiethcentury, wearrivedatindividual for. Anditisnotatall exclusivebutmaybeusedbyanybody, as It willenablethistogoon.Andthatisthemomentofcreation. finally acting and will find a territory that did not exist before. are you doing?”So, what is important is acting.To feel weare meet oneanotherandstarttotalkask:“I’mdoingthis,what along thatway. With theaimofaconditiontoworktogether, to with, andbetween.Thatiswhatwehavetofind. front ofus,somebodyelsewhowecanarrangetohaveacreation We havetostartfrompairsoftwo.Thereisalwayssomeonein that is not something any artist or anyone else could do alone. body intheworldtodosomethingchangeitself.And we havetoworkforthat.” “We havetogo, wehaveagoalandanexpectation.And on, forthefuture.Thesignisthusgivingaprospective,saying evolution, andofthethirdconditionthathastostartfromnow capacity forunderstandingeachotherinthatprojectofchange, where andwehopedthatthismighthelptodevelopanideaofthe creating ameaningforsomething.Peoplewereparticipatingevery When you celebrate, you do something that is connecting and to create, nothing willchange.They will keep onfightingasbefore. Thus, today, we haveajobforeverybody. Abigjobforevery- Without responsibility, freedomwillnot graspanythinginsoci This creationiswhattheformulaofthirdparadiseaims I think the direction this Biennale is taking is going exactly On thedayof21 st December, manypeopleheldbigparties. - -

Part V: Appearances of Multitude 471 But nowwereallyhavetodoit,notjustconsideritintheory. Through artisticprojectsinallthedifferentfieldsofsociallife. into ideasinpracticallifethatIhavealwaysbeeninterestedin. Michelangelo Pistoletto’s installation ThirdParadise,2015 The teamofMoscow Biennale2015gatheredin It is the transformation of fights and conflicts into production, It isthetransformationoffightsandconflictsintoproduction, 472 Communal Living The Unbearable Luxuryof Konstantin Zvezdochotov — view during theMoscowBiennale, 2015 Art for the Tretyakov Gallery, installation Alcayde Collection ofAncientEgyptian Konstantin Zvezdochetov, TheManuel

473 Konstantin Zvezdochotov — The Unbearable Luxury of Communal Living 474 Art forthe Tretyakov Gallery , 2015 Alcayde Collection ofAncientEgyptian Konstantin Zvezdochetov, TheManuel 

Part V: Appearances of Multitude 475 Konstantin Zvezdochotov — The Unbearable Luxury of Communal Living 476 remained ideas. ability torealiseourconceptions, alargepartoftheseprojects harangues. Sincewewere lazyanddidnothavethetechnical I organisedtogether. Snow of Russia , his ownright. AptArt, and,finally, begantoemergeasanindependentartistin and exhibitions ofthe Mukhomor group, then in the activities of regard wasManuelAlcayde.Atfirst,hetookpart intheevents on fromdiscussiontoaction. studying attheatricalandartinstitutions. dormitory, which was home to students from all over the world our groupandCubanfriendsbeganpreciselyinonesuch collectivism andpluralismareinourblood. live together. Pioneers’ and concentration camps strengthened the instinct to vidualism andmisanthropy. the oppositeofintendedeffect,expressedinhystericalindi took ittosuchapointofabsurditythathassometimesled our history. Cossack troopsandcollectivefarmshavefiguredconstantlyin quite particular, and more generally, all kinds of gangs, artels, ate whatwehadtoeat. ethnicity orreligionwere,noryourgastronomicpreferences.We tions liketheseitoftendidnotmatterwhoyouwere,whatyour forced peopletoclustertogether, ifonlytokeepwarm.Insitua- almost threetimesover. Our countryisverybig.You canfittherestofEuropeintoRussia of kitschobjects whichhadbeeninspired bythistheme.Itwould tian Art. We plannedthattheexhibition wouldconsistofallkinds Among the Cubans, one particularly active individual in this Our mutualcuriosityandinterestintheartsledto usmoving The Sovietstateexacerbatedthisaspectofourwaylifeand The White Aside fromthat,thereweresomanyactivities( The It is therefore not surprising that the collaboration between At theriskofcomingacrossascategorical,Iwouldsaythat Nonetheless, dormitories, communal apartments and both Therefore the peasant community in Russia was something Vast amountsofspace,asparsepopulationandharshclimate Among them was aproject called Collections of Ancient Egyp Largely, however, we spent our time on sheer invention and Moscow — a Port to Five Seas, etc.)thatheand - -

Part V: Appearances of Multitude 477 thing intheoreticalfoundations. we consideredourselvestobeatthattime),groundedevery- and craftsmadebyvariousunknownoddballs. also includesouvenirsbroughtbackfromEgypt,boxes,wrappers pen inthemain pavilionatVDNKh. What impressedmeabout subject and in itsembodiedform,to whatwasgoingtohap finally, torealiseit.Inmyminditwasvery wellsuited,bothin nale, Isuddenlyremembered our‘Egyptianproject’anddecided, Manuel leftforCuba.We lostcontactand itallcametoanend. the clutter of everyday life. Then I was drafted into the army, and away theseartefactsasrubbish. Objectssimplygotlostamong be unsystematicanddisjointed.Oftenourrelatives wouldthrow Because ofourlackdiscipline,thecollection turned outto Based on this profoundly abstruse reasoning, we began to collect. the followingpearlsofwisdom: was withthegreatestdegreeofimportancethatwe came upwith theorising, perhaps thereby reinventing the wheel. Nonetheless, it kind of informational vacuum, we’ve had to resort to home grown It waslikethatthistimetoo.Since1980wehaveexistedina Naturally, like any other self-respecting conceptualists (which 35 yearslater, whenBartinvitedmetotakepart intheBien- ship isaproductofcapitalism,individualismandcommerce. of collective creation. The establishment of the idea of author greatest creations have hadanonymous makers and are works The fourthpostulatewaswhollyleftist:majority ofthe 3. 1. 2.

Example: Ontheonehand,ParthenonandPan- for completelyunderstandablereasons. Time is illusory, butatthesametimepeoplefetishiseit, Text, whichhaslostitsoriginalmeaningandcontext, lamp fromthesupermarket. on the other hand, anantique lamp costs more than a theon are need togoParissoashavesomeideaofLa Gioconda . Example: Theinhabitantsof Siberia donotnecessarily Contemporary cultureistheofreproduction. become akindofdecorativeembellishment. ceased tobesacred texts inthemassconsciousness, have passes intotheaestheticplane. Example: Ornament and Egyptian hieroglyphics, having Example: OrnamentandEgyptianhieroglyphics,having — for themajority — almost the same age, while almost thesameage,while - -

Konstantin Zvezdochotov — The Unbearable Luxury of Communal Living 478 Art forthe Tretyakov Gallery , 2015 Alcayde Collection ofAncientEgyptian Konstantin Zvezdochetov, TheManuel

Part V: Appearances of Multitude 479 Masha Ivanova Anna Nepsha Ekaterina Bermont Leyla Sultan Alexander Postikov Tatyana Shagina Dmitry Shagin Sasha Sam Alexander Petrelli Pavel Kuznetsov Konstantin Zvezdochotov Denis Sychov Evgenia Veselova Arina Balantseva Tretyakov Gallery Egyptian Artforthe Collection ofAncient The ManuelAlcayde club, orfromallsortsofjunkysouvenirsbroughthome. together eitherfromthingsmadeina‘SkilfulHands’children’s yourselves. ThiswasaRusso-Cubano-Egyptiancontrivance,put artistic valuewerecarriedthroughtothepointofidiocy. Seefor the projectwasthatproblemsofauthorship,nationalityand which Ithankeveryone. filled with genuine drive, enthusiasm,warmthand solidarity, for and informallycommunicatingwithaudiences.Thistimewas accompanied formonthsbyasenseofgladnesswhileco-creating euphoria frommyownwork.AttheBiennale,however, Iwas team thatcopedextremelywellwiththetaskathand. and totheBritishMuseum.We accordinglyformedawonderful is clearlylackingthere,andwhichmakesitinferiortotheLouvre appearing inournationalartmuseum,sincethisissomethingthat Soviet exhibits.Iwashappyaboutthethoughtofsuchacollection is a collection made up exclusively of all manner of Russian and lection ofAncientEgyptianart’ this rubbishwasthenpassedontotheTretyakov Galleryasa‘Col The absurdityofitallwascompoundedbythefactthat As theyearspass,Imoreandrarelyfeelasenseof 1 — a placethat,asiswellknown, be verypleased withthis. I thinkthathetoo would lives inMozambique. PS. ManuelAlcayde now 1 -

480 The Graph CommonsJournal Burak Arikan — the fabricofmostcomplexsystems: and linkswhichmakeanetworkform.Bynature, thatformis map of its relationship diagram that is composed of the nodes examples ofcomplexsystems. markets, andsocialformationsamongpeoplearesomegeneric communication infrastructure,transactionsbetweenagentsin ling ofneuronsinourbody, themessagingofdevicesintele parts interactingwitheachotherinmultipleways.Thesignal Complexity ischaracterisedassomethingwithmanyautonomous critical medium. to expandyourthinkingaboutthenetworkasacreativeand complex networksthroughmappingandvisualanalysisinorder ing networks.We willfocusonthedesignandunderstandingof This isathree-partguideonmapping, understanding,andanalys 1. If wewanttounderstandacomplexsystem,firstneed Understanding complexsystems CREATIVE ANDCRITICALUSEOF COMPLEX NETWORKS PART ONE - -

Part V: Appearances of Multitude 481 ancient PhoenicianandGreekcoloniesformedtheirtraderoutes in everysocietyhistory?Itisknownthat3,000yearsagothe Why donetworksspecificallymattertoday, afterhavingexisted its connection structure. In fact, we can use this common language its connectionstructure.Infact,wecanusethiscommonlanguage relations, aswellcarryoutquantitativeanalysisbycomputing we canobtainqualitativeinformationbyreadingitsactorsand both visualandmathematical.Thisway, fromanetworkmap, A network diagram like these offers a common language that is about theInternet, talkingaboutitas a globalgood, information from alldirections.)Sometimes we are opportunistic reach anyoneanytime)and chaotic(ourinboxisinundatedwith the world is more complexthan ever. It feelsboth flat (we can munication to transportation. We all acknowledged the fact that commerce, fromsocialnetworking tobanking,fromtelecom In fact,weallexperience thenetworkeffect:fromemailtoe- social worldassuch. able eveninone’s dailylife,whileatthesametimestructuring the the metrics of network effect have become trackable and measur part ofourlife.With today’s advancedinformationtechnologies, age arenetworksabletoreachaglobalscaleandinfiltrate every systems havemadenetworksmeasurable.Onlyin thisdayand ter todaybecauseelectronicandsoftware-basedcommunication that manyaspectsoflifearenowdigitised.Thus,networks mat- life happenings,butnetworksthataredigitised,in thesameway able aglobalcommunicationsystem. in thesamegeography, submarinecablescarrymessagesanden- and builtanetworkofharboursintheMediterraneanSea.Today, studying avarietyofcomplexsystems. 4 nodesandlinks.We canusethissimplemethodtobegin each networkhasthesamegraphicrepresentation,consistingof ture. Whilethenatureofnodesandlinksdifferswidely, through partnerships by appearanceinthesame movies, and 3) organisationsconnected 1) devicessendingmessagestoeachother, 2)filmactorsconnected ance, orscope.Forexample,threeratherdifferentsystems to studysystemsthatmaydifferwidelyintheirnature,appear 3. What we have today is not just networks as analogue or bare 2. Use ofcomplexnetworks Why isnetworklogicsignificanttoday? — may haveexactlythesamenetworkstruc — and other — - - - -

Burak Arikan — The Graph Commons Journal 482 4 3 2 infiltrate everypart ofourlife. Only inthisdayandagearenetworks abletoreachaglobalscaleand communication system. Today, inthesamegeography, submarinecablesareenabling aglobal city states,marinersformedtraderoutescrisscrossingtheMediterranean. From thePhoeniciansandAncientGreekstomerchantsofItalian

Map source: http://www.submarinecablemap.com Map source: http://www.submarinecablemap.com Map source: https://ridgeaphistory.wikispaces.com/ Mediterranean+Trade+Routes

Part V: Appearances of Multitude 483 in partnershipwithcertaincorporationsthroughwhathasbeen reside andcirculate? flat andchaotic,thequestionarisesagain:Wheredoespower lance allthetime.Insuchanantagonisticworldthatisatonce times wearepessimistic,knowingthatallundersurveil- Commons isasteptowardsallowingyoutodoso. and unfoldtheissuesthat impact usandourcommunities.Graph visible and thus discussible. Together we canmap relationships ships thatwecanobserve)wouldindeedrendercomplexstructures vidual datapointsaroundus(thecollectivemappingofrelation- who continuously sense our activity. In fact, interconnecting indi data. Yet, wearethedataforgovernmentsandcorporations accessible tocommonpeople. the relationaldatanortoolsforvisualisationoranalysisare tools forvisualisingandanalysingitonarelationalbasis.Neither fields haveaggregatedalargeamountofdataandusedscientific been mystified in the eyes of the public. Only experts in certain of ahandfulinstitutions.Inotherwords,networklogicshave the informationgeneratedbymany, butonlyopentothereach through understandingtheinterrelatedorlinkablestructureof ing andpredictingwhatpeoplewant.Thisindeedwaspossible attention towardsaninaccessiblebutquitemagicaltoolofknow called ‘bigdata’,theNSAleaks,etc.,havealsoattractedour Additionally, the state’s tactics ofmonitoringitsowncitizens However, itisamyththat commonpeoplehavenoaccessto munity on auser-friendly impact youandyour com- and maptheissues that and categoriserelations, are interestedin;define data aboutthetopicsyou can collectivelycompile At GraphCommons,you 5 etc. analysis, curating content, strategising, organisational research, civicactivism, gative journalism,data the platformforinvesti- members havebeenusing interface. GraphCommons 5 - -

Burak Arikan — The Graph Commons Journal 484 tion possiblebetweentheactors.Thesecouldbeinteractionslike The secondstepistocomeupwithrelationsthatmakeinterac-

relationships: also belimitedbyyourdefinitionoffieldandresearch topic. ately not pursuing. Also, remember that the number of actors can categories beforehandandoverlooktheonesthatwe aredeliber one mightencounter. However, itisalsovitalnottoassumethe idea to start with an educated guess as to what kind of relations which isneitherorganicnorofficialinnature.Ittherefore agood Another relationonewouldexpecttodetect bebribery, as wellorganiclinksthatmakeup the biggersocialnetwork. ties ofacertainpressuregroup,onewouldexpectto findofficial instance, ifoneisinterestedinunderstandingthelobbying activi- as being amember, belonging to acategory, and similarity. For sending emails, collaborating, and influencing, or affiliations such and listtheactantswithinyourfield. the fishthemselves.Inotherwords,youfirsthavetoinvestigate field, butwouldalsorelyoncompaniesthatproducefishmealor of fish would then not only rely upon the human subjects in the system offishingoperatesinitsprocessualcycle.Thereproduction relations between the farms and the vendors, and how this eco Let’s saythataresearcherisinterestedinfishfarms,themarket persons toconcepts,andfrominstitutionsinanimateobjects. you areinterestedinresearching.Theactorscanvaryfromreal The firstquestionshouldbewhatactorsthereareinthefieldthat 2. 1. There areroughlyfourgeneral categoriesforthinkingabout What arethecriticalrelationshipsthatcanscale? Detecting theactorsandrelationships Who arethedominantactorsinfield? Understanding thefield MAPPING NETWORKS PART TWO — — -

Part V: Appearances of Multitude 485 to organise your edges and nodes by importance. If you prefer the to organiseyour edgesandnodesbyimportance. Ifyoupreferthe KfGmkb4olOea4-vPVnBMGv8CrtbR1L8RJw/edit#gid=0) template (https://docs.google.com/spreadsheets/d/13sV8DAROJ canvas. can visuallyaddnodesand relationsjustbyclickingonthemap your dataintoaself-organising diagramasyouedit.Infact, sheet. UsetheGraphCommons ‘DataTable’ feature,whichturns types. Thebestwaytoorganiseyourdataisputit intoaspread- Start gathering data after you have listed the actor and relation categories. can getcreativeandintroduceotherrelationships outsidethese give youguidancetostartthinkingaboutrelationships, andyou these categories.Needlesstosay, thesecategoriesarehereto The relationshipsyouchoosewillmoreorlessfall intooneof 3. Compilingdata&makingthemap Alternatively, youcanusetheGraphCommons spreadsheet Connection isanevent,withaspecifictime.Iemail Interaction Networks: and theflowcouldbebrokenlikeapipe. flows, moneynewsflows…Usuallyphysical, Something actuallyflows.Water flows,electricity Transmission Networks: ship. Implicit. bers… Linked by correlation, similarity, or member category, organisationsareconnectedbyboardmem We areinthesameschool,things Connection isa belonging to agroup or category. Affiliation Networks: nises you…Visible onlyifyoustateit. are myfriend,Iloveyou,youtrusthim,sherecog- Connection isanexpressionofarelationship.You Attribution Networks: Something passedonduringacontact.Explicit. you, Ibuysomething,wedoanexhibitiontogether… - -

Burak Arikan — The Graph Commons Journal 486 and differencesbetween nodes, highlightingcentralaswell organised based onthe connections, showing bothsimilarities self-organising physics simulation program, where the layout is can getorganised.Thenetwork maponGraphCommonsisa need totransfer yourworktoacomputer simulation, where things relationships. have beenslowlyemergingwhileyouwerelistingthe actorsand map. Thiswaythenodesandedgeswillappearto youasthey with lines,fromwhichyoucangenerateasketchfor yournetwork lot. Start by drawing circles, writing names and connecting them eyes, afteryourattemptsattaxonomisationofthe field,helpsa Hand drawingthenetworkthatyoucannowsee beforeyour between. You canalsoaddweightifyouneedto. tre asinglecolumnEdgeType torepresenttherelationshipin ships, whichwillhaveacolumnstructureasbelow. the template,one sheet for nodes, andasecond sheet for relation external spreadsheetoption,youwillfindtwoseparatesheetsin normally not beabletosee. peripheral actors, and revealing organic clusters thatyouwould and names,ontherighttonodetypeatcen- # # 1 1 2 2 3 3 Nodes Table Your hand-madediagramwillgetmessyprettyquickly. You A listofrelations Edges Table Simply alistofnodesbyrowsandtheirpropertiescolumns. Type Node Type Person Person Person Person Person Person Node Name Name Sarah Wilson Sarah Wilson Ahmad Suphi Ahmad Suphi John Travolta John Travolta — in eachrow, on theleft,fromnodetypes Edge Type Collaborates Collaborates Likes Description Artist Lawyer Actor Type Node Person Person Person Website sarah.com asuphi.com john.com Node Name Ahmad Suphi John Travolta John Travolta Location New York Beirut London Weight Edge 1 1 2 Age 27 41 52 -

Part V: Appearances of Multitude 487 from others’graphs. lective workisupdated,andreuseexistingdatabycloningnodes Invite collaboratorstoyourgraphs,getnotifiedwhencol knowledge about a given issue and build a bigger picture together. We getthemost outofmappingwhenweinterconnectourpartial fully startnewcollaborations. possibly mergebacknewdatapointsintoyourgraphsandhope- someone clonesyournodes,sothatyoucantrackitsjourneyand ups ofexistingandnewdatapoints.You willbenotifiedwhen incrementally expandfromthere.Thisway, youcanmakemash- means you can clone an existing node to your own graph and Graph Commons supports asynchronous collaboration, which Graph Commonssupportsasynchronouscollaboration,which 4. CollaboratingonGraphCommons 6 mons/videos). vimeo.com/graphcom- tutorials here(https:// Interface: Seethe video The GraphCommons 6 - Burak Arikan — The Graph Commons Journal 488 and analysingnetworksinasingleimage: and clusteringmetrics.Herearesomeoftheconceptsforreading We canstartanalysinganetworkmapbyexaminingitscentrality READING ANDANALYSING NETWORKMAPS PART THREE

Part V: Appearances of Multitude 489 question is rather how much of a bridge role a node not justthenumberofconnections anactorhas.The their locationsinthenetwork?Centralitymeasureis Who arethemostimportantactorsandwhat Centrality: any nodeinthe network. reach, thatis, howlongitwilltakeat most toreach What isthelongest pathinthenetwork? Findingthe Graph Diameter: network. as connectivity of different regions within a single networks? Comparingdensity ofnetworks,aswell How wellisanetworkconnected, comparedtoother Graph Density: actors. connections andthedegreesofseparationbetween rect relationshipsexist?Revealingnormallyinvisible What isthedistancebetweentwoactors?indi Shortest Paths: common set of linkages to other actors in the system. network. Referstotheextentwhichactorshave a us alternativepaths,aswellredundancyinthe a similarroleandhavepositions.Theseshow Which actorsarealike?Determiningwhoplay Equivalency : as theclustersthemselves. well asthebridgesbetweenthemareimportant them. Thestructuralholesbetweentheclustersas You cannametheclustersbylookingatwhoarein nections to one another than they do to outsiders. Discovering clustersofnodeswhichhavemorecon- What organicgroupsorclustersexistinanetwork? Clusters : core ofthenetwork,andwhoareonperiphery? position ofactorswithinclusters?Whoareinthe and leaders,whobridges,isolates?Whatisthe members of the network. Who are the connectors has betweenclusters,andhowcloseitistoother - 490 Political Score “Palace of Culture” u/n multitude— u/n multitude, Palace ofCulture, 2015, Dance Workshop, 25 th September 2015

491 biennial, the art collective u/n multitude organised four public tion, propagandaandcollectivegatheringinleisuretime.Forthe took place.ThePalaceofCulturewasbothameanseduca and recreationalactivitiesforthecommunitywereorganised In Soviet times, aPalace of Culture was aplace where cultural munication throughtheactofplayingandlistening.[MarieEgger] for the individual player, or become a tool of exchange and com- scores canorganiseawholeorchestra,leaveroomforinspiration inspired bythenotionofscores:Asameansmusicalnotation, confrontation withpoliticalandsocialcontexts,allfoureventswere culture atVDNKh. multitude immersedintoeachofthespecificcontextsamateur clubs fordanceanddramaorvocal-instrumentalensembles.u/n worked withthelocalcommunitiesofVDNKh,suchasamateur ble formassoutreachactivitiesintheSovietera.Forthis,they by thequestionofhowtogathertoday. historical point of view activities toput thenotion ofthecultural palace totest froma Stemming from their interest in the potential of music to spark a Stemming fromtheirinterestinthepotentialofmusictosparka u/n multitude appeals to the institution as the one responsi — and aim for an actualisationof it, led - - u/n multitude — Political Score “Palace of Culture” 492 Dance Workshop Silukob, Alexandra Kudryashova, Igor Yelena Petrova,Larisa Vladimir Zharkov, Lenin, OlgaNechayeva, Antonenko, Vladimir Pakhomov, Alexander Zhanna Yanukovich, Yuri Vasiliyeva, AlexBender, Boris Petrov, Svetlana Lyudmila Moskat, Alexander Izmailov, Dmitry Arkhangelsky, Titova, Tatyana Bodnar, Sergeyev, Nadezhda Solovyova, Vyacheslav Nikolayeva, Valeria Kuznetsov, Yekaterina Dmitry Simonov, Yuri Daria Zakharova, Kulikova, MariaLyamina, Lakireva, Natasha Anatoly Mazalov, Olga Igishev, IrinaZiuzeva, Zhanna Morozova,Viktor Tarasov, Tamara Mets, Zhikharev, Dmitry Khakhareva, Yevgeny O. A.Ushakova,V.N. Nikitina, MikhailUstalov, Maria Yakovleva, Natalia Barabanov, O.M.Odinets, Demidova, Boris Irina Myrsina,Galina Vladimir Pleshakov, Maxim Gabrukovich, Pavlova, MikhailPushkin, Sergei Lebedev, Anastasia Olga Chernyshova, Galitsyna, IgorTrushkin, Dmitry Pashkov, Nastya Alexander Pravdyuk, Alexei Nikonov, Mikhail Radchenko, Participants: Central DomeofVDNKh. the headofhistoricalballroomdancingstudioPolites,in Dance evening and workshop by Anatoly Mikhailovich Mazalov, 25 th September2015 Yevdokimov. Zineyev, Alexander Gorbunova, Yevgeny Alexander Yuriev, Tamara Usovich, OlgaVdovina, Vinokurova, Anatoly Viktor Sokolov, Elvira Larisa Komarova, Yevgenia Minayeva, Markeyev, MilaSimakova, Ye.R. Slyunyayeva, Yuri Aronenko, V.V. Prokofiev, Khokholikov, Valery Maxim Dubinsky, Lev Tarasov, Tatyana Osipova, Tatyana Bodnar, Dmitry Plokhotnaya, IgorBelov, Parmanova, Alyona Shchedrov, Oxana Agapchev, Alexander Barinova, Anatoly Vladimir Loginov, Tatyana Muraveva, InnaPichugina, Odintsov, Lyubov Aliyeva, Vladislav Mikhailova, Tatyana Vasilyeva, Tatyana Bulycheva, Alexandra Anokhina, Natalia Mironova, Yulia Ivanchuk, Marina Fyodorova, Sergei Semyonov, Margarita Batakova, Alexander Krivosheyeva, Lyudmila Prigozhin, Alexandra Igor Kozlovsky, Sergei Natalia Kaznacheyeva, Yurev, Yuri Shteynikov, Vishnyakova, Alexander Volkhonsky, Marina Lyudmila Popova,Artyom Silukob, MariaVarygina, Anastasia Waltz Slow Foxtrot Tango Sudarushka Russian Lyrical Dance Minuet Berlin Polka Svetsky Rucheyok Spanish Waltz Rhythm Waltz Waltz-Mazurka Waltz-Gavotte Grand Waltz Viennese Waltz Figured Waltz Boston Waltz Mazurka Hungarian ballroomdance Moscow Quadrille Pas deZephyre Pas dePatineur Pas deGrâce Polonaise Programme:

Part V: Appearances of Multitude 493 A LectureontheSelf-OrganisedCommunityatVDNKh tion toparticipationoftheirfriends. and theatmos multitude triedtoremainfaithfulthenatureofgatherings a gatheringsofbards At theheartofthislectureliescounterpointtwosituations: 27 tea partywhereeveryonebroughtsnacks. the circle.Thesemeetingswereaccompaniedbyanunpretentious people well-knowntoeachothergatherandapassguitarround Songs Pavilioneachweek,observingoveranextendedperiodhow tions fortheperformance,u/nmultitudeattendedRepublic of chamber groupmeetingofthebards. compared the(extroverted)solopubliclectureto(introverted) to guitarcreatedthestructureofarefrainandepisodes,which th As aresult,fragmentsofthelectureandsingingsongs During thisperformanceinthePavilionNo. September2015 Self-Organised Community inVDNKh,27 u/n multitude,PalaceofCulture , 2015,ALecture onthe phere oftheRepublic of Songs, openingtheinvita- — in acircleoffriends.Duringtheprepara- th September2015 1 ofVDNKh,u/n u/n multitude — Political Score “Palace of Culture” 494 The MarchofEnthusiasts the restorersofBelarusPavilion. The performancewasattendedbycontemporaryenthusiasts voice recitedtheenthusiasts’namesoftwoerasinfreeorder. of the Exhibition Centre, climbing up the scaffolding while a Pavilion. Simultaneously, musiciansreproducedtheconstruction ium buoyswhichu/nmultitudehadborrowedfromtheFishing in the 1990s. On the stage, Chinese artist Li Mu laid out alumin- built VDNKh and 2) the employees who maintained the complex Dedicated totheenthusiastsoftwoeras:1)thosewhoerectedand 29 th September2015 We carryacross otherworldsandages! Like adreamifour heart,theflagifourcountry Above allothercountriesandoceans Glitter, likeneverbefore, And ourstarsofscarlet We lovewithgusto,andsing likechildren. We graspourhappinessby rights, The workofcenturieshasbeendone inyears, Our worldwascreatedwonderfully. Is callingyoueverahead. A dreamofwonderment,stilluncleartoyou, Or cuttingoutstonefromawall, Whether you’releaningoveraworkbench, A matterofvalourandgloriousexploit. Our workismatterofhonour, We arealwaysrightinourdaring, Is itforustostandinplace? We carryacrossworldsandages! The flameofourheart,theflagcountry We fearnoicebergs,nottheclouds. On seaorland,weknownoobstacles, My indestructiblelandofbirth. You spreadout,myboundlesshomeland, From thetropicsallwaytopole, Across thesteppe,acrossforests, A countryofdreamers,athinkers. Hello, youcountryofheroes, In themerryrumble,flamesandpeals, In theeverydayworkofgreatbuilding, March oftheEnthusiasts Anatoly D’Aktil —

Part V: Appearances of Multitudes 495 Drugie LyudiOn theclosingdayofBiennale,rockbandDrugie Rock Concert played a concert on the main stage at the Central Pavilion. Usually, 1 ary spotonthestreet. multitude, whoweresimultaneouslyperformingattheircustom- at theentranceofVDNKh.Thebandswitchedlocationswithu/n this streetbandperformscoverversionsofwell-knownpop-songs st October2015

u/n multitude,PalaceofCulture , 2015,RockConcert, 1 29 u/n multitude,PalaceofCulture,2015,TheMarchEnthusiasts, th September2015 st October2015 496 6 Ensemble — Studio ForNew Music th 28 2015 27 2015 26 2015 25 2015 1 2015 30 2015 29 2015 2015 24 2015 23 st October th th th th th th th rd Moscow Biennale Programme September September September September September September September September Tarnopolsky. With alivestreamSkypecommentaryfromVenice byVladimir Conducted byIgorDronov. Performed bytheensembleandsoprano (EkaterinaKychygina). Premiere ofnewpiecebycomposer VladimirTarnopolsky. double bass trombone, synthesiser, percussion,2violins,viola,celloand with largeensembleofflute,oboe,clarinet,trumpetand composer AlexanderKhubeev with interactiveliveelectronics with ensembleofflute,clarinet,accordionanddoublebass, composer AlexeiNadjarov both instrumentsandspeciallyconstructedobjects with ensembleof2violins,viola,celloanddoublebass,using composer AlexanderKhubeev using bothinstrumentsandspeciallyconstructedobjects with ensembleofflute,oboe,clarinet,trumpetandtrombone, composer AlexanderKhubeev with stringquartetandelectronics composer AlexeiNadzharov with electroviolinplayer composer AlexeiNadzharov depending onthepainting paint inrealtimewithsimultaneousvideoscreeningandsound, with percussionistandrealtimeartistDavidRuwhoisgoingto composer NikolaiPopov electronics with ensembleof4musicians—flute,clarinet,violin,celloand composer NikolaiPopov and cello) with stringquartet“StudioforNewMusic”(twoviolins,altо composer NikolaiPopov

Otto Snoek, 22 September – 01 October 2015

Part V: Appearances of Multitudes 497 September22 Maarten VandenAbeele— –01 October 2015 lowing pagesresemblethishanging. where thebiennialtookplace.Thefol installed onwallsinsidePavilionNo. all, inMoscowcity. Hisphotographswere hibition parkaroundthesite)and,above around thebiennial,inVDNKh(theex- ten days,hecapturedwhatwasgoingon eyes. During his presence in Moscow for the biennialasoneoffourphotographic Maarten Vanden Abeele wasinvitedto 1 - xxx

xxx Installing the work of Otto Snoek. Photo Otto Snoek 510 September22 Otto Snoek— 522 and552.[Marie Egger] 215, 225,345,360, 423,450,496,510, practice. Seepages 9,62,119,137,151, but alsodocumentaryapproachto Otto’s in ordertomirrorthehighlysubjective graphs arespreadthroughoutthe book of thehappeningon-the-go.His photo ways sensitive,sometimessilentobserver he took during the programme tion, hecontributedanumberof images ten daysofthebiennial.Forthispublica- are whathepresentedatVDNKhafterthe observations from that widenedhorizon Central Pavilionaswellwithin. Otto’s antennae towhathappenedoutsidethe site. Theywereencouragedtodirecttheir raphers whowitnessedthebiennialon Otto Snoekwasamongthefourphotog- — as an al –01 October 2015 - -

Part V: Appearances of Multitude 511 The Endof Modernismin Russia Anatoly Osmolovsky — ists AnatolyOsmolovskyandAlexander nale forContemporaryArt2015,theart- During thetendaysofMoscowBien- apart afterthebiennial.[MarieEgger] clay sculpture gradually dried out and fell after Mayakovsky’s death in1930.The pho Russia. Thesculpturewasbased ona No. 1: Pavilion Mayakovsky onthestairsofVDNKh’s a sculptureofthedeadpoetVladimir students oftheBAZAartschool)made Alexander PlusninandVitaly Barabanov, Kutovoy (together with Irina Petrakova, tographic portraittakenimmediately The End of Modernism in (detail), 2015 Anatoly Osmolovsky, TheEnd ofModernismin Russia

Anatoly Osmolovsky — The End of Modernism in Russia 512 Anatoly Osmolovsky, TheEnd ofModernismin Russia(detail), 2015

xxx Vladimir Mayakovskyafter thefatalgunshot, 14 th April1930 514 We Are AllDriftwood Els Dietvorst — You havethosemomentswhereeverythingseemstofallinplace, academics, publicandcrew. There wasamélangeofartists, non-artists,volunteers,labourers, everywhere. And sometimes, by accident, you walked into beauty. entations and work processes overlapped. Things were goingon language. cow wereplacesIdidnotunderstandtherules, peopleorthe There wasalsoafeelingofnotbelonging.BothBrussels andMos could freelywonderthrough. kind ofmagicforme.Anopenspacethat,onceyouwerein, in becominganother desires. Inordertobecomeaswallow, onehadtobecomeoneself gians, we realisedperformancesand films led by our dreamsand mini-society inBrussels.With 30swallows,immigrantsandBel- Swallows. Togetherthe of Return withtheFirefly, Ire-createda spark comesthrough.Theydon’t happenoften. where the artwork, artist and the public fall together. A magic meets life,where peopleandthingsgathered. Frommorningwork In July2001,IparticipatedinamultimediaprojectcalledThe The emphasis wasontheprocess, themomentwhereart Also bothprojectshadahealthy sortofaconstantchaos.Pres The MoscowBiennaleforContemporaryArtalsocreatedthis BUT WHAT MIGHTTHENAMEOFTHISGAMEBE? EVERYBODY BECOMES PART OFTHEGAME— My brotherisdeadlysick. have timetothink. Actually, IhadnoideaaboutMoscow. Ididnot Like thebears,socold. I thoughtMoscowwascold. I wasnotpreparedforthis. The heatburnsme. It isafternoon. Day 1 — and thusliveintensively. 1. 1 - - -

Part V: Appearances of Multitude 515 to finishanartworkin10days.InBrusselsIhadnodeadline of theprocessandpartgame. out. Thatwasarticulatedbylettingthepublicin to becomepart outs tosharedlunchesanddrinks.You couldfreelystepinand open tobedérives. not havemuchtimemeet upbesideswork.Ithinkwewereall together as a team. We had not known each other before and did from MoscowandMu,an artistfromChina,weworkedclosely was their leader. Together with Daria, an artist and volun countries suchasTajikistan, Uzbekistan andKyrgyzstan.Sukhrob different ages,backgroundsandcultures:migrantcarpenters from nationalities andverydifferentbackgrounds. Return of the Swallows broughttogether35peoplefromdifferent But theessentialthingissurelyconnectionto people.The government. of production which isaresultof capitalist systemandliberal ing aboutanartworkdifferently. Without theconstantpressure idea apersoncanconceiveofinconnectionwithhisacts. moments oreventsthattrytotapreallife.Eternityisthegrossest ments arepassageways,withoutafuture the quality of a moment. According to Guy Debord, these mo to say, collectiveambiences,ensemblesofimpressionsdetermining It gavetheprojectscharacterofanextendedhappening. you knewthatalltheworkmadewoulddisappearafter10days. Some of the Swallows’ a biennial. it was finished. This would have been an interesting thought for and wecontinueduntilall,participantsartists,decided Maybe theonlydifferencewasthat,inMoscow, mygoalwas It alsoleadsyou,asanartist,tootherformsofcreating,think In Moscow I was working on Skull 3 I thinkwemusttrytobuildthesesituationsmoreoften.Thatis Both projectsdealwithephemeralprocessesandoutcomes. smile, heblinks hiseyes.What’s yourname,Iask? A manstands infrontofme,motionless, hedoesnot Day 3. 4 happenings were not recorded. In Moscow A DÉRIVE 2. 3 with a group of people of — indeed, discontinuous indeed, discontinuous 2 teer - - Els Dietvorst — We Are All Driftwood 516 Darya Likhovitskaya and LiMuinstalling Skull

Part V: Appearances of Multitude 517 of herchildhood.Musaid hegotpowerfromit. make it into the local newspaper Metro the process. Sukhrob hadnevermadeasculptureandwasvery impressedby social sculptureiscreated. you artwork?”Butitisinthisenergeticandopen space wherea said, “You havecourage.Howdo youletotherpeopleworkon to floatontheenergyofthistemporarycollective. Another artist covered eachothers’strengths.Asanartist,Ipulled myselfback It wasintheprocessofmakingskull when wedis The makingoftheSkullreunitedmemoriesanddreams. “Because Iamold,”shesays. you aresoclever?”Iask. what isessentialinvisibletotheeye.“Howcome …it isonlywiththeheartthatonecanseerightly, more. Iknowhowyousleep,shesaysandadds I’m notamother, adaughter, asister, awifeany- I givemywords,wallet,jewellerytoDasha. Day 4. a glassofwaterI’dkillfor. I askedhimwhatwouldbehisfirstdesire.Hesays… I thinkofmybrother, hecan’t eat,hecan’t drink. hands… wedrinktea. In abackspaceweeattogether…withour know thesmell,werecognisetissueofSkull. I giveallofusaneedle,weknowthestitch, him mygrandmother’s needle. I tellhimwe’regoingtoswearandhonour. Igive you,” hesays. hands, turnsthemslowly…“Iamdesignatedtohelp He stretcheshisarmsinfrontofhim…shows “The Laborer,” hesays. He says“…the nailshaveelves’heads, theskullcon- words. Helooks fortranslationsonhis phone. him things,wedonotunderstand eachother’s and me.Hewantstoask me things,Iwanttotell It’s Sundaymorning.Thereisnobody. JustSukhrob Day 6. 5 Hetookselfiesofeverystepandwasveryproudto . The work reminded Daria Els Dietvorst — We Are All Driftwood 518 Because asBartsaid,weare alldriftwood. made usbelievewecould lifttheSkull,whichinmyviewwedid. to seehowitmighthave evolved. Theenergyandsocialwarmth This all started on thelast day and it would have been interesting his wall and Babi used part of the tissue to make his last artwork. parts ofhisperformancetotheSkull.Fabricemirrored Skull on connections weremade,thespacebecameours.Honoré brought in-situ artistsinthesamespace.Onlasttwodays interesting of theroomIwasworkingin,whichcreatedarelation withthe Because thework process was so intense I wasnotabletoget out with Mutochangethenameonlabelmentionallofus. of uscouldfindourselvesinit.WhichiswhytheendIagreed kinds ofsculpturesforover10years. taught mesomethingnew, eventhoughIhadbeenmakingthese was followedcorrectly. IneverystepMu,DariaandSukhrob I arrived.Theprocessofputtingonchickenwire,tissueandloam The mainstructureoftheSkullwasalreadyconstructedwhen Every daywesteppedbackandlookedattheskulltoseeifall dream. I tellhimcollaborationexistsinthepossibilityto sons. Irealisethathewillneverbeabletojoinme. and colours,thefacesthatarelikeofmy guage assweethoney, Itellhimaboutthescents I callmybrother, excited, Itellhimaboutthelan- Lady. I litcandlesformybrotherintheChurchofOur Day 8. and lookproudlyattheSkull. stand you,butitsoundsnice.We smile,drinktea together… thehiddentissue.Isaydonotunder fides secretstous,theshelteriswhereitallcomes guilty oftoo often. Loftiness isa habitwe,mankindmade ourselves Day 10. WHAT ISTHELIGHT? 3. 7 - 6

519 Els Dietvorst — We Are All Driftwood 520 What remainsisthelightittriggered. where theimageblurs…Skullliftsitself. And thereiswhereitis…Inolongerexist… of thewayplease,Iwanttotakeapicture. A visitorcomesin,anotherone,canyoumoveout I makethe fourthskull. Metro stationMaalbeek, an attackintheBrussels films, becomesa victim of sound engineerofmy when GillesLaurent, and solidarity. In2016, transience, vulnerability and becameasymbolof thinking aboutmigration one wasinspiredbymy Contemporary Art.That the MoscowBiennalefor I createdathirdskullat werp. 2015wastheyear roof ofMuHKAinAnt- built anotherskullonthe September 11,2001,I attacks inNewYork on of waraftertheterrorist George Bush’s declaration loam. In2002,reactingto and madeofwood from the truss of my studio from thetrussofmystudio That skullwassuspended balance alltheviolence. a strongimagetocounter War, fromanurgetomake in reactiontotheYugoslav 1999, Ibuiltthefirstskull Skull series(1999–2016) Situations, 1957. on theConstructionof See GuyDebord,Report the lossofmybrother. ence ofthebiennialand tale basedonmyexperi- Driftwood, asurrealfairy All diaryentriesarefrom 3 2 1 -

encounters theyfindthere. tions oftheterrainand be drawnbytheattrac- action; andletthemselves motives formovementand activities, aswellother relations, workandleisure more personsdroptheir period oftime,oneor a dérive,forcertain of theDérive(1956).In See GuyDebord,Theory 4

Part V: Appearances of Multitude 521 shape was nottheheart convinced usthat aperfect the rightform.But Els we struggledtoachieve a skullshape.For10days frame wasquitefarfrom team. Initially, thewooden for eachmemberofour I believethiswastrue such animpressivescale. to createasculptureof my practicethatIhad terms ofcommunication. Daria helpedusalotin interpreter andassistant picture crystallised.Her vision oftheproject, when shegaveadetailed not quitecleartome.But our roleandinputwas the beginning,ideaof ated herworkSkull.In Biennale whereshecre- with ElsattheMoscow (Sukhrob Ganiev:We met It wasthefirsttimein 5 hay where necessarytoget sions, stuffingthese with had tomakeseveral inci- and fabricsontop. We frame withmetalgauze it just10cmhigh. with Elsthatwewouldlift sible. Finally, weagreed it wastechnicallyimpos- to facethebittertruth After lotsofeffortwehad 20-30 cm abovethefloor. the wholeconstruction of ourworkwastolift graphed eyesandnoses. polished headsandpyro- like carvedchunkswith of theskullandlooked bars. Theyservedasteeth human-shaped wooden with her:small,assorted, of theskullshebrought work. Theessentialdetails (major concept)ofher We coveredthewooden Another challenge —

accelerating universe) which wasthebirthof that causedtheBigBang ing inloveisthesameone rience thesensationofbe- which enablesustoexpe- chemical inourbrains hypothesis suggestingthe 1999. (Onanuntested Song byTheFlamingLips, Li Mu’s diary(seepage43). hopefully itwasmutual.) to workwithElsand help. We werereallyhappy used gesturesandDaria’s her. Shedidherbestand But itdidnotdiscourage our cooperationwithEls. was alsoquiteanissuein ficult formetojudge. for thesecondtask,it’s dif- met Els’s expectations.As audience. Hopefullywe second wastoamazethe with whatwedoandthe was tomakeElshappy goals inourwork:thefirst decay. to giveaflairoftimeand whole sculpturewithclay shaping, wecoveredthe When wefinishedthis the rightshapeofaskull. 7 6 The languagebarrier We hadtwomajor Els Dietvorst — We Are All Driftwood 522

Otto Snoek, 22 September – 01 October 2015 Part

Cartographies of Time 527 Eclipse Sergey Bratkov — Sergey Bratkov — Eclipse 528

Part VI: Cartographies of Time 529 emblem oftheUSSR.IthasbeensuggestedthatVyacheslav arranged inakindofparadeplanetsaroundthesun coats of arms of the former Soviet republics on the pavilion’s gable, the sacred places of the Soviet ideological system. There are 16 The mainFriendship of the Peoples PavilionatVDNKhisoneof performance on30 Sergey Bratkov, Eclipse,MoscowBiennale 2015,  Sergey Bratkov, Eclipse,MoscowBiennale 2015  moon. images inwhicheachofthemwasplacedonthefarside work. Thevisitorswhohadtheirfortunestoldalsoreceived the reconstructionofVDNKhasamonumenttoSovietideology. of today’s Russiapointsinanotherdirection.Thiscanbeseen the Resurrectionbuiltintothissymbol,thoughpoliticalvector outcome. Thereversesideofthemoonworksasato Biennale exhibition,disruptingtheimbeddedideaofitsesoteric the unseensideofMoonclearsideologicalhorizon Customs Union, a prototype of the Soviet Union. The image of uncovered: Russia,BelarusandKazakhstan with theimageoffarsidemoon,onlythreeleft is capturedinmotion which iswhythemonumentalLeninbeforepavilionbuilding of theUSSR”.OnehisideaswasresurrectionLenin, tion park, had wanted to create “not culture, but the occult centre Oltarzhevsky, creator of the architectural ensemble of theexhibi- Clairvoyant séancesconstitutedtheperformativepartof In myproject,13coatsofarmsareundercoversemblazoned th September 2015 — he hasalreadybegunwalking. — the members of the the membersof — the

530 Having Looked for Moon-Time Maya van Leemput— and placedbetsonitahead ofarrivinginMoscow. thought throughthepotential ofsuchayet-to-bedefinedconcept somewhen differentalltogether. We calledit‘moontime’.We idea thatwemightcreate ‘paralleltime’andbesomewhereor and thepushofcurrentgeo-political developments,wehadthe Biennale’s fulltitle.Despitethehistoricweightoflocation Centre inaCitytheHeartofIslandEurasia” asperthe launch pad.Thespecificityofplaceandtimewas obvious “ina and evenaimforthemoon.Theherenowwould serveasa understand whatweweredoing,orsoitseemed. nial. or labelsforthedifferentpiecesandperformances ofthebien ing’. Laterittranspiredthatwecouldbuildadatabase withtags of theBiennale.Iwouldbeonlookoutforqualities of‘gather conduct participatoryobservationandprovideaFuturist’s reading outset, onlyafewwingedideaswereclearlydiscernible.Iwasto ing andmoving,likethemurmurationofaflockbirds.At that madeupmyinterpretationofmissionhadbeenshift indeed theoutcomeofadistinctivemission. read but thelegendon the back was a confirmation that this was well. Themodel,truetotherealityitrepresented,washard have been traced individually and the overallpicturetaken in as decipher more than that central concept, each line would have to presentation ofmyfindingswith‘moontime’inthecentre.To It mayhavebeenanapologyforthetangledmeshthatwas I jotteddown:“Askedtodotheimpossible,cameupwiththis.” model on the framed stretch of white plastic,andonthebackside Hyber for thevisualisation of myobservations.I drew a mental timony remainshiddenonacanvasgraciouslydonatedbyFabrice At the6 day wasdifferent inthebubblecreated bythemixedrhythmsof tion parkon thenorthofMoscow. Ididn’t skipadayandevery Then itappearedthatweweretogatherforahigher purpose For monthsbeforeIarrivedinMoscow, thevariouselements Eleven daysinarow, I made mywayto the VDNKh exhibi- 1 With suchasystematicapproachwemighthelpourselves th MoscowBiennaleIwascastasawitness.Partofmytes PARALLEL TIME 2

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Part VI: Cartographies of Time 531 Participatory observationisatrickymethodlikethat.Iwasjust everyday life.Ilikedbeingthere.Ourparalleltimewasplentiful. repetition, intopatternsaswellsimpledisorderandordinary with tentativeidentitiesandalliancesunfoldingintoaction activities atthecentralpavilion.Processesannouncedthemselves, in not guideustowardsaviableanswer, asZiauddinSardardescribes proven theoriesandcustomarypracticesofourdisciplines would established physicalandintellectualresources.We realisedthe itself bedefinedandisolatedjustlikethat,orsolved byusing nised as a fiendish problem: one that would not sit still and let (from theBiennale’sGather?’) wasalreadyrecog- to title:‘How Biennale inmanywaysbecameapost-normalevent. and cultural uncertainty, complexity, chaos and contradiction, the tive. Produced in conditions of high organisational, (geo-)political tion, intensityandcontentwerenotmerelyunusualorinnova familiar biennialstandards;andnotjustonthesurface.Itsdura- The 6 were amixedbunch.Iwasimpressedandenchanted. time beyond goingnative,morelikebeingnative.Ilivedourparallel into quality conversation and out-of-this-world ideas. This was many ofwhomhavetheirownexplicitresearchpracticesandare as much part of the gathering as any of the other participants, and Russia. The report cites the increasingly multi-polar nature of and Russia.The reportcitestheincreasingly multi-polarnatureof and theslow relativedeclinesoftheeconomies ofEurope,Japan, 2030 discussesRussiaunderthe mega-trend‘diffusionofpower’ the Biennale, real dangerofman-made risksrunningoutofcontrol.” in dispute,stakesarehigh, decisionsareurgentandthereisa cover thatfactsareuncertain,complexityisthenorm, valuesare ing theBiennaleasapost-normalevent. to trysomethingelse.Thisisthefirstpointertowards understand of Moscowin2015.AsI putforwardinmyreflectionaheadof a painfullygoodfitforthe politicalandeverydaycircumstances Welcome to postnormal times. In 1999, Jerome Ravetz and Silvio Funtowicz wrote: “We dis- When wewereconceivingmoontime,ourleadingquestion — th together withtheartists,curators,speakersandguests.We MoscowBiennalewasalwaysgoingtobedifferent 5 the US national intelligence council’s Global Trends A POST-NORMAL GATHERING 3 We knewwe were goingtohave 4 Thisis - -

Maya van Leemput — Having Looked for Moon-Time 532 what theyusedtobe World fairsaren’t decline the pastisonlyaklick-klackaway SIMULTANEOUS SHUTTER SPEED revision ofhistory investigative FLUID HISTORIC Temptation ofnostalgia tapestry The TrapofHabit Anastasiya Yarovenko, Soviet Stereographs Ives Maes, click exhibition everyday life everyday See thattherelikethis. 22 September-01October2015 Birdhead, recording Day 1-10 Vaast Colson silly -stubborn city friendly observant It iswhatitis,lookatme expectation artefacts andobjects artefacts GENEROSITY badminton onasoccerfield archaeology modernity asleep/dead modernity sombre LOOKING BACK Art fortheTretyakovGallery Collection ofAncientEgyptian Konstantin Zvezdochotov, The The EndofModernisminRussia Anatoly Osmolovsky, HISTORY Collection circumstantial era definition seven samurai contestation Being nomore CONTRARINESS playful TOGETHERNESS UNCERTAINTY shrinking constellation power inspace ENGAGEMENT tapestry what itusedtobe the federationisn’t correspondence Li Mu,TheLabourer outsider Familyconnection Eclipse Sergey Bratkov, DAY-BY-DAY the moon UNREAL clarity othered image making A two-facedfigureswings Janus Johanna vanOvermeir, contemplative landscape focus all theworld’sastage The MapoftheThirdWorld Qiu Zhijie, Montmartre SpiritinMoscow Fabrice Hyber, feedback loop studious amateur It’s thewholeworld janus phoenix These peoplecanbebought. Portraits democratic Political Extras, Anna Jermolaewa, map -theatre politics for andagainst cynical friendly PARALLEL ANTICIPATED PENDULUM IMMEDIATE Maya van Leemput — Having Looked for Moon-Time 534 include politiciansandpolicy makers,socialandpoliticalscien- peer communityofactors inthefieldofartswasextendedto normal attitudeofthegathering. Thealreadyrelativelybroad tributors, myselfincluded, wasafurtherindicationofthepost- art world.Theinvolvement ofarangeunconventionalcon a multi-disciplinarymix, sourced wellbeyondtheconfinesof programme of keynotes, performances, talks and workshops was tions.” of differentsocialandculturalbackgrounds, ethicalno- including those of experts, lay, adults as well as children, people mensions, involvingawholerangeofperspectives andinterests derstanding ofaproblemrequiresdialogueon its variousdi Sardar arguesthatinpost-normaltimes“evenavery basicun together. Clearly, therewerenooptionsforbusinessasusual. the premises allocated to the event, shapedwhatthecuratorsput that had plummeted together with the ruble, and the nature of curators describe howthe ‘pragmatic circumstances’ofa budget we gathered,aroundasenseofurgency,” were post-normal.Intheirconceptletter, undertheheading“How gional) contextsbutalsothemodesofproductionthisbiennial tention oftheevent. title placedquestionsofpoliticalgeographyatthecentre What ismore,thechoiceofthemeandwordingBiennale refused toplaytheRussiancapital,takingastandongayrights. Russia hadalsojuststartedboycottingBelgianfruit.Madonna Crimea andSyriahadcausedheightenedtensionswithEurope. At thetimeofBiennale,Russia’s roleincrisesUkraine,the and (3)awiderspectrumofmoreaccessibleinstrumentswar.” India, andRussia;(2)increasingcontentionoverresourceissues; flict: (1)changingcalculationsofkeyplayers—particularlyChina, conspire to increase the chances of an outbreak of interstate con- to thedisturbingpicture.Threesetsofrisksarelistedthat“could regional instabilityandthepotentialforincreasedconflictadded the geo-politicalspherewithcheerfulsoundinggame-changersfor historians, local musiciansandgymnasts… tists, economists, philosophers, journalists, a futures researcher, Not onlytheconditionsofbroader(geo-politicalandre- 8 InMoscow, wewereabletotrythisoutinpractice.The THE ART OFCONVERSATION 6 theMoscowBiennale’s 7 - - - -

Part VI: Cartographies of Time 535 enable theuseof“extendedfacts”.Aclearrecognitionuncer related policy debates.” ties toalllegitimatestakeholdersandenabletheirparticipationin traditional qualityassuranceroleofconventionalpeercommuni points theymade butdidn’t letthemgetaway withthesweeping military developments. Theyoungartist listenedattentivelytothe them abletodrawapicture ofpositivepolitical,economicor obviously mindingtheirwords withgreatawareness,neitherof Augustas Serapinas.The two oldermenbasedinMoscowwere former. Itwasanawkwardexchange,savedbythe graceofartist The latterwasdeeplyimpressed byhispersonalmeetingwiththe Indian independent correspondent and businessman Dattan Nair. sian journalistanddefenceanalystPavelFelgenhauer withthe be possibleinthefutureandwhatmightnotbe. and onart,attempt to lookforward together at what might they wouldcomparenoteson gathering, on Moscow, on Eurasia, tions. Eachcorrespondentwaspairedwithanartist withwhom security guardspostedattheentrancewereonlyminor distrac hall wherethemovementofvisitorsandwondering eyesofthe they werenotentirelyphysicallyorsociallycomfortable withit. invitation werealwayspleasantlysurprisedbytheset-up,evenif Austria, theNetherlandsandUnitedStateswhoacceptedour to eachother’s exoticaccents.ThejournalistsfromRussia,India, person, holdingourelbowsnearbodiesandtuningears there weremanyofus,wesqueezeduptomakespaceforanextra at the table. We sat on simple benches and ate fine food. When time conversations.Everydayadifferentcharacterwashosted of Moscow, joinedtheartistsinaseriesofunconventionallunch international presscorrespondents,wellathomeinthemessiness project outsideoftheregularprogramme.Forthisproject,seven of guestsfororientationandadditionalperspectiveinaspecial the settingandfocustoevent,wesoughthelpfromastring were expertsontheregionalandinternationalissuesthatprovided tors didnotusethisparticularwordingfrompost-normaltheory. in anattempttogenerateextendedfacts,evenifthethreecura Biennale seekingtoenrolawidelydiversegroupofparticipants tainty, ignoranceandindeterminacyhadtheorganisersof After themeal and introductions, we would have coffee in the Healy explains:“Extendedpeercommunities[…]extendthe The first such meeting brought together the prominent Rus Since fewoftheparticipantsandorganisersBiennale 8 Moreover, extended peer communities ------Maya van Leemput — Having Looked for Moon-Time 536 listener is awareof the lie being presented. The speaker knows, Such afabricationishardly adeceptionasitisassumedthatthe as muchwithself-preservation aswithconsiderationoftheother. d’Hamecourt spokeabout alsohastodowithdiplomacybutjust someone’s feelingsortoavoidconflict. Thekindofwhiteliethat In Englishawhitelieis minoruntruth,aharmlessfibtospare had alreadydrawnattentiontotheRussiannotion ofawhitelie. information andself-representation.Overlunch,the Dutchman had andtheimagesthatcanbesharedledtoadiscussion ondis- pressures ofhistoryonthekindsconversations thatcanbe d’Hamecourt and Belgian artist Ives Maes, the realisation of the this mightbeachieved. conversation between Els and Carola was a good example of how and this necessitates ‘the cultivation of trust by other means’. The trust inthemechanismsofinternationalpolitics is nowabsent created.” peer communitiesandthefunctionalutilityofknowledgeso explains, “trustunderwritesboththedialoguecentraltoextended not surprisinginthecontextofapost-normalgathering.AsHealy focus ontrustinthisandotherconversationsatPavilionNo.1is be putintolearningtrustandovercomingfear, wascentral.The munication shouldneverbreakdownandthatrealeffort and with someone. In this conversation too, the idea that com itself isahollowwordbecausegatheringneedstobeforsomething riotism, migration and hate. The duo concluded that gathering by and about migration. Keywords were fear and trust, justice, pat- der. Theytalkedabout motherhood.TheytalkedaboutUkraine Belgian artistElsDietvorstandAustrianjournalistCarolaSchnei by itselfakindofvictory. for acommongroundwheretheexchangemightbefruitful,was honour-stricken Indian,themerefactofconnecting,search between thewell-knownimposingRussianandcareful ever, should neverbe lost, he argued. In theuneasyconversation The abilitytounderstandothers,thecommunicate,how humanity learnssomething,italwaysforgetssomethingaswell. tance ofthenew, Serapinaspointedouttheparadoxthatwhen pessimism theyhadbroughttothetable.Emphasisingimpor Everyone involved intheexchangeis conscious ofthefalsehood the listenerknows, andthespeakerknows thelistenerknows. Probably thewarmestoflunchtimemeetingswasbetween In thetête-à-têtebetweenDutchcorrespondent Peter 9 Moreover, justastrustin‘normal’sciencehasbeenlost, - - - -

Part VI: Cartographies of Time 537 Maya van Leemput — Having Looked for Moon-Time 538 September 2015,personal documentationof theprocess Maya vanLeemput, Mappingthe6  th MoscowBiennale ,

Part VI: Cartographies of Time 539 be spokenof. function. Itservestokeepthingsgoinginconditionsthatcannot can get you killedor imprisoned, thewhiteliehasan important sometimes itismoreblatantthanthat.Inaclimatewheretruth but nobodycallsit.Sometimesitisaboutnotsayingeverything; true. With thededicated databasetoolofMHKA’s Ensembles This hadtobewherelookfigureoutifourmoon timewas people say becomes less meaningful than what they do or make. In aconstellationthatincludesthepossibilityofwhite lies,what begin with.Evennowtheydefybeingspokenoforwrittendown. lies didnotlieattheheartofwhatmadebiennialpossibleto effect istrue,therehonesty. However, itisnotcertainthatwhite on theirbanners.Somethingsaredoneforeffectandaslongthe Jermolaewa’s performancedidnotneedtobelievewhatwaswritten carried contradictoryslogansinrelationtothebiennialforAnna already performing.Thegroupofelderlyandunemployedwho Leon Kahane just had to show up for his ballet training and he was we onlyhadtopretendweregatheringandalreadywere. rounding oureffortstoansweranimpossiblequestion,itseemed makes themimpossible.Beyondthismilddenialoftheissuessur on withthingswithoutpayingattentiontowhatinactualfact in theveinof‘fakeittillyoumakeit’.Perhapsweweregetting white lies.Ifspinhadapartinwhatweweredoing,itwasmore their positions ongathering. and performances addressedtheirapplication ofmoontimeand identify very different qualities. The questions asked of the pieces veloped for the works of the biennial, however, were meant to already establishedcultural discourse.Thetagsandlabelsde and conceptsusedareparticular andproblematisedwithinan and historians,ifnotjust forartiststhemselves.Thecategories ness, an endeavour commonly reserved for art critics, theoreticians moon time. were representedinthecollectionandexaminedfor evidenceof in PavilionNo. hand, Iattemptedanoverviewoftheartworksthat came together Classifying andlabellingartworkisahighlyspecialised busi- Among the participants of the biennial there were very few 1. Thirtyeightofthepiecesandperformances MODELLING MOONTIME 10 in in - - Maya van Leemput — Having Looked for Moon-Time 540 it furtherbecameevident thatlinguisticmetaphorstomatchthe needed forgathering.Indiscussions withtheartistsandvisitors, range of domains.We concluded that ‘everything in the world’ is subject matter of the Biennale touched uponan inexhaustibly wide ity, tolerance,theatricalityandchangewere discerned.Clearlythe ryday lifeandlanguage.World views oftranscendence,inevitabil history, exhibition, religion,migration,archaeology, politics,eve the systemsthatwerereferredtoatsecondlevel ofCLAwere what itis,”(Vaast Colson’s dailyperformances).Amongstothers, aren’t what they used to be,” (Ives Maes’ photographs) and “It is Behaviours), “WorldBad (Donna Kukama’sof fairs Cemetery item. Thisincludedstatementssuchas“Badbehaviours candie,” nies appearedsimplesurfacedescriptionsofthecontent ofthe understanding andhatchingparalleltime.In the categoryofLita of alternative futures. It seemed that it might also be useful for is proclaimedforcreatingtransformativespaces thecreation (CLA): litany, system, worldviewandmetaphor. Thisapproach were borrowedfromSohailInayatullah’s Causal Layered Analysis progress withthedatabase. and the generous pointers from artists and curators following my I reliedonthetopicsandkeywordsofdailykey-notelectures the tendaysatVDNKh.For building thefinalset of categories, ing additionalqualitiesrelatedto‘gathering’overthecourseof part ofthebiennialcollection,startingwithonlyfour, identify they described. of moontimedevelopedtogetherwiththeartefactsandmoments The tagsandwordsusedtodiscoverthequalitiescapacities taken intoaccountforthedatabasewerereadytouseatoutset. as totheirendresults.Similarly, onlyahandfulofthecategories The tags used in the database relate as much to these processes I had the honour and thepleasureto see them come into being. potential. Mostoftheworksdidnotevenexistonfirstdayand Their creations might, however, provide tentative suggestions of work oftheartistscouldoffernoclearlydelineatedsolutions. possible approaches to the problem of gathering. Of course, the tionism butalsoprovidedanopportunitytogatherinsightinto always going tobeinterpretationsof what pointtheywereable content ofthe pieces and performances listed in the database were I usedelevencategoriestothinkabouttheartworksthatwere The four categories for labelling I arrived with in Moscow The useofadatabaseheldclearandpresentriskreduc- - - - -

Part VI: Cartographies of Time 541 out to have a strong connection to the focus of post-normal theory speeches (byMichelangeloPistolettoandGoranPetrović)turned representation ofboththewhatandhow. to makeorofhowtheywereableit,butneverafitting tags such as: immediate, history, parallel, unreal, looking back, observing, inquisitive,balanced, silly, stubborn… cynical, melodic,investigative, contemplative,playful,committed, Labels forthemoodsof itemsinEnsembleincluded:friendly, individual moodsinturn were tunedbythegeneralatmosphere. of ourgatheringwasmade up by our combined moods,andour pant’s particular frameofmindandmotivation.Theatmosphere scales might be made possible, much depended on each partici considered the different manners in which gathering at different of itsparticipants,thiswasnotunexpected.Whilewe gatheredand attention. In a production modus that relies very much on the spirit taking part in the biennial as witnesses. ‘Mood’ attracted everyone’s with the curators, the coordinator and the two other academics game calledThe Thing From the Future Biennale camefromalunchtimeforayintotheSituation Lab’s most interestinandwantedtohaveasayin. for fine-tuning.Thesewereclearlythelabelsthattheyshowed the resulting labels for each of the pieces discussed with the artists dressed their‘mood’.Bothwereaddressedusingfreetaggingand addressed the dimension of ‘time’ in the works and those that ad high incidenceintheoverviewoftheirwork. qualities putforwardbytheparticipantsthemselvesdidhavea in informalexchanges.Itisnotsurprisingthattheseparticular plainly on artists’ expressions of their experiences of the Biennale of ‘togetherness’.Thechoicethesetwocategorieswasbased high degreeofgenerousnessandanonlyslightlylower description. Overall,theitemsinEnsemblesbankshoweda precise wordingsuchas‘contained’or‘measured’foradequate not limitedtolow, mediumorhighlevelsbuthadtoincludemore for high‘contrariness’.Further, thelabelsfor‘generosity’were tainty. The second gave a slightly lower but still impressive count the majorityofitemsindatabaselabelledashavinglowcer on uncertaintyandcontradiction.Thefirstwas‘certainty’,with The mostimportant setoflabels,focussed ontime,included The inspiration for categorising the moods of the works in the The twomosttellingsetsoflabelsturnedouttobethosethat Two categoriesthatwerederiveddirectlyfromtwokeynote 11 and ensuing discussions andensuingdiscussions - - - Maya van Leemput — Having Looked for Moon-Time 542 confirmed theevent’s post-normalnature. defied expectations of what a biennial isand what it cando, and of VDNKhwerelabelled‘chaotic’bysomeoutsideobservers.It This approachandtheresultingproductionatPavilionNo. create an intangible experience of togetherness and never-ness. of alltheuniquemomentsthat passed,oneafter the other, to times expressedinourworkandcreatedanothertimecomposed those who gatheredin Moscow did.We lived thecontradictory it cannotbecaught,onlyimaginedorlived.Thatispreciselywhat time or whether tomorrow might be. Moon time is not actual time, time isconcerned.Noclockwouldbeabletotellifnowmoon exceptional natureofeachindividualworkart. not have been right to create larger sub-sets that would deny the to time,eachoftheitemswasuniqueandspecificitwould categories and hardly systematic tags could have served. In relation overlapping. Noneotherthansuchnon-exhaustive,non-exclusive ble, past,present,future,daily, pendulum,simultaneous,fluid,and day-by-day, parallel,lifetime,shutterspeed,simultaneity, pream- The labels identified moon time as non-discrete as far as actual The labelsidentifiedmoontimeasnon-discretefaractual 1

Part VI: Cartographies of Time 543 an_insight_now_maturing _Post-Normal_Science_-_ net/publication/278600551 https://www.researchgate. pp. 641–646. in: Futures31(7)(1999), insight nowmaturing, Normal Science Silvio Funtowicz,Post- Jerome R.Ravetzand postnormal-times/ com/2011/03/welcome-to- http://ziauddinsardar. pp. 435–444. Futures 42(5)(2010), to postnormaltimes,in: Ziauddin Sardar, Welcome pp. 67–82. 2015, temporary Art.Moscow. Moscow BiennaleforCon- overview. bank Moscowitems Screenshot ofensembles Island ofEurasia.6 City intheHeartof Acting inaCenter Time, in:HowtoGather? Maya vanLeemput.Moon 4 3 1 2 — an th

Eurasia. 6 the HeartofIsland in aCentreCity How toGather?Acting biennale asurgency,in: Schafhausen, N.The Ayas, D.DeBaere,B., pp. 67–82. 2015, temporary Art.Moscow. Moscow BiennaleforCon- pp. 435–444. Futures 42(5)(2010), to postnormaltimes,in: Ziauddin Sardar, Welcome pp. 39–66. Art. Moscow. 2015. nale forContemporary Island ofEurasia.6 City intheHeartof Acting inaCentre Time, in:HowtoGather? Maya vanLeemput.Moon 6 7 5 th MoscowBien- th

the-future/ projects/the-thing-from- http://situationlab.org/ 2,000 artists. works ofartbymorethan information onover7,000 it containsmulti-media insights. Atthismoment sation ofinformationand sustainable digitalorgani- used byMHKAforthe Ensembles isawebtool Elsevier (1999),pp. politics, in: Futures31, ascendance ofpost-normal peer communitiesandthe Stephen Healy. Extended Elsevier (1999),pp. politics, in:Futures31, ascendance ofpost-normal peer communitiesandthe Stephen Healy. Extended 10 9 8 11 655. 656. 544 Из спального района наМарс From SocialHousingto Mars / Katja Novitskova — Road, atrenchcarved intolimestone,inthemid-1980s construction. Seen fromthemainthoroughfare,Laagna Lasnamäe housing districtinTallinn, Estonia,during

545 presentation slides Katya Novitskova, SocialHousingon,MoscowBiennale Mars2015, Katja Novitskova — From Social Housing to Mars 546 corporations. [MarieEgger] sea mining,andspace,asperformedbystates multinational colonisation ofalienfrontierssuchasthatseeninthe Arctic,deep- speculative visualmaterialandaconversationabout theon-going various angles.Thesessionendedinmoreunclear territory with applies toher, butresonates throughtheculturalspherefrom experiment, KatjaNovitskovashowedhowthisstrategy notonly — music nomy, inUFOs andthearchaeologyofancientworlds,inart Western. Aestheticsofdystopianemptiness,herinterestinastro developed aninterestandattractiontoallthingsalien;including escapism, whichKatjaisinvestigatingasaformofcoping.She time, shestartedlookingatitfromameta-position. combined withthesudden poverty andexistentialfearsofthe in the1990s,thissettingalreadyfeltforeigntoartist.When grey blockbuildingsplacedinit…Whenshewasgrowingup or animation may becomparedtoa3Dsoftwaresettingforcomputergame place withhardlyanyculturallife.Fromtoday’s perspective,it neighbourhood, Katjadescribedasomewhatabstractandempty with visitorsonsite. opportunity totrulydiscusstheseimpactsinhernativelanguage roots ofherartisticpracticeinapost-Sovietculturalspace,rare ing fromthesetupofMoscowBiennale,shetracedback the meaningofhersocio-politicalstatusatthatmoment.Depart- English andRussian.Herpresentationwasaloosenarrativeabout Estonian artistKatjaNovitskovaspokeaboutherworkinboth all ledtoacontemporaryartpractice. In a combination of an artist’s talk and a speculative thought In Moscow, she read thisexperiencethroughthelens of Following atrajectoryofgrowingupinSovietsocialhousing — in MTVasaformofescapismfromthepost-Sovietreality — empty landstretchingouttothehorizonwith

547 Earth andShape Alexander Ugay — tured by Leni Riefenstahl. jumping highand long.Thesewerecap launching adiscus, throwingahammer, key andBulgaria. Kazakhstan, Russia,Austria,Korea, Tur in anoddindoorcarousel…filmed in workers on a construction site, children old coupleinahalf-heartedquarrel, street serted towns, people ineveryday life, an microphone, buildings, small cities, de chirping, asoftwindblowingintothe life onEarth:Aruralenvironment,birds Alexander Ugay’s videoportrayshuman Alexander Ugay, EarthandShape,2013–2015,video,17mins.,still Overlaying these images are athletes - - -

[Marie Egger] as a reply to the question How to Gather? any time their storiesvs.theholisticanywhere at graphy fromhistory. Theindividualand ambiguous narrationthatdisconnectsgeo tory and memory until it melts into an The videoraisesdoubt in the codesof his — Alexander Ugay spans this arc - 548 Answer Together? Fyodorov’s Nikolai How CanWe Learn to Live Anastasya Gacheva — the same question: How can we learn to live together? He posed where the grimreaperpresides over the ball;totakeshelterfrom was something else entirely: to try to establish concord in a world muster, returninglifetoallwhohaveeverlivedon earth. on discordandbreeding discord mankind mustovercome themortalorderofnature death. Heconceptualisedthissurmounting inaradicalfashion: and ofapathtowardsthisalongtheideaovercoming of Fyodorov setforthavisionof brotherly condition of humanity Clashes take on a local character here or a grander scale there. kingdoms, enmityquickens,diesdown,andflaresup oncemore. hilation. Nationsriseupagainstoneanother, kingdomsagainst psychological, soilinwhichnon-fraternitygerminates. the struggleforsurvival.Itisontological,aswell assimply connected inthenaturalorderwithlawofreplacement and hope inaharmonicstructuringoflife.Mortalityisirretrievably fear, precisely mortality, poisoningtheindividualwithtoxinsof of human disconnection is to be found in affairs inaccordandhappiness,withoutenmityorkilling. swinging blowsatthefaithinpeople’s abilitytoordertheirearthly worldwide, wheneveryothercontemporaryeventseemedtotake this questionatatimeofgrowingsenseimpendingcatastrophe a bridgefromthedistant19 Nikolai Fyodorov, used forhismainwork.Itseemsheiscasting long andepictitlethatthephilosopherofcommontask, the fraternity —is of restoration the for means the of and world the of state un-peaceful, i.e. kinship, unbrotherly,of unfeeling the of causes the of kinship, or brotherhood, of question The or successful business projects. It is utopian to hope to overcome inexorable mortal reality by means of ideology, party programmes, Such a prospect seems utopian. But for Fyodorov utopian folly Such aprospectseemsutopian. ButforFyodorovutopianfolly The historyoftoday(historyasfact)isonemutual anni Fyodorov’s research leads to the following answer: The root anxiety, desperation andmalignantcynicism,thatnegates th centurytothe21 — to reachimmortalityinfull human st century, posing mortality. It is — founded -

Part VI: Cartographies of Time 549 unless itissubjugatedtoanotherall-encompassingquestion:The ing social divisions, will not, according to Fydorov, be resolved rise towars,revolutions,localandgeneralconflicts,exacerbat The wars andenmity, unlessthemainrootofdiscordisrippedup. entropy tosave theuniversefromaburning death,bringinginto their memory, labourandculture, tobetheforcethat fightswith present momentinhistory. NikolaiFyodorov regardedhumans, step aheadofitsageand daringtoseewhatisdistantfromthe not hesitatingtodepictand designthefuture,permanentlyone is, byitsverynature,connected withthe building ofanideal, such wordswereuttered byanartistisquiteunsurprising.Art is the bride of humanity, and our souls fly towards her…” Universe, whichcouldbe,andnottheonethatis.The impossible mon Task wasanindispensibleguide,wrote:“Onehastolove that or theachievementthatcrownsthought. the scientificcalculationthatservesasbasisfor anydream, activity intheworld,withoutforgettingatsame timeabout tale, asKonstantinTsiolkovsky definedthisfirststageofcreative logical breakthroughsliesadream of theflight.Atbasiscivilisation’s scientificandtechno straining forthesuninspiteofallmadnessand deadlyperil possible. TheimpetusofinventionanddiscoveryproduceIcaruses, pushed oninitsdevelopmentpreciselybythedrivetodoim- the creativegeniusofhumansasartists.Meanwhile,humanityis resurrected generationsacrossanentireuniverse,transformedby planets ofoursolarsystem earth’s orbit,continuingwiththecolonisationofmoonand tures. Theconquestofthecosmosbeginswithbreakingfreefrom sustenance, thatlifebecomesthefraternalassemblyofallcrea achieve autotrophyandnolongerliveoffotherlifeformsfortheir birth ofnewbeingsnotdisplacethosealreadyborn,thatpeople the transformationofverylawsnaturethemselves:that with the countering of natural disasters and cataclysms and ends in general andtrulyuniversalscope.Theregulationofnaturebegins as wellimmortalityandresurrection.Eachofthesetaskshasa space, of nature, theconquest of inconceivable: Theregulation loads theshouldersofmankindwithaburdenthatistotally man whoinexorablyages,weakens,sickensanddies.Fyodorov question oflifeanddeath;thefundamental,naturalpoverty Andrei Platonov, forwhomFyodorov’s Philosophy of the Com issue of wealth and want and wealth of issue — to culminateinthescatteringof that is knocking on doors, giving — a thought,fantasy, orfairy 1 2 That - - - -

Anastasya Gacheva — How Can We Learn to Live Together? 550 call forcreativityissimultaneouslyainlife” of history and to transform life. “Artacquires its wings where the to the daring attempts of the Avantgarde to pour out into the flow which thisrefinedandpurearthadnoconnectionwith,leading reality thathadtoweredhaughtilyovertherealcourseoflife, the boundariesofcreationlifelesscopies,anaesthetic sembled togetherinthecentre oftheEurasianlandmassat6 overriding ofdiscord,on how tolearnlivetogether, havingas- the vanquishingofdeath. mouths of his young heroes dreams of universal brotherhood and the Gospel’s injunction tobecomeaslittlechildren,putintothe of Fyodorovfortherestorationasinglechain and, recalling and seeinginitabitterantithesistokinship,urged inthespirit elevated orphanhoodintoanethicalandmetaphysical category of thecosmos,buildingparadise.AndreiPlatonov, having that thehighest,mostperfectartcouldonlybetransformation in thefraternal,collectiveactofpaintingitswalls, announcing Museum, callingonhisartistbrethrentotakepart Resurrected the of feet inthegrandioseartisticintentionofhisCathedral fathers, Vasily Chekryginputthe collapsingworldbackonits famine andtheturningofbrotheragainst sonsagainst its convocation.FollowingtheRussianRevolution,CivilWar, nature. In situations of worldly decline, artists in particular begin trait ofartinageswhenhumanitybeginstorealiseitsplanetary hood inaworldrivenbydivisionanddeathischaracteristic or fantasy, but the entirecosmos.Theaspirationtowardsbrother set outastheirfieldofactionnotjusttheworldsimagination clared AndreiBely. AndthearchitectsandartistsofAvantgarde life areartistsandscholars. it beautifulform.Thesoldiersofthisenlightenedwarrior-host of the aimofthisaction.Scienceprovidesmeans.Andartlends the vanguardofFyodorov’s strugglewithentropy. Religionreveals sine qua non of this gathering.Art, science, and religion stand in come the lords of creatures, and victory over death is the condition life. Theworld,inhisview, gathersaroundhumans,whohavebe opening upanew, consciouslycreativephaseintheevolutionof it the principle ofharmony, creating the so-called noosphere art, unafraid of experiments, creating above political, national and art, unafraid of experiments,creatingabove political,nationaland Moscow Biennale forContemporaryArt. Throughthelanguageof The 20 The artists of the 21 th centurybeganwiththedesireofarttogrowbeyond st century are likewise reflecting on the 3 , de by by th - -

Part VI: Cartographies of Time 551 without victory over death, human unity is impossible. Victory not in conflict, but in which they can grow, each within the other. with thatofcommunity, buildingprojectswherethesetruthsare religious barriers, they aim to reconcile the truth of the individual All arerelated. as Fyodorovhadit,willalsobecomebrothers. “gave us,ormoreaccurately, handedovertoustheirlife”,people, in thefathers”,hesays.Throughloveforancestors, forthosewho of thehumanityman.“Thesecretbrotherhood isconcealed offspring. It is precisely this love that, for Fyodorov, is the measure ing ofthestimulusinstincttopreservespeciesandraise in theirdescendants. birth and who yet nevertheless recorded a particle of themselves we knownothingofinpersonalterms,whopassedonbeforeour grandfathers, andgreatgrandparents,allthewaytothosewho further alongtheladderofgenerationstotheirgrandmothers, the loveofchildrenfortheirfathersandmothers,stretchingout natural instinctforthepreservationofspecies,butratherin halves for one another. A love in whose depths is concealed the fullest expressionintheloveofparentsforchildrenortwo beyond theboundariesofkinship.Thislovedoesnotattainits people inthebosomoffamily, thatextendstothosewhostand other. Canthisvicious circlebebroken? kind. Theachievementofoneisthenecessaryconditionfor over death,however, isimpossiblewithouttheunificationofman For thisthinkertherewasnodivisioninto“us”and “them”. Fyodorov breaksitthroughlove.Throughlovethatconnects But whereliesthesecretoffirststep?AccordingtoFyodorov, This isalovethatelevated,abovethenatural,andhasnoth tions). Kaluga,1926. p. some changesand addi- from 1903and1911 with Craft (Areprintofworks means ofRocket-Propelled Spaces oftheWorld by K.E. Explorationofthe word”, inTsiolkovsky, Tsiolkovsky, K.E.“Fore- 1 3. 94 p. 154 1994. a World View. Moscow, in Bely, A.Symbolismas Contemporary Drama”, Bely, A.“Theatreand p. 534. Vol. 3. Moscow, 1985. Works: In3volumes. Platonov, A.P. Collected 2 3 - -

552 Society andanIndivisibleWhole and Arseny Zhilyaev — Bart DeBaere, Anton Vidokle

Otto Snoek, 22 September – 01 October 2015

Part VI: Cartographies of Time 553 BART DEBAERE:AntonandArseny, youwerebothvery ANTON VIDOKLE:IfirstmetArsenyinthesummerof2012, present formeduringthe6 ideas, Iwasimmediately fascinatedby Arseny’s research Having justmade myfirstfilmthatdealt withFyodorov’s writings byNikolaiFyodorov, thefounder ofcosmism. about avant-gardemuseology, whichwas toinclude friend, andArsenytoldme abouthisideaforabook theless Iwasveryintrigued withhisactivity. friends, butdidn’t reallymanage tospeakmuch.Never the kitchen.Inendwebrieflymetupwithsome other ple everydayitwasimpossibleformetogetaway from his project,butbecauseweweresobusycookingfor peo- Museum. ManypeopletoldmethatIshouldgoand see the formofadiscursivestructureatKrasnaya Presnya Pedagogical Poemproject, and beyond.Atthesametime,Arsenywasdoinghis rant, withnumerousartistsandtheoristsfromMoscow daily lectures, discussions and presentations at this restau- to payforfoodwithtime,andweorganisedaseries of a temporaryrestaurantingallery, whereitwaspossible issued. using acertaintypeoftime-basedcurrencythatwe network wherepeopleintheartscouldexchangelabour on Time/Bank albeit verybriefly. AtthattimeIwasinMoscowworking If so,whatarethebasicaspirationsyoushare? language callsWahlverwantschaft [‘electiveaffinity’]? based upon?CanitbeseenintermsofwhattheGerman trajectory asadeclarationoffutureintent.Whatisit you. Thisseemstobenotsomuchaconclusionofpast You speakofalong-termcooperationbetweenthetwo the entranceofVDNKh,butwhichwasrescheduled. announced fortheCosmonauticsMemorialMuseumat absentio, inaprojectaddressingthefuturethathadbeen sion withAnastasiaGachevaoncosmism;andArsenyin sages liveonstage,andalsobyenteringintoadiscus- Caused BytheSunwithmainactorreadingherpas- by avant-premieringTheCommunistRevolutionWas A yearorsolaterwewere reintroducedbyamutual 1 To jumpstartthistime-basedeconomy, wesetup — an e-fluxproject,whichwasbasicallya 2 whichwasalsoanartworkin th MoscowBiennale.Anton - Bart De Baere, Anton Vidokle and Arseny Zhilyaev — Society and an Indivisible Whole 554 ARSENY ZHILYAEV: Naturally, Ihad- seenanumberofpro Free LabourChurch. founder ofbio-cosmismandaradicalnewreligion:the Alexander Svyatogor now planningtojointlymakebasedonthewritingsof more ideasfornewprojects,suchasafilmweare and exchangeswithArseny, which,inturn,produced book, whichisnowinprint,ledtomanyconversations I reallywantedtosupportthis.Thecollaborationofthis work, whichissomethingrareinourfieldthesedays.So an artistwasdoingsomeserioushistoricalandeditorial me, inadditiontotheactualcontent,wasfactthat books onaesthetictheory. Whatwasveryinterestingto as thefirsttitleinournewseriesoflargelyhistorical into thistopicandproposedthate-fluxpublishbook with suchan attitudetothecommongoal. tive ofhisown prospects.AndIfeeltotally comfortable implying amaterialist,critical andevenpragmaticperspec- current context,butalways seekingforrealisation,always His approachmayseemtoo radical,impossibleinthe gardist, Antonholdsavery constructivistattitudetoart. solutely correct.Justlikeany cosmistorhistoricalavant- to say“theutopianimpetus”, butthatwouldn’t beab- cosmic impetushadbeenthereallthetime.Iamtempted into thehistoryofwhatAntonhadcreated,Irealised the line withitsbasicinstincts.Lateron,whenIwentdeeper not directlyrelevanttocosmismbutwhichwasalready in was Time/Bank atDocumentainKassel,aprojectthatwas then, butnospecifics.ThelastthingIhadseenatthat time been workingonRussiancosmismforayearortwo by thing happeningonanotherplanet. contemporary artlife,thosestoriessoundedlikesome - just movedfromasmallRussiantownwithnotraceof specific screenshotsofthisprocess.Forsomeonewhohad and spokeabouttheprojectoftrialart,showing ence whereKetiChukhrovmentionede-fluxseveraltimes I movedfromVoronezh toMoscow. Itwasataconfer in person…Iguessthefirsttimewas2007orso,when jects Antonwassomehowengagedinevenbeforewemet Much later, ImetAntoninMoscow. Iknewhehad 3 — the futuristpoet,anarchist,and -

Part VI: Cartographies of Time 555 AZ: BDB: opposed byRussian democratictraditions andindividual democracy based onrivalryandcompetition isprobably Yes, indeed, theprevailingWestern modelofbourgeois dual tobepreferableover thesingular?Ifso,why? address theworld,not individual.Doyoufeelthe cultures do,thinkof‘two (man/woman)’asthebasisto two ofus’.Andculturesmay, asapparentlymanyAmazon venian, havetwoplurals,oneofwhichexpresses‘us, the triad. Severallanguages,though,suchasArabicor Slo- combustion engine,throughthethesis/antithesis/synthesis ture istheuseofpolarisingantagonismasaproductive Manichaean way. AbasicoperationofEuropeancul- have atendencytoapproachdualismnegatively, ina gatherings wereoftwopeople.Europeans was thenotionofdual.Somemostfruitful An unexpectedquestionthatemergedfromtheBiennale is justthebeginning. initiated anumberofjointprojectssofar, andIhopethis Anton’s creativeintuitionwithakeeninterest.We have boosted thisdispositionwithalotofenergy. Iwatch jects. Inourcase,thedeepinterestinRussiancosmism positively disposedbyournaturetoengageinjointpro- book funny twistofhislifewithmyhomecityVoronezh. in theprojectonFyodorov’s curatorship,linkedbythe museology forpublicationandhadalreadybeeninvolved had beenpreparingacollectionofworksonavant-garde over thelast100+years.Anyway, bythedaywemet,I tions. Actually, thesituationhasnotchangedtoomuch more drasticthanthethen-acceptedlimitofart’s ambi- more, Fyodorov’s projectwasgoingbeyondthat,being the hopesthatavant-gardepinnedonarts.What’s the museuminRussiancosmismwasquintessenceof future ofthisinstitution.Atsomepoint,Irealisedthat by Marxistmuseologyandpossiblespeculationsonthe of life.Originally, myprojectswereinspired,inparticular, research onthemuseumanditsroleintransformation Then therewasthelongperiodofjointworkon In mycase,theinterestincosmismcamefrom — and ittookofffromthere.Ithinkweareboth

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emancipated qualityoflifewithoutalienation, andthus means ofco-existence, similarlyincommunism it’s the antagonism: whilereligions tendtoidentifyloveasthe Nor doIthinkthatthecommunist societywillhavesuch interesting andinspiringmodel ofhowtobetogether. ity. IamnotaChristian,butthinkthat thisisavery are individuatedentitiesyet remainakindofsingular ment betweentheFather, SonandtheHolySpirit,who Trinity, inwhichthereisnoantagonismand nodisagree- with this.AnothermodelistheDivineFamily: Holy a prerequisitefordemocracy, butIreallyhesitatetoagree productive. Somepeopleseemtothinkthatantagonism is antagonistic, andIamalsonotsureantagonismis always I amnotsurethatthedialecticalmethodalwayshas tobe the Universeintheirspatialandtemporalcoordinates. the horizonsofaprospectiveunitybetweenmankind and American spinoff.Ayn Rand an egoismthatconsidersandsupportsothers. is egoism cally guidedsolelybyourownself-interest.Rational regard forthecommoninterestevenifwearemathemati- others. Thatis,wecannotmaximiseourprofitwithout dilemma’, whichwasusedbyJacquesLacan,among point. Thisprincipleliesbehindthefamous‘prisoner’s wellbeing beginstodependonthecommoninterestatsome inherently actintheirownself-interest,butpersonal and freethinkinginRussia. by NikolaiChernyshevsky, apivotalbookforLeninism of ‘rationalegoism’iselaboratedinWhatIstoBeDone? and establishunityintheirplace.Forinstance,thetheory philosophical ideaswhichaimtoeliminateoppositions to early21 determined theexcessesofneoliberalismlate20 and stopatnoend.Infact,thislibertarianviewpointpre- tenth anylonger, etc.Strongpeopleshouldgoalltheway class whocouldnotaffordtosupportthesubmerged the commoninterests,anddescribedastrikeofruling refused toagreethatrationalegoismshouldconsider largely usingChernyshevskyasanegativeexample.She Russian cosmism makes this logic ultimate by outlining Russian cosmismmakesthislogicultimatebyoutlining Interestingly andunexpectedly, thisstorygetsan st centuries. 4 The theory implies that people Thetheoryimpliesthatpeople 5 developedhertheory th -

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being usedby allfactoriesontheplanet andremovingall trial chimneys. Hetoldmethatheimagines hisdevice to developandproduceionising airpurifiersforindus- turned businessman,who hasasmallexperimentalfactory Soviet entrepreneur:aformer highschoolphysicsteacher we usedinthefilm.Heis essentiallyafairlytypicalpost- with themanwhofabricated theaero-ionificationdish Caused ByTheSun,Ihadaveryinterestingconversation When IwasworkingonTheCommunistRevolutionWas nected circles.Howdoyouenvisageathirdparadise? the focussingpointinmidstof∞barely con- Michelangelo Pistolettoseesathirdparadiseemerging in Common Task isall-inclusive. even thosewhohavealreadydied.Hisprojectofthe possibility inhisthinkingtoabandontheweak, old, one shouldlivewithandforeveryone.Thereisno ethical cal toFyodorov’s ideas,whospecificallyimploredthat a farbetterbookthanTheFountainhead.) guided byTolkien’s LordoftheRings(whichisarguably It’s asthoughthepresidentofUSAwerebeingsecretly came tooccupykeycorporateandgovernmentpositions. this toxiceffectonseveralgenerationsofpeoplewho pretty incredibletomethatsuchmediocrewritinghad of omnipotenceandarefullresentment.Soit’s still basically writtenonthelevelofteenageheroicfantasies American politicalandeconomicelite:thenovelsare much laterjusthowinfluenceherbookshadon That’s whyIwassoenormouslysurprisedwhenlearned ing ofpeopleasmediocreRand’s simplisticwriting. cult… Ihavetosaythatthiswasaratherpatheticgather I wasapromisingstudent,soheinvitedmetojoinhis ideas. Itwasasignofappreciationapparently:hethought ing groupinhisstudio,dedicatedtothediscussionofher neoclassical sculptor New York, oneofmyteachers interesting tothinkaboutthis… no externalityfromwhichsuchantagonismmayarise.It’s I wouldnotethatRand’s cultofselfishnessisantitheti- Regarding Ayn Rand,whenIwasanartstudentin — invited metoattendasmallread- — a kindofpost-modern, -

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Part VI: Cartographies of Time 559 BDB: AV: AZ: telepathic drawingduringthe6 Fabrice HyberandHonoré‰’Oexperimentedwith Paradise. IamnotsurewhatathirdParadisemightbe… actually workingtowardstheproductionofasecond air heclaimstheyproduce.Sohereissomeonewho from orbit,todocumentthetranslucentdomesofclean the Russianspaceprogrammetophotographhisdevices indus to takeplacetherenextyear, tobemarketedvarious to includehisdevicesintheworldfairthatissupposed becoming immortalagain.We willbefreeofdeath. Garden ofEden.Intheology, suchareturnalsoimplies new conditionandhumanitywillessentiallyreturntothe relations willchangecompletelyinaccordancewiththis not requireclothesandwillwalkaroundnaked.Social feed ourselves.Theclimatewillbecomeverymild,we trees bearingfruits:wewillnolongerneedtowork back tolifeandEarthwillbecomeagardenofprimordial condition. Ancientsporesofextinctplantswouldcome the climateofourplanetwouldreturntoitsprevious cleaned ofallthewastehumancivilisationhasproduced, cally describedareturntoParadise:astheenvironmentis if hesucceeded,whatwouldhappennextandbasi- the carbonthatispollutingatmosphere.Iaskedhim, images between twopeopleindifferent partsoftheworld ing anarticle aboutthefirsttransmission ofthoughtsand Depends onwhatyoumean bytelepathy. Iwasjustread- created. I’m prettysuretherelevant prototypeshavealreadybeen military cyborgsinterconnected byawirelessnetwork. rations. Iguessthefirstapplication oftelepathywillbe space flights phone, radio,TV, letalone theInternet,3Dprintersor Many oftheinventions,familiartoustoday We canneverbeabsolutelysuresomethingisimpossible. telepathy isafuturepotential? remarkable effects,whichtheydocumented.Doyou feel Right nowheislobbyingthepresidentofKazakhstan tries. Heisalsotryingtoconvincecosmonautsin — are puremagicasseenbypreviousgene th MoscowBiennale,with — like tele

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Working withthings likethisrequiresalotof delicacy successfully appropriated bytheRussian government. of radicalproto-fascism, which, besides,hasalreadybeen I agreewithAntonhere.Eurasianism todayisaninstance small planet. and geopoliticsbasedon a sliverofsurfaceonone all init,soit’s abitabsurdtoconceiveofterritoriality the Cosmos.TheUniverseisimmeasurableandwe are frog overtheissuesofnationalboundariesandaim for more dangersthanbenefits.Ithinkweshouldjust leap- It’s notmuchofanideologyinmyopinion,andhas Well, youremembermyreservationsaboutEurasianism. where weshouldgo?Cancosmismhelpus? ised diversityandyettranscendnationalborders.Is this is analternativeconceivablethatmightcultivatea local- Bolshevik empires,thequestionarisesastowhether there alternative forhisspaceoforigintoboththeTsarist and attempts ofPrinceNikolaiTrubetzkoy tothinkupan in theinterbellum,andespeciallydesperatelyrefined cosmism. WhenfocussingontheoriginofEurasianism Historically, Eurasianismhadatenserelationwith tions andsoforth.Adigitaltelepathy. with theinventionofInternet,wirelesscommunica- feel thatsuchaphenomenonisalreadystartingtohappen of thenoospherewilltransformthisplanet.Somepeople ing aboutthisinthe1940s.Hefeltthatemergence phere, stratosphere,ionosphereetc.Hewasalreadywrit- our planet,liketheexistinggeosphere,biosphere,atmos- of reasonwhich,accordingtohim,isemergingaround Noosphere, akindofaninformational,telepathicsphere associated withcosmism,developedanotionofthe I reallydon’t know. actually seempossible.Ifyoumeanmagicaltelepathy, So technologicallyspeaking,sometypeoftelepathydoes tion actuallytookplace.Thiswasseveralmonthsago. successful scientificexperimentandatransferofinforma- via computerencodedbrainwaves.Apparentlyitwasa Vladimir Vernadsky, whowas oneofthescientists

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found inFyodorov’s philosophy, whichisan overwhelming a locomotive rushingbackwards.Similar patternscanbe tion, initsturn,issortof anemergencybrakeofprogress, believed thathistoryonly beganwithrevolution.Revolu- history, somehowclosetothatofWalter Benjamin,who Yes, Fyodorov hasaveryinterestingunderstandingof laid wastebytime. tion ofthenewbutaboutarescueallthathasbeen leave thembehind.Sointhissenseit’s notaboutproduc- wounded, andforFyodorovitisourresponsibility tonot our ancestors.Inthissensetheyarenotdead,but merely conceivable tooltobringbackthepast, ence, technology, art,socialorganisationandeveryother exhausted allpossiblemeansavailabletoreason,sci - has failedyetandnobodytrulydieduntilwehave that helooksbackandseesafieldofpotential:nothing It’s genocide.WhatisveryuniqueaboutFyodorov backwards andseesonlydeathdestruction.It’s scary. destroyed bytime.Benjamin’s AngelofHistorylooks ism, empire,ideology basically everyproject,construction,organ- ruin, apileofrubble,seriesfailures,etc.Because perspective. Mostthinkersseethepastandhistoryasa For Fyodorov, the pastisfuture.It’s averyinteresting excluded fromthisequation? be aprojectaboutfuturelife,butislifeitselfnot tion butasaseekingoutofthefathers.Cosmismmay by thelivingoffathers,withreasonnotasanabstrac- for Allevokesthetaskofmuseumasresurrection tions. TheupcomingfilmImmortalityandResurrection government is,inthiscase,onlyacaretakerofitsinstitu- is nowliving,andeveryonewhowilleverlive.Eventhe on constituencies:everyonewhoeverlived, The IrishthinkerEdmundBurkehadanextendedview the Universemakesanyterritorialdisputesolvable. of territoryandnationalstatesassuch,sincethesize extreme, cosmismproceedsfromovercomingtheproblem and onlyhasanindirectconnectionwithcosmism.Inits — everything appearstohavebeen

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from theplankton. life processesdirectlyfrom sunlight.We shouldlearn already doesthat:itgenerates theenergyitneedsforits stop consumingotherforms oflifeforenergy. Plankton Absolutely. Assoonaswelearntobeself-feeding, wewill why andhow? they beincludedinthenotionofconstituenciesand ifso, whether animalsandplantshadalsobeeninvited. Should biennial duringherpresentnewsbroadcast,sheasked When AlevtinaKakhidzeinterviewedthecurators of the the humanbeing. existing inhumanistictheories,atleastwhenitcomes to Fyodorov’s ideasseemmoreoptimistictomethanthe described, inparticular, byBorisGroys.Onthewhole, without artisticor, ifyouprefer, curator’s vision.Thiswas art. Themechanismofresurrectionisunabletoevolve cosmism, andthisisalsotrueintermsofcontemporary for thefuturelifewithallofitscontingenciesinRussian by thecosmistGorsky?Thus,thereisplentyofspace maybe havelight-poweredphallicpupils,asenvisaged up withthepeopleoffuture,whowillbebodilessor people ofthepastwiththeircorporalinhibitionsmatch of Homosapiens?And,mostimportantly, howwillthe and animals,whichobviouslycontributedtotheevolution a historicalperiodofitsown?Whatwillhappentoplants ratio ofthesegenerations?Will eachplanetbeconfinedto rected generations,akeyquestionis:Whatwillbethe If theCosmosbecomesplaceforsettlingresur our species,whichwasalreadypointedoutbyFyodorov. to overcomingthesocialandcorporalconflictswithin have tosolveaheapofproblems,whicharenotrestricted tinue. Beforeweachievetheuniversalresurrection, admits thatevolutiondoesnotstophereandwillcon- The waytothefuturelifewillopenupwhenmankind endless transformationalcapabilitiesofhumanbeings. inspired bythetheoryofevolutionandfaith in the We shouldn’t forgetthatRussiancosmismwaslargely mix ofradicaltechno-utopianismandconservatism. -

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prefer certain politicalformsoverothers? suggest? And mightanorientationtowards thefuture for alongtime.Whichpolitical preferencesdoescosmism linked upvisionsofnature andpoliticalsetupshavebeen, In hisbookAfterNature,JedediahPurdypointsto how very ambitiousprojectthat hecameupwith… becomes conscious,wewill beself-sametoGod.It’s a as ourartwork.AndwhentheentiretyofUniverse as immortalbeingswewillallbeartistswiththeCosmos Fyodorov thisisalsothemainroleandfunctionof art,so scious: teachingitwaystofeel,think,perceive,etc. For making allthematterthatmakesupUniversecon - learn toliveintheCosmos,ouractivitywillconsist in we achieveimmortality, resurrectallwhoeverlivedand Yes. Thisispreciselytheeschatology ofcosmism.Once that shouldbeempoweredagain? is itratherthehumanworld,asHannahArendtcallsit, all matterbeincludedintothenotionofconstituencies,or a certainaction,transformationoflife.”Should Arseny, statesthat “Thereisnoartthatdoesnotproduce possible, includingart.”Anton’s upcomingfilm,featuring of immortalityand resurrectionforall,byanymeans ute directlyandliterallytotheimpossiblydifficultproject behind cosmismwasformulatedas“thedesiretocontrib- In therecentinterviewofArsenywithAnton,ethos the mundaneworld. sacrifice byresurrectinghimandbringingbackto should beabletopayitsdebtChristandredeemhis clearly before.IfwetalkaboutChristianity, mankind logic ofresurrection,althoughithasneverbeenarticulated who werepartlyhumaninnature.Thisisalsoaboutthe will beresurrected,includinggods,beginningwiththose etc. Ideally, thetime and the history of the wholeUniverse tion oftechnicalequipment,software,computerviruses, too. We shoulddefinitelyraisethequestionofevolu- animals, plants,bacteriaandothermolecular compounds, tion projectconsistently, itshouldbeextendedtoinvolve I wouldaddthatifweimplementFyodorov’s resurrec-

Bart De Baere, Anton Vidokle and Arseny Zhilyaev — Society and an Indivisible Whole 564 AZ: AV:

common goalofresurrectionandsocialdevelopment. money andholdontopowerinsteadofpursuingthe archive likepresent-daybigdatabeingusedtomake There wasnothinglessappallingforhimthantosee an the freedomofknowledgeandinformationdistribution. Snowden’s position.Thefatherofcosmismadvocated he werelivingtoday, hewouldfindhimselfverysoonin whether religiousorsecular. Yet, Ihavenodoubtthatif regarding whatconcernedtheauthoritiesofhistime, a commongoal.Fyodorovhadplentyofcontradictions for theancestors,enlightenmentandhardworktowards formations couldonlybeachievedthroughlove,respect entation. Thephilosopherbelievedthatrealsocialtrans- revolutionary violence,despiteallhisanti-capitalistori tioned, FyodorovdidnotacceptMarxismbecauseofits liberation theology. However, asAntonhasalreadymen- poor”, meaningtheimpetusthatwaslaterboostedin There isanopinionthatFyodorovwas“aMarxforthe to thedead. deeply believesinradicalsocialequalitythatextendseven that despitethis,FyodorovisatrueSocialistbecausehe saw itasgodlessandnotbasedonlove.Itcanbeargued was expresslycriticalofsocialism,primarilybecausehe ist critiqueofcapitalism.Ontheotherhand,Fyodorov production andsoforth.InthissenseitechoestheMarx- tion ofresources,thetrivialityconsumercommodity of themarketeconomy, theunfairnessofunevendistribu- anti-capitalist, primarilybecauseofthewastefulnature Cosmism isamaterialistphilosophythatessentially

Part VI: Cartographies of Time 565 On TheSpot A Three-Dimensional Experience Ives Maes — 2015 for Contemporary Art, view atMoscow Biennale Stereographs, installation Ives Maes,Soviet Ives Maes — A Three-Dimensional Experience On The Spot 566 since itdidnotsuittheideological directionoftheSovietUnion. Stalin decidedtosolidify the exhibitioninverylastmoment plaster, exceptforanoccasionalpermanentbuilding instone.Then Most worldexhibitionshad beenconstructedoutofwoodand At first, its pavilionswereto be constructedentirelyout of wood. Exhibitions. diately establisheditselfasthefirstinalonglineof International propaganda had such an enormous global impact that it imme ephemeral formulaofgoodintentions,culturalbravery andpure emphasised anextremeamountoflabour, studyandlogistics.This and thereturnofmorethan100,000exhibits.Itstransient nature was its disappearance, marked by the dismantling of the building its innovative construction materials. The event’s extravaganza new industriesandarts,reflectedinthearchitectural designand after the event. The Great Exhibition embodied asynthesis of Crystal Palace:amodularsuperstructurethatwasdisassembled was constructedoutofcastironandplateglass,nicknamedthe achievements inculture.Fortheoccasion,anenormousbuilding display theirnationalindustrialtradeitems,aswellhighest exhibi rary event,lastingalmostsixmonths,wasthefirstinternational Exhibition ofAllNationsandIndustriesin1851.Thistempo national ExhibitionsandWorld Fairs,whichstartedwiththeGreat Union. strengthen the hegemony between the international states of the and celebratetheagriculturalachievementsofUSSRto 1939. This exhibition, commissioned by Stalin, was to display All-Union AgriculturalExhibitionthathadopenedonAugust1, Exhibition solidifiedasapermanentstructure. as abiennialsettlesonlocationwheretemporaryInternational drum evenmoreelusive,whenarecurringtemporaryeventsuch Hyde Park.Itbecomesevenmorepeculiar, tomakethisconun- place on the former location of the Great Exhibition in London’s find guidanceorcriticise.AsiftheVenice Biennale weretotake tion site.Itseemstoberevisitingitsownorigins;contemplate, It isremarkablewhenabiennialreturnstoformerWorld Exhibi in stone and cement rose from the ground. The exhibition closed It was considered too temporary, and a permanent exhibition park The All-Union Agricultural Exhibition had similar ambitions. In doing so, it stepped into a relatively long traditionof Inter The 6 tion ofitskind th Moscow Biennale has revisited the former location of the MoscowBiennalehasrevisitedtheformerlocationof — inviting almostahundredcountriesto - - -

Part VI: Cartographies of Time 567 few monthslater. named theExhibitionofAchievementsNationalEconomy. on an exhibition area of 700,000 square metres and been re later thatyearonthe25 And finally, themainPavilion No. the olddays, whiletheUkrainianpavilion stillstandsdesolate. USSR wasinvitedtoreoccupy itsnationalpavilion,restoredasin have receivedanewcoatof redpaint.Eachformerrepublicofthe Soviet musicresonatesover thelonglanesandallSovietsymbols Pavilion andYuri Gagarin’s Vostok rocketwererestored.Today, shrewd nationalpropaganda tool.Inthesamefashion,Cosmos crowned withthestatue byVera Mukhina 1937 exposition in Paris wasreconstructed in 2012 and once again process ofrestorationstarted.TheoriginalSovietPavilion ofthe site. ButthiswasawardedtothecityofShanghaiinstead. Aslow Expo andtheRussianwouldhavetakenplace onthesame Expositions tohostthe2010Worlddes International Bureau recently decidedtorestorethesite.Moscowhadfiled abidtothe sistencies. Moreover, thecurrentlegislatureinMoscowhadvery overtones, regardlessoftheephemeralcomplexities or timeincon an endlessamountofmeanings,socialundertones andpolitical a locationmeansopeninglargecanofworms. It comeswith the site’s lifespanandaftermath.Buttoholdabiennialatsuch mary functionwasfinallyactivated. should havehadfromthebeginning.Throughitsdecay, itspri- this stagethatmadethesitepreytoephemeralexistenceit meaning, overrunbypovertyandruination.Butitwasprecisely sort oftimecapsuleExpomonuments. of theMontrealExpo1967wasrelocatedtosite,forminga defiance oftheNaziGermanpavilion.Also,SovietPavilion Soviet PavilionattheExposition Internationale des Arts et Tech- WomanKolkhoz Workerand the firststructurestoappearonsitewasVera Mukhina’s famous implementation ofleftoversfromformerworldexhibitions:One of permanent and transitionalinstalments was widened by an park, exceptforitscontinuouslyexpandingsize.Thedichotomy There wasnothingtemporaryaboutthispermanentexhibition niques dans la Vie Moderne de Paris in1937,whereitstood de Moderne Vie la dans niques Between 1939 and 1989 the site had accumulated 82 pavilions 2015 waspreciselytherighttimingtoreturnandmediate After thecollapseofSovietUnion,sitelostitsinitial th October, onlytoreopenindefinitelya sculpture that had crowned the 1 wasprepped tohostthe6 — turning itintoa th - -

Ives Maes — A Three-Dimensional Experience On The Spot 568 existence, itfullyhonoured thesublimelegacyofworldfairs confronted thecurrentpolitical crisisheadon.Initsephemeral a locationthatscreamed all sortsofhistoricalconnotationsand leave theisolationandsafety ofthewhitecubeandmanifeston disappear afterafewdays. Theorganiserswerenotafraidto passed byandartworks createdonthespotappearedonlyto a ten-day event during which performancesandpoliticallectures and poorersibling,thebiennial,haspartiallyinherited thatpower. hollow exhibition todayseemstohavelostallmeaning. Proofofthis the separation of the arts into biennials and art fairs, the world and decline ofColdWar, propaganda consolidates, and alongside advent ofradio, television and internet, the endof colonial wealth for anearbyfutureinordertoresolvecurrentmalfunctions. humanities, technology, architectureandartmanifesttheirideas architectural décorinwhichthecontemporaryexpertsof where theworldgathersinpeaceandpresentsitselfasadidactic In itssublimeessence,theworldexhibitioncreatesamomentum contemporary artopentoageneralandinternationalaudience. posiums and have been responsible for the first exhibitions of architecture. Theyhavehosteddiplomaticassemblies andsym latest discoveries in technology and displayed grand temporary archaeological treasures in museological systems, popularised the less newframeworksoffuturestocome.Theyhavestructured of apropagandaepisode. mediate itscurrentposition,whichplacesitrightinthemiddle Exhibition, itnotonlyneededtoreflectthathistory, butalsoto Moscow Biennale visited thesiteofAll-Union Agricultural than amomentofreflection,pauseorcritique.Whenthe6 it might be bywar or colonialism. It cannot be anything other It isareturntotheoriginsofbiennialsystem,howevertainted site, becauseeveryExpositehasits specific history to dealwith. of Stalin,Hitler, Napoleon,ShrekandPutin. able trinketsshopsandasloppywaxmuseumdisplayingstatues Moscow Biennale.Onlyafewyearsbeforeithadhostedinnumer propaganda. with aformula ofgoodintentions,cultural braveryandpure With theopeningupofglobalunlimitedbordersthrough the So itisremarkablewhenabiennialreturnstoformerExpo The 6 Over centuries,worldexhibitionshaveprovideduswithcount ness is easily found in the most recent Expos. Their younger ness is easily found in the most recent Expos. Their younger th MoscowBiennalemadeanexcitingattemptathosting th th - - -

569 Ives Maes,EntranceGatefromtheSovietStereographsseries,2015 Ives Maes,CosmosPavilionfrom theSovietStereographsseries,2015 570 Ives Maes, LeninSculpture fromtheSovietStereographs series,2015

xxx 571 572 Ives Maes,Vostok Rocket fromtheSovietStereographsseries,2015 Ives Maes,PavilionNo. 1 fromtheSovietStereographsseries,2015

Part VI: Cartographies of Time 573 countless performances, lectures and shifting art works. Instead of countless performances,lecturesandshiftingartworks.Insteadof graphers, writers and afilm crew to document andstream the photographers toworkonsiteandemployedevenmorephoto of documentation:Itisnocoincidencethatthecuratorsinvited needed photographytorecorditsshortlifespan.Ex negativo , the photography. ThetemporarynatureoftheCrystalPalacevitally be arguedthattheformatevolvedbecauseof inventionof Coming backtothetemplateofgreatexhibitions, itcaneasily tial totheproject. communication ofwhathappenedduringthosetendaysisessen by noise.A0%propagandapolicyisaswell.The drinks, andtriedtobethevoiceofreasonwhilebeingsurrounded propaganda, it transmitted democratic mixed feelings over mixed Mayall and Williams atoncebegantaking stereoscopicviews experience on thespotthroughlooking glass.Claudet,Beard, invention ofstereography, evokinganactual three-dimensional art and education. They were particularly fond of the most recent and QueenVictoria valuedthe medium’s unification ofscience, Benjamin BrecknellTurner andRobertBingham.Prince Albert photographed thegrand hall, aswellBaronJ.-B.LouisGros, nence thatitcouldn’t otherwisehave.” served asameansofendowingthefairwith the lasting perma “Photography, in additiontoalltheotherusesitserved,here possibility ofcandidlyrecordingproofitstransitory existence. ephemeral buildingwasonlyconstructedbecause there wasthe What is essential in the biennial’s aftermath isitsdisclosure (Sir DavidBrewster, jurymemberoftheGreatExhibition) to thehistorianoffutureages.” the plainandtruthfulrecordsofphotographyafford graphic representations;andgreatservice,too,will reap fromtheeverincreasingcollectionofsuchtruly incalculable willbetheadvantageposterityissureto applied totransitoryscenesoftheabovekind,and it valueinfutureages.[…]Greatisitsusefulnessas to admitoftheaccuracyanddetailnecessarygive artist, owing to their being of too transient a nature without asingledetainingeffortfromthehandof tic recordsofworks,thatwouldotherwisepassaway “Photography will […] greatly enrich us with authen 2 1 William HenryFoxTalbot

- - Ives Maes — A Three-Dimensional Experience On The Spot 574 nale. This isthelegacyof6 installation views lectures andinterviews,aswellhundredsofphotographs ously streamedvirtual documents, hoursoffilmedperformances, the importanceofevent,6 graphy (then anew invention for the masses) to communicate the 6 from theGreatExhibition,justasthisrecordisonlyleftoverof extraordinary hadhappenedhereatonepointinhistory. over theplanetandgrasshadgrownsite rare and curious content of the Crystal Palace had been scattered libraries acrosstheworld.Inordertoremember to allthedignitariesofparticipatingcountries,andplantedin process neverbeforeseen.In1852,thisunbiasedrecordwassent man, abbreviatededitionsandshortguides,inachainproduction print runof250,000,withversionspublishedinFrenchandGer books, withtheirunprecedentedamountofphotographs,hada 155 originalphotographsof the buildinganditsexhibits. These Exhibition, containing Great the of Catalogue Illustrative and Descriptive process resultedinthefourvolumesofOfficial of theinteriorCrystalPalaceandexhibits.This The illustrative catalogue is the only palpable result to remain The documentyouholdinyourhandsisthe6 th MoscowBiennale.WheretheGreatExhibitionusedphoto — accessible online everywhere and by everyone. accessible onlineeverywhereandbyeveryone. th MoscowBiennale. th MoscowBiennalecontinu Antwerp, 2013,p.7. Maes, Yesterday — Ives images, in:TheFutureof Elena Filipovic,After London, 1852. Industry ofAllNations, Exhibition oftheWork of Catalogue oftheGreat Descriptive andIllustrated See HenryCole,Official 2 1 — th — MoscowBien that something that something long afterthe - - -

575 & Moving Gods Wrathful KingKongCore Lu Yang— Lu Yang, MovingGods,singlechannelvideo,2015,4mins.,still and mayberead from facialexpressions. human angerthat originatesinthebrain Lu Yang contrasts thiswithananalysisof originates inthegoaltodestroy death. one oftrueenlightenment,forwhom anger of previouslives,whichmakesthe deity Yamantaka overcomestheevilandkarma power tohelpescapethecycleofrebirth. programme includedWrathful King Kong The selection of videos for the biennial roscience, religionandparapsychology. combine videogameaestheticswithneu future andtheancient.Heranimatedfilms ennale forhertakeonconceptsofthe Lu Yang was invited to the Moscow Bi Yamantaka, aBuddhistdeitywiththe and technology. she sees as closely associated with science symbols andtransfersthemtoapresent both, Lu Yang investigates iconic religious Core Wrathful King Kong Core portrays Kong King Wrathful (2011) and Moving Gods (2015).In - -

ample, fanaticism. [MarieEgger] socio-political conditionssuchas, forex- ships betweenreligiousbeliefsystems and existence, andultimately, ontherelation- humankind, on the possibility of transient tions ontheuniversalityofreligion and Lu Yang deliversthemeanstoposeques- long agowasnarratedasscience fiction, well asatechnologicalrealitythatnottoo archaic humanfeelingsandexpressions,as they onceworshippedasgods? humans bearthepotentialtobecomewhat beings. Butwithtoday’s technology normally distinguishesgodsfromhuman nimbus as a universal religious symbol the divineandhumanisrevoked.The created by Lu Yang. The divide between shown posinginasetofwearablehaloes In Detecting universal religious symbols, Detecting universalreligioussymbols, Moving Gods, agroupofmenis Moving — do 576 Parallel Universes Ricardo Brey — Ricardo Brey — Parallel Universes 578 parallel universes.[BartDeBaere] he sentthemtothebiennial;onehundred allel universes.Itwasinthiscapacitythat according toBrey, caneachbeseenaspar be looked at from different angles and, drawings. Asartisticofferingstheymay ily choosethemostspectacular, lavish they preferred,peopledidnotnecessar Stalinist cupola. middle ofthecentraldome,beneatha unspectacular. Theywereplacedinthe the drawingsaspiredtorealise,silentand new drawingseachday. Thatisthespace Savchenko unpacked and positioned ten publicly. ings thathadneverbeforebeenpresented Ricardo Breyofferedtosend100draw When askedwhichofthedrawings Biennale production manager Katya - - - the installationprocess Katya Savchenkoduring  159 x120mm In thekitchen,2006, Ricardo Brey,  2006, 135x105mm Ricardo Brey, Horntails, 

Part VI: Cartographies of Time 579 Madonna andLeviathan Anne-Mie van Kerckhoven — imagination. is supposed tobeaprojectionfield for the Rorschach shape, thekindofimagethat plemented itonits right-handsidewitha a blacksquarein the middle.Shecom a fieldofenergieswiththeevocation of image fallapart,sothatitbecame rather became ablacksquare.Sheletthis Rubens lower part of the body of the Madonna that, inthechiaroscuroofchurch, the go toMassasachild.Itstruckher then Augustine inAntwerpwheresheusedto originating fromtheChurchofSaint Catherine Saint Weddingof Mystic The baroque Peter Paul Rubens altar piece Kerckhoven wasoneofthefour. than ageneric‘artwork’.Anne-Mievan focus ofartists,definedassuch,rather image, that might also be acapacity and The Biennaleaskedfourartistsforan She offered an image based on the - ,

capacity andtheirlimits.[BartDe Baere] of this visual equationprove both their its counterpartbutintheendboth parts The Rorschachshapemightbeseenas render anycontentproposal credible. a uniquecapacity;painterthatcould Catholic tradition,andfoundinRubens is akeyreferenceinthissensewithinthe world. TheadorationoftheHolyFamily also carriersofacapacitytostructurethe are notmerelyiconographicalfacts,but Leviathan, indicates how images and The titleoftheresultingproposal,Madonna

580 Renunciation Ieva Epnere — Ieva Epnere,Renunciation,video,2014,20mins.,still

Part VI: Cartographies of Time 581 recognise. A lonelyfigureappearsinthisaustere and shorebushestornapartbythewind. landscape: asteel-colouredsea,densefog The firstsceneshowsatypicalBaltic lonely lifeasappropriatetohisstatus. about a Catholic priest and his modest, Renunciation isa20-minuteshortfilm ences of and harshNortherncharmwhichaudi ups, withthesilentbrutalityofnature works withamixoflandscapesandclose director AndreyZvyagintsev, IevaEpnere Similar totheformallanguageofRussian esque andframedinperfectgeometry. landscape. of effort. holding backthistensiondemandsalot shows his inner tension;and the fact that ing ofconcern.Everygesturethepriest breaking throughtheshots;anelusivefeel But there is something else to it, something is an ordinary documentation of daily life. in amomentofleisure.Seemingly, thefilm an ordinarycataloguethatwouldberead beauties wearing traditional outfits. Itis through acataloguewithpicturesofBaltic priest istryingtodraw. Thenhelooks holes ofashirt,tremblingpencil…The heavy knitted sweater, the narrow button a sincerefocusonbarelyvisibledetails: reversed peepingeffectisachievedthrough discover one’s owninternalvoyeur. This The shotsareintentionallypictur While watchingthefilm,onegetsto The Return and Renunciation from theWorld might Leviathan might - - -

eternal service. awe and humility, feelings crucial to his necessary toabandonone’s feelings of themselves. Butinordertocreateitis made them, are to engage increation humans, accordingtohowtheCreator ence ofawe.Thepriestseemsawarethat and astonishingisthereligiousexperi and fragileinthefaceofsomethinggreat the inexplicablepowerinit.Feelingsmall It isanobsessivedesiretoseemysteryand the enchantmentbycreation/admiration. both aritualofcreation/admiration,and even religiousinteractionwithart: Piety is a metaphorforoursensual,intellectual, pleasure. Theselayeredfabricsbecome This processappearstobringhimreal red velvetonpurplebrocadeandsoforth. golden patterns,puttingthemoneonone: The priestlaysoutritualfabricswith Marina Simakova 1 the-world syg.ma/renunciation-from- http://moscowbiennale. Biennale Blog: full ontheMoscow This textappearedin 1 -

582 The Worshipper Luc Tuymans— Luc Tuymans, TheWorshipper , installation viewduring the MoscowBiennale, 2015

Part VI: Cartographies of Time 583 different price categories depending on the different pricecategoriesdependingonthe painter Peter Paul Rubens even had four (part of)thework.TheAntwerpbaroque work with studio assistants who execute ing assistants. Many artists, also painters, Luc Tuymans hasaspecificwayofengag- For hislarge-scalein-situwallpaintings, on therighthasbeen leftout.Thepropor Christmas treethat waspreviouslyvisible cropped inrelationto theearlier ones:the Phaidon Press. The work in Moscow is of aspecialeditionhismonograph with realised on the occasion of the appearance earlier alsobeenturnedintoasilkscreen, himself in 2004, The Worshipper ity reproduction of a painting he had done tial startingpoint. quality informinghimasmuchtheini- on those, the deviations of their shabby wanted to work with, and based his work he took Polaroid photos of the images he by anintermediaryimage.Forsometime starting pointareoftenfirstunbalanced rial meaning.Theimagesthatwerethe pacity, inbetween thematicandpicto in suchawaythattheygetproperca images butinterpretsandpositionsthem tation andpresence.Hedoesnotinvent researches theintertwiningofrepresen thing, anuncannilyambiguousgesture. that seemstobetryingexpresssome primary layer, themereoutlinesofashape is thehand.Itremainsinwhiteof strengthen thework.Thecentralelement but rather on how less being done may is notonhowmuchmoremightbedone the purplehuesindressoffigure. background ofthepainting,orplay and samenessofdifferentzonesinthegreen nature, suchasthedegreeofdifferentiation are addressed inthis wayare of pictorial spectives anddistances.Thechallengesthat made underthescrutinyofdifferentper positions, so that the work ends up being may give indications fromtheir respective function astheartist’s additionaleyes.They own right—isnolessimportant.They assistants —accomplishedartistsintheir only onewhoispainting,buttheroleofhis In the case of Tuymans, the artist is the amount ofworkhehimselfinvestedinit. As always with Tuymans, the focus Here, thefoundationwasabadqual - Tuymans isanartistwhocontinuously , that had , that had ------

[Bart DeBaere] to an image that needed to be realised. expression ofcommitment, commitment they arethewitnessesofdetachment asan testify to an artist realising an art work; that ofTuymans, thebrushstrokesdonot these artistic spaces, that of Malevich and character ofthebrushstrokes.In both of Malevich mayalsobeanoutcome ofthe quite decisivebrushstrokes. opens itselfupasgroundedinpreciseand proaches thelowerpartoffigure,it as anembodiedpainting.Whenoneap is true;theworkcanbeexperiencedonly that’s whypeoplewill rememberit.This visitors tohaveapersonalisedexperience; that thisisbecausepaintingallows tre Pompidou,sherespondedbysaying the former collection hanging of the Cen- used tofeellikethecentreofParismein figurative KazimirMalevichpaintingthat a strongsenseoflocation,reminiscent nale kaya related totransienceanddisappearance. ence oftheChurch,buttospiritualas different way;nottothedominantpres also beconnectedtoreligioninanentirely Church anditsPatriarch,theworkcan to the primacy of the Russian Orthodox nect thesubjectmatterofThe Worshipper Museum becomevisible. houses KostyaZvezdochotov’s Egyptian the theatreandtent-likepavilionthat the shoulders of the figure hovering over with thehand.Asonemoves,headand tors onlyseethebottompartofbody hall throughitsvastentrancearch,visi wider world. Initially, before entering the whiteness ofthesurroundingwall,or frame, withahandthatstretchestothe luminous stateoffadingoutwithinhis faith nowstandsisolated,afigurein in aCatholicchurch. may remind one of the main altar painting be the case. Because of this, the format portionally higher — than would usually the paintingisabitnarrower—orpro tions oftheimage are not standard, and The impression of a relation to Even if it isobviously possible to con The figure ofapriestunspecified When Ishared with DariaLikhovits- — — my sense that this painting generates my sensethatthispaintinggenerates one ofthevolunteersatBien - - - - -

585 Unstable Systems Alevtina Kakhidze — Alevtina Kakhidze,AllTimes News , MoscowBiennale2015

Alevtina Kakhidze, All Times News, Moscow Biennale 2015 592 Chaos Pendulum Suchan Kinoshita — lend us.Itisapendulumwhichbuilt university labsmighthaveonetheycould an itemknowninphysics,sosomeofthe somewhere intheBiennalespace:“Thisis that achaospendulumbesuspended one was not realised. Kinoshita proposed whom itmayconcern’.Themostcrucial contributions started from the notion ‘to earlier commitmentinItaly. Hervarious the Biennalepersonally, becauseofan Suchan Kinoshitawasunabletoattend Chaos Pendulum her daysasanengineer. [BartDeBaere] idze ofthelawsunstablesystemsand mental image.ItremindedAlevtinaKakh was notinstalledforreal,itthereasa that conditionofinstability.” stances. So the question is how to maintain make theconnectionsbetweencircum Moments ofinstabilitybeingthosewhich help toprolongthemomentsofinstability. up outoftwoorthreependulumswhich Though thependulumregrettably - -

xxx 593 Dreams of thePavilion Elena Kholkina— xxx 594

xxx 595 xxx 596

xxx 597 xxx 598

xxx 599 xxx 600

xxx 601 xxx 602

xxx 603 xxx 604 607 SAÂDANE AFIF’ post-colonialism. theory, globalisationand cinema, aswellcritical culture, architectureand Hong Kong,Chinese research interestsinclude Hong KongUniversity. His an honoraryprofessorat of California,Irvineandis literature attheUniversity teaches comparative ACKBAR ABBAS machinery which gener them throughan abstract issues asinputand runs economic, andpolitical networks. Hetakessocial, works withcomplex ALVES MARIA THERESA disciplines. dances, writingorother of exhibitions,plays, change commonformats likes tore-interpretand and presentation.He cultural production posters, hedealswith in texts,poems,or rather thansculptures, performances, inobjects works arealterations.In BURAK ARIKAN Durham. collaborates withJimmie worldwide andoften exhibited herartworks São Paulo,Brazil.Shehas Verde (Green Party)in she co-foundedthe Partido digenous people.In1981, of thehumanrightsin- Centre, workingindefence the BrazilianInformation and wasthefounderof Council inNewYork City International Indian Treaty She hasworkedforthe New York at ayoungage. in Brazilandmovedto 1961, BR wasborn s 1942, CN 1976, TR 1970, FR - City pavilionsatthe9 Istanbul andBandung Triennale aswellthe JOSEPH BACKSTEIN Venice Biennale. Pavilion ofTurkey atthe 2015, Ayas curatedthe Shanghai Biennale.In in hisnativecountry, he After finishingart college is anAzeriartist and poet. co-curated the11 In September2012,Ayas performance inNewYork. the biennialofvisualart a curatorofPERFORMA, Since 2005,shehasbeen production initiative. active researchand Asia-wide 2007 —an in founded ArthubAsia in Rotterdam.Sheco- for ContemporaryArt Witte deWith Center is theDirectorof RU DEFNE AYAS work mappingplatform. mons, acollaborativenet- founder ofGraphCom- discussable. Arikanisthe relationships visibleand to renderinherentpower and procreatespredictions resulting inperformances, algorithmic interfaces, ates networkmapsand BABI BADALOV Academy ofArtsince2007. member oftheRussian Sweden, andhasbeena Gothenburg University, an honorarydoctorof of ArtCritics(AICA), International Association He isamemberofthe Moscow (ICA,Moscow). of ContemporaryArt, director oftheInstitute Contemporary Artandis the MoscowBiennalefor isthecommissionerof Biographies 1976, TR th 1959, AZ Baltic th 1945,

SERGEY BRATKOV Art andDesigninLondon. Saint MartinsCollegeof Ji alsostudiedatCentral and Crafts School in 2000. from theShanghaiArts Both artistsgraduated Song Tao (1979, CN). Weiyu (1980,CN)and 2004, consistingofJi collective foundedin of straightforward work fromthetradition tion distancesBratkov’s conception orconsidera - manner. Thisaesthetic photo worksinaserial UA BIRDHEAD diaspora worldofMoscow. Northern Caucasusandthe well astheethosof dialogue inRussia,as problems ofintercultural His proseisdedicatedto Vice, W-O-S andothers. writer, collaboratingwith 2010, hestartedworkasa based inMoscow. In winning interactiveagency award- N3Design —an managing partnerof creative directorand SHANGHAI GLEB BERG cultures. and imagesofdifferent poetry, mixinglanguages and writesimprovisational experiments withwords live performances.Healso paintings, installationsand ideas throughartobjects, (TEII). Heexpresseshis Experimental Visual Art unofficial Associationof and amemberofthe underground artist became aninfluential in 1980,wherehesoon left forSaintPetersburg conceivesmostofhis isaphotographic 1986,RU Fd. 2004, is 1960, Biographies 608 ILYA BUDRAITSKIS government. Art fromtheFlemish Culture Prize forVisual and alsoreceivedthe lation ArtandSculpture heim FellowshipforInstal- was awardedaGuggen- work there.In1997,he and continuestolive moved toGhentin1990 group Volumen I.Brey active memberofthe 1980s whenhewasan roots lieinthe1970sand School ofArt.Hisartistic and theCubanNational Alejandro SchoolofArt graduate fromtheSan is avisualartistand spokesperson for theso- 1997 andiscurrently the a politicalactivist since exhibitions. Hehas been collective art-projectsand and AlexandraGalkinain with DavidTer-Oganyan he hasbeencollaborating critical theory. Since2005 Osmolovsky’s seminarson rary Art,andinAnatoly ject School ofContempo- Ter-Oganyan’s pro- a participantinAvdey World History. Hewas of Science’s Institutefor at theRussianAcademy is apost-graduatestudent in Moscow. Currently he is ahistorianandactivist RICARDO BREY free marketeconomy. cynical celebrationofthe Soviet cultureandinthe residual reflexesoftheold society, bothinthe in contemporaryRussian problem ofpropaganda comments uponthedouble Bratkov’s imageryslyly nonetheless seemsinclined. documentary towhichit 1955, CU 1981, RU

VAAST COLSON City Seoul. media artbiennialMedia tor fortheinternational he servedasartisticdirec- institutions and,in2014, renowned internationalart have beenshowninseveral imaginations. Hisfilms ory toregionalutopian from media-orientedmem- Korean religiousculture, Cold War totraditional have extendedfromthe based inSeoul.Hissubjects filmmaker andcurator 1965, KR PARK CHAN-KYONG and LeftPolitics. Moscow ArtMagazine of theeditorialboards Budraitskis isamember cialist movementForward. in 2002.From1999 to came directorof M HKA the historyofart. Hebe- studied archaeology and KEREN CYTTER of transformation. of theartistinthisprocess define theroleandstatus porary society. Heseeksto potential ofartincontem- concern thetransformative ists askingquestionsthat generation ofAntwerpart- belongs totheyounger BART DE BAERE Düsseldorf. fessor atKunst lin. KerenCytterisapro- and Kunst-Werke inBer Frankfurter Kunstverein the KunsthalleZürich, Museum inAmsterdam, exhibitions attheStedelijk 2006 andhasheldsolo ent oftheBaloiseArtPrize New York. She isarecipi- lives andworksin

is a media artist, is amediaartist, akademie 1977, BE 1977, IL 1960, BE -

2003, hehasbeen working with variousmedia. Since and hassincecollaborated the Humanitiesin 1993 sian StateUniversityfor graduated fromtheRus- BORIS DOLGIN figurative worksinloam. has realisedimpressive drawer andsculptor ment. Shestartedoutasa beings andtheirenviron- relations betweenhuman of lonelinessandthe the existentialconditions a video-artist,thematising predominantly knownas SIMON DENNY Art inEasternEurope. Centres forContemporary for thenetworkofSoros national AdvisoryCouncil a memberoftheInter in SouthAfricaandwas establishing abiennial He hasbeeninvolvedin Documenta IX inKassel. venues abroad,including curated eventsforseveral He hasorganisedand temporary ArtinGhent. in theMuseumofCon- Bart DeBaerewascurator ture. From1986to2001, Flemish MinisterofCul- contemporary arttothe cultural heritageand 2001 hewasadvisorfor ELS DIETVORST MoMA PS1inNewYork. had asoloexhibitionat Venice Biennaleandhas New Zealandatthe2015 art projects.Herepresented through hisresearch-based culture andtheInternet identity, tech-industry neoliberal culture,national evolution, corporateand economy, technological explores aspectsofmedia 1971, RU 1982, NZ 1964, BE

609 ing pointforIeva Epnere’s oftentimes become astart- Personal andprivate stories on photographyprojects. she alsooftencollaborates their socialsurroundings, and analysingpeople another. Besidesobserving behaviour towardsone between peopleandtheir interested inrelationships video andfilm.Sheis works includephotography, JIMMIE DURHAM tor andcolumnist. the positionofscienceedi- at polit.ru,whereheholds IEVA EPNERE’ Biennale (2012). (2013), andtheMarrakech of theAmericasDenver nale (2015),theBiennial teams oftheMoscowBien- was partofthecuratorial Arts Administration.She tory, IconicStudiesand Cultural Theory, Art His- Berlin whereshestudied and theFreieUniversität art atHumboldt-University lecturer ofcontemporary worked asaresearcherand Kunsthalle Wien andhas was assistantcuratoratthe a curatorandeditor. She MARIE EGGER American heritage. activism andhisNative reflects hispolitical 1994. Hisartisticpractice has livedinEuropesince Indian Movement.Durham organiser intheAmerican returned tobecomean Four yearslaterhe Beaux ArtsinGeneva. study attheÉcolede 1969 helefttheUSto poet andessayist.After known artist,performer, is aninternationally s 1977, LV 1987, DE 1940, US

ANASTASIA GACHEVA tity, tradition,andritual. artistic reflectionsoniden- tive labour, theinstitutional research focuseson crea- series ArtsinSociety . His editor-in-chief ofthebook the Netherlands.Heis Society researchcentrein University’s Artsand Politics atGroningen of ArtandCultural is aprofessorofSociology ISA GENZKEN popular respect. won bothacademicand cosmists internationally work, Fedorovandother world anditisduetoher and lecturesalloverthe holds seminars,workshops and writers.Sheregularly well asrelatedthinkers Nikolay Fyodorovas and publishesworkson Gacheva frequentlywrites commentary. Anastasia with extensivenotesand lection offourvolumes collected worksinacol- has editedFyodorov’s Svetlana Semenovashe Library. Together with Nikolay FydorovMuseum PASCAL GIELEN and eccentric. meanders betweenseverity female artists,whosework today’s mostrenowned Isa Genzkenisoneof works indifferentmedia. bizarre orconceptual apparent incolourful, and superficialities becomes of materials,insurfaces interest inthecombination installations. Theartist’s creates sculpturesand materials withwhichshe assembles variousfound 1966, RU isdirectorofthe 1948, DE 1970, NL

LIAM GILLICK cultural politics. context ofthearts,andon pendent filmdirector. A Development (INSOR), Institute forContemporary a boardmemberofthe International Relations, tute ofWorld Economyand director oftheRASInsti- Gontmakher isdeputy a PhDinEconomics. State Universityandholds geography fromMoscow graduated withadegreein is aneconomist.He GRANILSHCHIKOV EVGENY books. sound editionsandartist Petersburg thatreleases house haecbasedinSt. the independentpublishing video artist.Shefounded GONTMAKHER EVGENY the exhibitionasaform. structural rethinkingof His workextendsinto neoliberal consensus. framed withinaglobalised, tion andarchitecturewhen legacy intermsofabstrac- aspects ofthemodernist exposes thedysfunctional of work.Gillick’s work form theengineforabody key narrativesthatoften developed anumberof of the1990s.Hehas emerged atthebeginning cal controlsystemsthat expose thenewideologi- deploys multipleformsto 1896, RU NADIA GOROKHOVA Support ofCivilInitiatives. Kudrin Foundationforthe and deputydirectorofthe RU is anartistandinde - isamusicianand 1964, GB 1953, RU

1985,

Biographies 610 RANA HAMADEH for theWest. somewhat ironiclonging in thesenseofadeepand for Europeanintegration which primarilyaimed generation inKosovo, previous, male-dominated ting herselfapartfroma and complexnatureofset- understands thesensitive to bemorepolitical’.She the linesof‘lesspolitical se. Hercredoismoreon debate onthepoliticalper not interestedintherecent Open SocietyInitiativefor on ForeignRelations,the at theEuropeanCouncil Through formerpositions Universität Viadrina. Governance andatEuropa the EuropeanSchoolof racy Labandteachesat of theEuropeanDemoc- is thefounderanddirector is apoliticalscientist.She FLAKA HALITI pean thinktankcommunity. been involvedintheEuro- Marshall Fund,shehas Europe, andtheGerman ULRIKE GUÉROT private life. background infectstheir heritage orthewaytheir work outtheirhistorical viduals whoaretryingto social situationsonindi- influence ofpoliticaland His filmsdealwiththe into multipartprojects. casionally combiningthem in differentmedia,oc- and animation.Heworks where hestudiedliterature graphy andMultimedia, Moscow SchoolofPhoto graduate oftheRodchenko visual artist.Interested in is aperformance and 1982, RKS 1964, DE 1983, LB is

HONORÉ ‰’O’s but discursivetools. to benotmerelystories, deur whilerevealingthem myths, invokingtheirgran the structuresofepic Ho Tzu-Nyenappropriates written extensivelyonart. installations. Hehasalso environmental multimedia and hasrecentlydeveloped video, andperformance, works primarilyinfilm, FABRICE HYBER variety ofways. and multiplyinanendless continually change,split materials thatheuses The everydayobjectsand are alwaysinmovement. form —they definitive no are dynamicandknow terchangeable. Hisworks which, hebelieves,arein- artist’s takeonartandlife name isconnectedtothe This rebirthandchoiceof Ghent asHonoré‰’O. and rebornin1984 as RafVan Ommeslaege artist wasbornin1961 and chain-reactions.The sculptures, assemblages oeuvre consistsof likes toinvokewhat he HO TZU-NYEN fiction. ing thefieldoftheoryas concepts andterms,treat- investigation intospecific stems fromanextended writing projects.Herwork lations asstagesets,and cartographic works,instal- formances, choreographic/ for growingseriesofper that operateasumbrellas discursive researchprojects she worksonlongterm within herartisticpractice, the curatorialapproach 1961, BE 1976, SGP 1961, FR

LEON KAHANE individual’s experience. power manifestedinthe effects ofhistoryand of herworksrevealsthe life. Thesubtlehumour they appearineveryday political circumstancesas social interrelationsand installations, sheanalyses videos, photographs,and Austria since1989.Inher has beenbasedinVienna, Petersburg, Russia,and ALEVTINA KAKHIDZE private microcosms. its individual,historical, cosmopolitan worldand tions betweenaglobal, to hisinterestintherela- such issuesarewhatled ties toproperlydealwith and politicalincapabili- to aminority, andof social of migration,belonging to Germany. Experiences survivors whocameback is oneofJewishHolocaust to hisfamilyhistorywhich tic practiceiscloselylinked the formerGDR.Hisartis- grew upinthesettingsof 1973, UA 1970, RU ANNA JERMOLAEWA ing theimmaterial. ticular formofmaterialis- thoughts images, objects,signs,and between concepts,ideas, network ofrelationships to apotentiallyendless give rise,shapeandform around thepowerofartto interests revolveprimarily voir ofthepossible.”His calls “theenormousreser year researchterm atthe the exceptionofa two- Ukraine) since1995, with and inMuzychi(Central haslivedinKiev wasborninSaint — art asonepar 1985, DE

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611 1960, JP ELENA KHOLKINA plants, anddogs. protest, experienceofwar, gender, love,theculture of about consumerculture, and imagination,talking on personalexperiences Kakhidze’s worksarebased Maastricht (2004-2006). Jan Van EyckAcademyin studied attheAcademy filmmaker andauthor. He SUCHAN KINOSHITA and Europe. exhibited alloverRussia 2013 andhassincebeen Dummy contestinParis meet? wontheRockYour Her bookDidweever to createnewnarratives. photographs, aswell change themeaningof allowing hertoremixand with archivematerials, her intimatememories zines whereshecombines Art. Shecreatesbooksand Institute ofContemporary grapher whostudiedatthe a Moscowbasedphoto KOMAROV ALEKSANDER else’ areonlyadistraction. sentations of‘something static depictionsandrepre far assheisconcerned, play animportantpart.As time ofthepresentation takes shape.Theplaceand spectator andthework relationship betweenthe cesses inwhichapersonal of timeasdynamicpro- of artunfoldinthecourse observer. Kinoshita’s works spectator asanactive views ontheroleof ences informedherartistic set builder. Theseexperi- as anactress,directorand

worked inthetheatre BY is anartist, RU is

DONNA KUKAMA’ the politicsofmemory. interests lie inthefieldof Theory. Hermainresearch in AestheticsandArt don whereshespecialised Kingston UniversityLon- School Manège,andat at MediaArtLab’s Open Art SchoolinMoscow, studied attheRodchenko MARIA KRAMAR Curating. Cultural Managementand holds M.A.degreesin communications. Shealso specialised inintercultural her B.A.inpsychology, she på BroeninKirkenes.For rently workingatPikene is acuratorandwritercur ZA ‘ways ofdoing’.” against alreadyestablished medium ofresistance performance canbe“a the unexpected.Forher, apply methodstoevoke a strategytoinventand by usingperformanceas occupies existingcanons of reality. DonnaKukama aim atafictionalisation for creativeresearch,they the shapeoflaboratories and soundinstallations.In formances, videos,texts PL, andRijks of Visual Arts,Poznan, KOTLYACHKOVA MARIA economic contexts. its relationtobroader of contemporaryartand balisation, thecondition identities, (cultural)glo- questions ofmigrating written essaysconcerning has publishedfilmicand Amsterdam, NL.He worksunfoldasper academy, 1986, RU 1986, RU s 1981, -

- LI MU — GabrielLester “Trust me,I’manArtist.” and melodicabstractions. messages, advertisements of quotes,slogans, text speech —consisting lated to tellstoriesofaccumu- voice becomesaconductor In herperformances,the repetition andalienations. compositions ofwords, language, Lippardcreates stereo of creation.Basedon her maintoolandmeans voice, oftenherown,is and sound.Thehuman GB/NO ANDREY KUZKIN works arebasedontext HANNE LIPPARD riences becomehisworks. At times,LiMu’s lifeexpe- ders betweenartandlife: succeed inblurringthebor in LiMu’s works,which life playsanimportantrole and perfor photography, installations genres, forexamplevideo, creates worksindifferent Suzhou, China.LiMu works inFengCountyand GABRIEL LESTER to thevisitors. direction oftheprojectup performances, leavingthe physically involvedinhis Usually, AndreyKuzkinis exhibition orencounter. in thecourseofan sometimes transformed drawings andobjectsare brutalism. Theartist’s certain melancholyand bear withinthema conceptualism butwhich inspired byRussian mances andinstallations realises conceptualperfor isanartistwhose types ofeveryday 1974, CN mance. Everyday mance. Everyday livesand 1984, 1972, NL 1979, RU

Biographies 612 Biennale 2015. JULIETTE MALOT tradition withprogress. local withtheglobal,and rary withthenostalgic, to reconcilethecontempo- everyday lifeinanattempt a humorouscriticalityto phy, Makhachevaadopts with videoandphotogra- gender norms.Working that questionsculturaland performance-based practice don. Shehasdevelopeda Royal CollegeofArt,Lon smiths Collegeandthe 1983, RU MADEIN Hyber atthe6 ducer andassisted Fabrice Paris. Sheisacultural pro- tory attheSorbonnein Po andaBAinArtHis- received herMAatSciences TAUS MAKHACHEVA out-dated utopias. dilapidated remnantsof of World Fairs,often been focusedontherelics years, hisresearchhas world. Overthelastfew of arttointerveneinthe dose ofironythecapacity researching withahealthy regulations oftheUNHCR, living unitfollowingthe Camp’, abiodegradable of a‘RecyclableRefugee years aroundthenotion been workingforseveral IVES MAES and painting. photography, Internetart, mance, sculpture,video, media includingperfor span differentgenresand and provocativeworks Zhen in2009.Itsplayful Shanghai-based artistXu company createdbythe a culturalproduction studiedatGold- Fd. 2009,CN 1976, BE th Moscow has is 1989, FR -

in SriLanka. the OneWorld Foundation residence programme for been curatingawriter-in- 2011, RobertMenassehas European Union.Since future ofEuropeandthe most recentlyonthe frequent writerofessays, literature”. Menasseisa sider phenotypewithin his PhDon“Theout- Messina, andcompleted in Vienna, Salzburgand MAZZUCATO MARIANA 1969, US TOM MCDONOUGH tion forGrowth(RISE). expert grouponInnova- European Commission’s permanent memberofthe of Innovation,anda Council ontheEconomics World EconomicForum’s Advisors, amemberofthe Council ofEconomic Scottish Government’s and isamemberofthe on innovation-ledgrowth makers aroundtheworld (SPRU). Sheadvisespolicy ence PolicyResearchUnit University ofSussex’s Sci- of Innovationatthe chair intheEconomics holds theRMPhillips ROBERT MENASSE University ofNewYork. hamton University, State of ArtHistoryatBing- rently AssociateProfessor International andiscur books ontheSituationist He iswidelyknownforhis cial emphasisonFrance. post-war era,withaspe- political struggleinthe intersections ofartand whose workaddressesthe AT isawriter. Hestudied isawriterandcritic 1968, IT

1954, -

installations. visual representations and translating thisinto audio- is firstofallaperformer, his futurelife.Mosquito for whatwastobecome formats formedthebasis tions fromentertainment some time,buthisdevia- in hisnativeAngolafor capacities fortelevision He hasworkedinvarious this tofilmproduction. training, andmovedfrom MENLIBAYEVA ALMAGUL MIÁN Asian peoples. and cultureoftheCentral distinguishes thehistory traditional wayoflifethat nomadic pastoralism,the criticism ontheideaof politics. Shebasesthis critique ofofficialidentity regional traditionswitha combines aninterestin her work,Menlibayeva the Venice Biennale.In Contemporary Artand as theSydneyBiennialof group exhibitions,such ous internationalsoloand been thesubjectofnumer Kazakhstan. Herworkhas Art andTheatreinAlmaty, studied attheAcademyof AGO NÁSTIO MOSQUITO in China. work havebeencensored translated. Partsofher recognised andwidely novels areinternationally book We ArePanic.Her in thefilmversionofher promoter shealsoacted After workingasaDJand culture sincethe1990s. Chinese youthandpop has publishedbookson startedoutinmusical 1970, CN 1969, KZ

1981, -

613 MÜLLER VANESSA JOAN of theliterarygroupVertep writer, andwasamember He beganhiscareerasa teacher basedinMoscow. is anartist,curatorand KATJA NOVITSKOVA Biennale. nian PavilionattheVenice 2017, shecuratedtheAlba- of ContemporaryArt.In Association ofCurators International IKT —the is aBoardMemberof Kunsthalle Wien. Müller of dramaturgyatthe 2013, shehasbeenhead falen inDüsseldorf.Since Rheinlande undWest- the Kunstvereinfürdie verein, anddirectorof the FrankfurterKunst Müller wasacuratorat on contemporaryart. to numerouspublications has editedandcontributed historian andcurator. She 1984, EE OSMOLOVSKY ANATOLY the Venice Biennale. represented Estoniain culture. In2017,she redefines theworldand ing howmediaactively is interestedininvestigat- rate aesthetics.Novitskova digital imageryandcorpo- evolutionary processes, on issuesoftechnology, artist whoseworkfocuses Radek Magazine,which Osmolovsky founded provocations. In 1995, of streetperformances / participated inaseries priation) movement,and (Art Territory Expro- the leaderofETI 1990 and1992,hewas before 1989.Between isaninstallation 1968, DE isanart 1969, RU

1990s. grew upinthe1980s and the formerGDRwherehe Brandenburg, Germany, in hometown ofVelten in source ofinspirationishis into itscentre.Amain see byputtingthemright the artworktheyexpectto distance theviewerfrom situations thatpotentially interventions. Hecreates them toinventspatial assembling oranalysing collects objects,re- DAVID POLZIN tation. the veryideaofrepresen- single image,challenging present andthepastintoa super-impositions fusethe human figures.These life-sized photographic backgrounds for‘cut-out’ copper asreflective such asgold,silveror used mirrorsandmetals quity. Since1962,hehas the formsofclassicalanti ‘worthless’ materialswith juxtaposing ragsandother with his1960ssculptures kind ofmonumentality povera, defininganew been associatedwitharte PISTOLETTO MICHELANGELO artists andart-critics. education platformfor and research Institute —a he foundedtheBAZA with SvetlanaBaskova, ment. In2011,together Moscow Actionismmove- an activememberofthe 1990s, hewasknownas official suppression.Inthe the currentatmosphereof for radicalpoliticsunder sought tocreateaspace 1933, IT 1982, DE has

book isExpulsions: Brutal - honours lists.Her current being selectedfor various ates tonamedlectures and ple tions, rangingfrommulti- diverse awardsandmen- books andtherecipientof She istheauthorofseveral (www.saskiasassen.com). Columbia University on GlobalThoughtat chair oftheCommittee Professor ofSociologyand is theRobertS.Lynd 1985, BE QIU ZHIJIE SASKIA SASSEN significance ofarttherein. of thehumanbeingand how todefinetheessence in life,howthingshappen, which everythingunfolds mova exploresthewayin favourite subjects.Rusta- actions areamongsther performances. Human videos, installations,and works whichinclude creates interdisciplinary and thentoBrussels.She first totheNetherlands Georgia withhermother, JON RAFMAN video-installation works. raphy, photographyand is knownforhiscallig- curator. Asanartist,Qiu as wellanartcriticand Beijing asafulltimeartist, MEGGY RUSTAMOVA ness. contemporary conscious- impact oftechnologyon University. Hestudiesthe Literature fromMcGill a BAinPhilosophyand Institute ofChicagoand from theSchoolofArt essayist. HeholdsanMFA an artist,filmmaker, and honoris causadoctor emigratedfrom 1969, CN 1981, CA 1949, NL livesin is

Biographies 614 ANDREY SHENTAL is presentedasreality. Serapinas questionswhat With hisinterventions, current orformerpurposes. plating theircontextsand tural spacesbycontem manipulation ofarchitec- around thealterationand His practiceisdeveloped based installationsonsite. where herealisescontext- quently inotherlocations Lithuania, butworksfre- 53 Pavilion forthe52 curator oftheGerman Nicolaus Schafhausenwas rary ArtinRotterdam. Center forContempo- headed theWitte deWith From 2006to2012,he the EuropeanKunsthalle. the foundingdirectorof career asacurator. Hewas artist beforestartinghis Munich andworkedasan art historyinBerlinand halle Wien. Hestudied the directorofKunst 1990, LT SCHAFHAUSEN NICOLAUS University Press2014). Global Economy(Harvard ity andComplexityinthe AUGUSTAS SERAPINAS Island Arts. Strategic DirectorofFogo Nicolaus Schafhausenis Expo 2010inShanghai. City Seoul2010and tions, includingMedia tional festivalsandexhibi- curated severalinterna- 2007 and2009.Hehas RU State Universityand an Art CriticismatMoscow cow. HereceivedaBAin and artistbasedin Mos- isanartcritic,curator rd Venice Biennalesin isbasedinVilnius, 1965, DE nd and 1988, is

MUSIC ENSEMBLE STUDIO FORNEW continent. his attentiontothewider of Europe’,beforeturning Rotterdam, the‘gateway people ofhishometown, together, focusingonthe shopping andpartying graphing hisfellowcitizens He spentyearsphoto- different communities. ences andsimilaritiesof investigation ofthediffer engages inphotographic OTTO SNOEK intersections. the socialeffectsofthese and politicsintersect, the waysinwhichculture is particularlyinterestedin contemporary culture.She problems ofideologyand of themesrelatedtothe essays covera widerange nental philosophy. Her a background inConti- and socialresearcherwith guest atmanyWestern country, andisafrequent cow andthroughout the 50 programmesin Mos- ensemble performsabout in 1993.Everyyearthe conductor IgorDronov Vladimir Tarnopolsky and was foundedbycomposer in Russia.Theensemble contemporary musicgroup Fd. 1993,RU 1985, RU MARINA SIMAKOVA for FlashArt. and foreigncorrespondent at MoscowArtMagazine works asasenioreditor London. Currentlyhe phy atKingstonUniversity, Modern EuropeanPhiloso- the CentreforResearchin MA inCriticalTheoryat isaculturalcritic isaleading 1966, NL

an InnovationAward as bound werenominated for others arenot.The Un- global artsociety, while are stronglyconnectedto members, someofwhich group consistsofseveral Contemporary Art.The LUC TUYMANS festivals. contemporary music KZ ALEXANDER UGAY respect towartime. Tuymans, principallywith sources ofinspirationfor and pastareimportant well ascollectivememory ‘detail’. Bothindividualas figuration bereftofvisual and astronglysimplified muted, sparsecolours oftentimes withpale, usually ofmodestformat, his paintings.Theyare stylistic characteristicsof in partdeterminesthe vagueness ofourmemories in 1988.Theselective had hisfirstexhibition 6 Caucasus Pavilionatthe formed in2015torunthe anonymous artcollective THE UNBOUNDisan pressure ofthesestreams. transformed underthe versa, andhowrealityis affects thefutureandvice is time period. Ugay’s maintopic in theSoviet old camerasmanufactured corded on16mmfilmby and film-performancesre- experimental film-parables in theformofshort produces cinema-objects Maskalev. Thegroup partnership withRoman group Bronepoezdin th foundedthecreative MoscowBiennalefor — how thepast 1958, BE 1978,

615 KERCKHOVEN ANNE-MIE VAN mer School. Moscow CuratorialSum- previously involvedinthe The participantswere the notionoftogetherness. sive platformtoreflecton ings, itservedasadiscur Through aseriesofmeet- V-A-C Foundation. head ofeducationatthe by MariaMkrtycheva, organised inspring2016 ture. Theworkshopwas Russian contemporarycul- national presentationof the developmentandinter institution dedicatedto Moscow-based dation —a conceived byV-A-C Foun is aneducationprogramme TORS WORKSHOP V-A-C YOUNGCURA- immediate experiences. historical conflictsthrough understanding socialand music offersaspacefor “political scores”,where refer totheirworksas public activities.They to performativeand whose practiceislinked and musichistorians a communityofartists U/N MULTITUDE is of 2015.Noluckthough. the bestcuratorialproject tivity andartificial intel- intuition, andhuman crea- animal, intelligence and ships betweenman and themes aretherelation- installations. Recurring animations andvideo performances, computer drawings, paintings, installations. Shecreates media tocreatecomplex seemingly disparate BE combinesdifferent, 1951,

- - OVERMEIR JOHANNA VAN approaches. creative andparticipatory futures withexperimental, theory onalternative work isbasedincritical urban environments.Her technology insocietyand development, scienceand cultural) communication, media, culture,arts,(cross- towards thethemesof Her activitiesgravitate Time. Research —Open Centre forAppliedFutures ting uptheKnowledge Erasmushogeschool, set- senior researcheratthe she startedworkingas media practice.In2015, with acreativemulti- research andconsultancy in 2001.Shecombines University ofWestminster earned aPhDfromthe MAYA VANLEEMPUT in general. art worldandinsociety power structuresinthe She questionsexisting as atoolofsocialcritique. Kerckhoven, artfunctions ligence. ForAnne-Mievan ABEELE MAARTEN VANDEN Ghent. Academy ofFineArtsin degree attheKASK,Royal obtained herMaster’s prepared actions.Johanna the subjectofherwell- the processesandbecomes herself, herego,during of herart;sheabandons media. Sheistheservant videos, aswellmixed mances, installationsand audience throughperfor conveys herideasto concentrates onphotogra - 1970, BE 1983, BE mainly

- BE

academic institutional appeal toartistic,filmand Eugene. Hisworks the UniversityofOregon, MA inFilmStudiesfrom in Moscowandholdsan the RodchenkoArtSchool cow. Hegraduatedfrom is anartistbasedinMos- rated byJensHoffmann), Curated byanArtist (cu- Documenta Should Be such projectsasTheNext articles andhasproduced has writtenanumberof co-founder ofe-flux.He 1965, RU/US ANTON VIDOKLE contexts. 1961, GR YANIS VAROUFAKIS tion. a memory’s materialisa- frozen imagescomprising considers photographsas led byhisintuition.He image, Vanden Abeeleis making eachindividual photographs hetakes.In becomes clearerthemore ist, themutualconnection or chronology. Fortheart- apparent basisinnarrative in serieswithoutany displays hisphotographs art andinstallations.He phy, butalsomakesvideo DMITRY VENKOV democrats. cross-border movementof DiEM25, apan-European, 2015. Heisamemberof from JanuarytoSeptember Parliament forAthensB Member oftheHellenic Varoufakis wasalsoSyriza 2015, whenheresigned. from JanuarytoJuly Minister ofFinance who servedastheGreek academic andpolitician, isaneconomist, isanartistand 1980, RU

Biographies 616 INES WEIZMAN architecture. and Israeligeography studies suchasPalestinian political theoryoncase Architecture project,and law aspartoftheForensic international humanitarian place ofarchitecturein interests includethe Cultures. Hisresearch Department ofVisual Architecture withinthe the CentreforResearch London andDirectorof Goldsmiths, Universityof and Visual Culturesat as ProfessorofSpatial tect. Heholdspositions an intellectualandarchi- texts donotalwaysfollow works, sculpturesand on. Wächtler’s video humour, romanceandso pathos, ironicorsatiric nents suchasmelancholy, by dramaturgiccompo- EYAL WEIZMAN based onreality. the worksarefictitiousor the vieweronwhether so oftendoubtsmaybefall structures —ever and lines traditional rulesofstory architecture inWeimar, Association after studying Theory attheArchitectural Architecture History and completed herPhDin PETER WÄCHTLER’s Library. and theMarthaRosler David AlfaroSiqueiros) on theimagearchiveof Revolutionary Life(based Image BankforEveryday Vidokle alsoorganisedAn Station (posterproject). Ulrich Obrist),andUtopia Do it(curatedbyHans- DE worksarecharacterised 1973, DE 1970, IL

1979,

focusing onthecurrent exhibitions andlectures Knoll in2014;a series of and galleryowner Hans Anna Khodorkovskaya project togetherwithartist social actor. Sherealiseda of thehumanbeingasa are basedonadefinition Künste, Vienna. Herworks the AkademiefürBildende recently graduatedfrom LEE WENG-CHOY ture andPlanning. and TheoryofArchitec- of theInstituteforHistory Weimar andisco-director at BauhausUniversitätin Since 2013,shehastaught of Dissidencein2014. tecture andtheParadox published thebookArchi- is afrequentwriterand Paris andCambridge.She LU YANG of culturalpractice. well ascurrentstrategies art intheglobalrealmas focuses onAsiaandAsian essays andtalks,he lectures onculturalstudies, widely published.Inhis contemporary arthasbeen Singapore. Hiswritingon literature beforemovingto physics, philosophyand is anartcritic.Hestudied YAROVENKO ANASTASIYA anti-humanistic approach. boundaries ofartwithher logical arttochallengethe uses biologicalandtechno- video artinChina.She known asthefatherof Peili —commonly Zhang studied newmediaunder Media department.She Master ofArtsNew Academy ofArtinthe graduate oftheChina 1984, CN 1983, RU isa 1963, MY

VASILY ZHARKOV intercultural exchange. for anopendialogueand Ukraine —allowing and countries, includingRussia situation indifferent RU RU ZVEZDOCHOTOV KONSTANTIN cosmism. of themuseuminRussian museology andmeaning on theheritageofSoviet casts arevisionistlens recent projects,theartist and non-fiction.Inhis space betweenfiction explores theproductive potential futures,Zhilyaev to uncoverandpropose and museologicalhistories artistic, political,scientific, cow andVoronezh. Using styles. geographic andhistorical and mixesmanydifferent by carnivalesquehumour His workischaracterised the likesofIlyaKabakov. formerly dominatedby in anartisticlandscape artists whocameofage among agenerationof a well-regardedkeyfigure Russian artsscene,andis of thepost-Perestroika the mainrepresentatives ARSENY ZHILYAEV cal Sciences. He holdsaPhDinHistori- and EconomicSciences. Moscow SchoolofSocial Science Departmentatthe is headofthePolitical livesandworksinMos- haslongbeenoneof 1974, RU 1957, 1984,

617 Courtesy oftheartist. tion, 2015,videostills. also aFormofTransporta - Ho Tzu-Nyen,Curationis Courtesy oftheartist. Photo: OttoSnoek,2015. the artist. 2015, diary. Courtesy of Li Mu,TheLabourer, Courtesy oftheartist. Art Foundation,2015. and theMoscowBiennale Contract betweenLiMu M HKA, 2015. Moscow Biennaleand Scan: Courtesyofthe tesy oftheartist. on theMoon,2015.Cour Sergey Bratkov, Predictions Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. Courtesy oftheartist. Photo: OttoSnoek,2015. nale andMHKA. the artist,MoscowBien- bayeva, 2015.Courtesyof Photo: AlmagulMenli- Contemporary Art2015. Moscow Biennalefor tion withvisitorsduring Defne Ayas inconversa- Nicolaus Schafhausenand p 63 –76 pp. p. 62 46 –49 pp. 44 –45 pp. p. 43 26 –32 pp. p. 24 p. 9 p. 8 -

Courtesy oftheartist. Photo: OttoSnoek, 2015. Courtesy oftheartists. ment, 2015,videostills. ‰’O, Telepathic Experi- Fabrice HyberandHonoré artists. 2015. Courtesyofthe Photos: MireilleBesnard, Courtesy oftheartist. Photo: OttoSnoek,2015. Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. Courtesy oftheartist. 2015, scansoftestimonies. etery forBadBehaviour, Donna Kukama,The Cem- M HKA. Moscow Biennaleand 2015. Courtesyofthe Photos: IvanErofeev, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: NatalyaKogan, artist. 2015. Courtesyofthe Janus, personalnotes, Johanna vanOvermeir, the artist. video still.Courtesyof ing fortheSecret,2014, Meggy Rustamova,Wait- p. 137 134 –136 pp. 132 –133 pp. p. 119 p. 113 109 –112 pp. pp. 89and97 p. 87 85– 86 pp. 82 –83 pp. Image Credits artists. 2015. Courtesyof the tions fortheperformance, Inventing Ritual,instruc- M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: MariaAnaskina, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photos: BartDeBaere, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photos: NatalyaKogan, artist. 2015. Courtesyofthe Photos: DaniilKolchanov, Biennale andM HKA. Courtesy oftheMoscow Photo: Yan Linn,2015. Courtesy oftheartist. Photo: OttoSnoek,2015. of theartist. personal notes.Courtesy The Trap ofHabit,2015, Anastasiya Yarovenko, artist. 2015. Courtesyofthe Photo: AugustasSerapinas, Biennale andM HKA. Courtesy oftheMoscow the ThirdWorld, 2015. Qiu Zhijie,TheMapof p 182 –185 pp. 180 –181 pp. pp. 176and179 pp. 164,168and175 154 –157 pp. p. 151 p. 148 p. 140 138 –139 pp.

Image Credits 618 and M HKA. of theMoscowBiennale Anaskina, 2015.Courtesy 2015. Photo:Maria 25 500 timesWhiteSpace, M HKA. Moscow Biennaleand 2015. Courtesyofthe the floor,26 Eventually Melonshit Moscow Biennale. Scan: Courtesyofthe Séance II,23 M HKA. the MoscowBiennaleand Baere, 2015.Courtesyof 2015. Photo:BartDe Séance I,22 Courtesy oftheartist. Commandments, 2015. Honoré ‰’O,TheTen Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. M HKA. the MoscowBiennaleand kov, 2015.Courtesyof Photo: AlexeySapronen- M HKA. Moscow Biennaleand 2015. Courtesyofthe 2015. Photo:Yan Linn, Gabriel Lester, MurMure , ing Well, 24 How toProduceaWish- artist. 2015. Courtesyofthe 2015. Photo:OttoSnoek, p. 216 p. 215 pp. 195–213 p. 190 pp. 188–189 186 –187 pp. th

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September September Biennale andM HKA. Courtesy oftheMoscow Photo: OttoSnoek,2015. M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: BartDeBaere, 2012, installationview. Bushaltestelle (Gerüstbau), Isa Genzken,Diekleine M HKA. Moscow Biennaleand 2015. Courtesyofthe Alexey Sapronenkov, and Nails,2015.Photo: Andrey Kuzkin,Balloons M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: MariaAnaskina, 1 Euro Chair—RubleChair, Biennale andM HKA. Courtesy oftheMoscow Ivan Erofeev, 2015. September 2015.Photo: 28 Falling inLoveWith Elvis, Biennale andM HKA. Courtesy oftheMoscow Menlibayeva, 2015. 2015. Photo:Almagul I FeelYour Pain,30 Biennale andM HKA. Courtesy oftheMoscow Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. First Orbit,27 29 songsdilemma revisited, Onstageoffstagededicating st p. 225 p. 220 p. 219 p. 218 p. 217 th th October 2015.

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M HKA. the MoscowBiennaleand bayeva, 2015.Courtesyof Photo: AlmagulMenli- artist. 2015. Courtesyofthe Lilas DuvernoisGuevara, Opposite, 2015.Photos: Saâdane Afif,Play of theartist. Opposite, 2015.Courtesy for SaâdaneAfif,Play Poster andinstructions Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: NatalyaKogan, of theartist. 2015, videostill.Courtesy Leon Kahane,Fantasia, M HKA. the MoscowBiennaleand kov, 2015.Courtesyof Photo: AlexeySapronen- M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: NatalyaKogan, Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. p. 258 247– 249 pp. p. 246 p. 243 240 –241 pp. p. 238 p. 236 230 –231 pp.

619 Buchholz, Berlin/Cologne. Berlin. CourtesyofGalerie view, GalerieBuchholz, Berlin, 2014,installation Simon Denny, Disruptive Courtesy oftheartist. Photo: UlrichGebert. Kunstverein München. You needIsData,2013, Simon Denny, DLD—All artist. 2016. Courtesyofthe Almagul Menlibayeva, tesy ofAlevtinaKakhidze. Times News,2015.Cour Alevtina Kakhidze,All M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: NatalyaKogan, M HKA. the MoscowBiennaleand kov, 2015.Courtesyof Photo: AlexeySapronen- Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. Courtesy oftheartist. Photo: OttoSnoek,2015. Ethical Guideposts,2015. Formation ofMoraland Consciousness, andthe Strengthening ofNational in CulturalEducation, the BenefitsofPyramids Taus Makhacheva,On pp. 331and333 pp. 328and330 p. 322 308 –314 pp. p. 307 p. 292 264 –281 pp. p. 261 - the artist. video still.Courtesyof Anyang, ParadiseCity, Park Chan-kyong, Biennale andM HKA. Courtesy oftheMoscow Photo: Yan Linn,2015. Center ofEurasia,2014. Almagul Menlibayeva, Courtesy oftheartist. Photo: OttoSnoek. artist. stills. Courtesyofthe video, 20mins.,video Estate, 2010/2015,HD Aleksander Komarov, Courtesy oftheartist. Photo: OttoSnoek. Courtesy oftheartist. views. Photos:JensZiehe. Power, 2015installation Simon Denny, Secret the artist. Vaduz, 2013.Courtesyof Simon Denny, TEDx Gallery Wellington. of theartistandAdamArt Shaun Waugh. Courtesy Gallery Wellington. Photo: tion viewatAdamArt Dotcom, 2014,installa- Personal EffectsofKim Simon Denny, The Courtesy oftheartist. p. 374 p. 373 p. 360 356 –359 pp. p. 345 p. 342 p.339 p. 337 p. 335 Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. M HKA andStudioMEL. tesy ofMoscowBiennale, installation views.Cour Contemporary Art2015, Moscow Biennalefor artist. 2015. Courtesyofthe Green Again,videostills, Green, Yellow, Redand Almagul Menlibayeva, Courtesy oftheartist. Photo: OttoSnoek,2015. artist. 2016. Courtesyofthe Almagul Menlibayeva, Harvard College. President andFellowsof Imaging Department(c) Marcel Duchamp,Photo: ADAGP, Paris/Estateof Society (ARS),NewYork / 2009.189 and ElizabethS.Neumann, Museum, GiftofPeterG. vard ArtMuseums/Fogg Carlo Bond,1938.Har Marcel Duchamp,Monte Biennale andM HKA. Courtesy oftheMoscow artist. 2016. Courtesyofthe Almagul Menlibayeva, p. 443 435– 440 pp. 424 –426 pp. p. 423 410 –411 pp. p. 401 p. 384 p. 380 (c) Artists Rights - -

Image Credits 620 Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. Mesler, NewYork. the artistandFeuer/ 2015, still.Courtesyof Jon Rafman,Erysichthon, Courtesy oftheartist. 27 mins.,2014,stills. Unfinished Film,video, Evgeny Granilshchikov, artist. 2015. Courtesyofthe for InformationExchange, David Polzin,Department M HKA. the MoscowBiennaleand kov, 2015.Courtesyof Photo: AlexeySapronen- artist. 2015. Courtesyofthe 2015. Photo:OttoSnoek, martre SpiritinMoscow, Fabrice Hyber, Mont- the artist. 2008, stills.Courtesyof tions), video,2:25mins., Among EuropeanPopula- Pandã Grét(MaleDisplay Tch Maria TherezaAlves, artist. 2015. Courtesyofthe Photo: BabiBadalov, p 472 –473 pp. p. 471 p. 467 458 –464 pp. 456 –457 pp. p. 452 450 –451 pp. pp. 447and449 p. 444 ám KraiKytõ M HKA. Moscow Biennale and 2015. Courtesyofthe Photos: MariaAnaskina, Courtesy oftheartist. Photo: OttoSnoek,2015. the artist. Abeele, 2015.Courtesyof Photos: MaartenVanden Courtesy oftheartist. Photo: OttoSnoek,2015. M HKA. Moscow Biennaleand 2015. Courtesyofthe Photos: MariaAnaskina, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: MariaAnaskina, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: MariaAnaskina, Biennale andM HKA. Courtesy oftheMoscow Photo: Yan Linn,2015. M HKA. the MoscowBiennaleand kov, 2015.Courtesyof Photo: AlexeySapronen- and M HKA. the MoscowBiennale Linn, 2015.Courtesyof Ivan ErofeevandYan Photos: BartdeBaere, p 511 –512 pp. p. 510 498 –509 pp. p. 496 p. 495 p. 493 490 –491 pp. p. 478 474 –475 pp. M HKA. the MoscowBiennale and kov, 2015.Courtesyof Photo: AlexeySapronen- the artist. Snoek, 2015.Courtesyof nale 2015.Photo:Otto Audience ofMoscowBien- artist. video still.Courtesyofthe and Shape,2013–2015, Alexander Ugay, Earth Architecture. and MuseumofEstonian Photos: KatyaNovitskova Leemput. Courtesy ofMayavan artist. 2015. Courtesyofthe Sergey Bratkov, Eclipse, Courtesy oftheartist. Photo: OttoSnoek,2015. and M HKA. of theMoscowBiennale Yan Linn,2015.Courtesy vorst, Skull,2015.Photo: Installation ofElsDiet- Biennale andMHKA. Courtesy oftheMoscow Photo: Yan Linn,2015. Moscow. kovsky StateMuseum, Courtesy oftheMaya- p. 558 p. 552 p. 547 544 –545 pp. 537 –538 and 532 –533 pp. 527 –528 pp. 522 –523 pp. p. 519 p. 516 p. 513

621 M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: KseniaKolesnikova, Biennale andM HKA. Courtesy oftheMoscow Photo: IvanErofeev, 2015. artist. video still.Courtesyofthe Ieva Epnere,Renunciation, Biennale and M HKA. Courtesy oftheMoscow Maria Anaskina,2015. Leviathan, 2015.Photo: hoven, Madonnaand Anne MievanKerck- Biennale andM HKA. Courtesy oftheMoscow Photo: Yan Linn,2015. Courtesy oftheartist. mm. Photo:IsabelBrey. kitchen, 2006,159x120 Ricardo Brey, Inthe tesy oftheartist. Photo: IsabelBrey. Cour 2006, 135x105mm. Ricardo Brey, Horntails, of theartist. 2015, videostill.Courtesy Lu Yang, MovingGods, Courtesy oftheartist. Photos: IvesMaes,2015. p. 585 p. 582 p. 580 p. 579 p. 578 p. 577 p. 576 p. 575 565 –572 pp. -

Courtesy oftheartist. of thePavilion,2015. Elena Kholkina,Dreams Prokop. 2010. CourtesyAlexander Photo: AlexanderProkop, M HKA. Moscow Biennaleand 2015. Courtesyofthe Photo: NatalyaKogan, p 593 –604 pp. p. 592 p. 591 622 Mapping Positions Acting Relations, HOW TOGATHER 22 VDNKh, Moscow, from porary Art, presentedat Biennale forContem- cow Juliette Malot,Mariana Maes, Taus Makhacheva, Lippard, MadeIn, Ives Lester, LiMu,Hanne Andrey Kuzkin,Gabriel Kramar, DonnaKukama, Kotlyachkova, Maria Komarov, Maria Kolchanov, Aleksander Suchan Kinoshita,Daniil Kakhidze, ElenaKholkina, Leon Kahane,Alevtina Isaev, AnnaJermolaewa, Fabrice Hyber, Ivan Tzu-Nyen, Honoré‰’O, Rana Hamadeh,Ho Guérot, FlakaHaliti, Granilshchikov, Ulrike Gorokhova, Evgeny Gontmakher, Nadia Liam Gillick,Evgeny Genzken, PascalGielen, Anastasya Gacheva,Isa Egger, IevaEpnere, Jimmie Durham,Marie Fedor Dubinnikov, Dolgin, IgorDoshlygin, Denny, ElsDietvorst,Boris Bart DeBaere,Simon Colson, KerenCytter, Park Chan-kyong,Vaast Brey, IlyaBudraitskis, Sergey Bratkov, Ricardo Gleb Berg,Birdhead, Backstein, BabiBadalov, Defne Ayas, Joseph Alves, BurakArikan, Afif, MariaTheresa Ackbar Abbas,Saâdane Participants: Contributors & Marie Egger Nicolaus Schafhausen,and Bart DeBaere,DefneAyas, Editors: October 2015. outcome ofthe6 This publicationisan nd Septemberto1 Colophon th Mos- st

Zvezdochotov Anna Zhurba,Konstantin Alexander Zhuravlev, Zharkov, ArsenyZhilyaev, Yarovenko, Vasily Zhao Yao, Anastasiya Peter Wächtler, LuYang, Choy, InesWeizman, Eyal Weizman, LeeWeng- Venkov, Anton Vidokle, Varoufakis, Dmitry Vanden Abeele,Yanis van Overmeir, Maarten van Leemput,Johanna van Kerckhoven,Maya u/n multitude,Anne-Mie The Unbound, Tuymans, AlexanderUgay, New MusicEnsemble,Luc Maria Stepkina,Studiofor Snoek, SonaStepanyan, Marina Simakova,Otto Serapinas, AndreyShental, Schafhausen, Augustas Savchenko, Nicolaus Saskia Sassen,Ekaterina Meggy Rustamova, Qiu Zhijie,JonRafman, Pistoletto, DavidPolzin, Pingyuan, Michelangelo Goran Petrovic,Lu Anatoly Osmolovsky, Müller, KatjaNovitskova, Mkrtycheva, Vanessa Joan Nástio Mosquito,Maria Menlibayeva, MiánMián, Menasse, Almagul McDonough, Robert Mazzucato, Tom

623 1500 copies Print-Run: Tallinn BookPrinters Printed &Boundat: Roman Gornitsky Front CoverDesign: Ayumi Higuchi Design &Layout: Taylor, AlexanderPisarev Sabine Herrygers,Eleanor Transcriptions: Katya Taylor Reynolds, AndreyShental, Maria Pronina,Thomas Pisarev, AnnaPronina, Newhoner, Alexander Medvedev, GerdaMaria Poluektova-Krimer, Kirill McGarr, Ksenia Thomas Clark,Ben Dina Akhmadeeva, Translators: (Russian) Evgenia Shestova Ben McGarr(English) Copy-Editors: Maria Mkrtycheva Workshop, Moscow: V-A-C Young Curators Savchenko Fraga, Ekaterina Evi Bert,PabloMartinez M KHA, Antwerp: Content Management Daria Kalugina Maria Mkrtycheva, V-A-C Foundation: Content Management Maria-Louiza Ouranou Publication Coordinator: Associate Editor& Marie Egger Managing Editor: and thevolunteers and Press), Tianyang Wu, (Indiana University Weaver, StephenWilliams Maria Terekhova, Helen Anastasia Skvortsova, State Museum,Moscow), Shundik (Mayakovsky Schreckenbach, Nina Nico Schmidt,Nina Anna-Lisa Scherfose, Miller (TeleGeography), Iarocci Mavica,Jayne Architecture), Teresa (Museum ofEstonian Erofeev, JarmoKauge Fedor Dubinnikov, Ivan Museum), IgorDoshlygin, Donadio (HarvardArt Jan DeVree, Isabella Graaf, PolinaDemidova, De Beukelaer, Rosade Caroline Cooper, Sophie Thanks to: other EUcountries) (The Netherlandsandall Idea Books,Amsterdam (UK andIrelandonly) Cornerhouse, Manchester (US only) D.A.P. Inc.,NewYork Distribution: Moscow V-A-C Foundation, support of: Published withthe institutions, 2017. © theartists,authorsand All rightsreserved. ISBN 978-5-9906255-7-0 Moscow V-A-C Foundation, Art, Rotterdam,and Center forContemporary Antwerpen; Witte deWith Hedendaagse Kunst M HKA,Museumvan Wien, Vienna; Kunsthalle Published by: Yunusova, DariaZhdan Vorontsova, Faina Volynova, Ekaterina Uryadova, Anastasia Anna Trusova, Daria Natalya Trudolyubova, Syropaeva, NinaTishina, Smolyakova, Julie Simpanen, Ekaterina Simbireva, Yulia Semykina, Natalya Semenova, Nadezhda Savina, Elizaveta Sarkisyan, Ekaterina Ryavina, Julietta Reznichenko, Anna Vera Raskina,Taisiya Alina Ponomareva, Natalia Polyanskaya, Anna Novikova, Aisylu Mutigullina, Elizaveta Milyukhina, Anna Milovanova, Natalya Maximova, Olga Lyubartovich, Natalia Lukatskaya, Linn, AnnaLopatina, Daria Likhovitskaya,Yan Lavrova, Yongxiang Li, Inga Kurilova,Valeria Maria Kupriyanova, Kuleshov, PolinaKuprina, Kozhukhova, Ivan Korobova, Anastasia Marina Kopytova,Yulia Elena Konyushikhina, Ekaterina Konyashina, Daniil Kolchanov, Kern, PolinaKlebanova, Umrat Kabylova,Alisa Elizaveta Golovina, Varvara Ganicheva, Guevara, DariaEgorova, Dmitrieva, LilasDuvernois Elena Ditskova,Sofya Irina Demiyanets, Evfrosiniya Bumazhnova, Ashman, AnnaBarysheva, Natalya Andrianova,Asya Mariam Ambartsumyan, Tatiana Alexanenkova, Contemporary Art: 6 artist assistantsofthe th MoscowBiennalefor Part IV: Systemic Shapes Part V: Appearances of Multitude

317 384 443 472 Ackbar Abbas — Saskia Sassen — Flaka Haliti — Konstantin Zvezdochotov — Living Together in Volatile Who are we, the citizens? Bëhuni Tolerante! The Unbearable Luxury of Spaces Communal Living 399 444 328 Thoughts After Saskia Babi Badalov — 480 Simon Denny — Sassen ME-GRANT. SHE-GRANT. Burak Arikan — The Innovator’s Dilemma Tom McDonough A STORY OF AN UZBEK The Graph Commons MIGRANT Journal 345 402 Mariana Mazzucato — On Inefficiency 446 490 Alexander Zhuravlev, Anna Zhurba, The Innovative State Ivan Isaev, Maria Mkrtycheva, On Otherness u/n multitude — Ekaterina Savchenko, Sona Alexander Zhuravlev, Anna Zhurba, Political Score “Palace of Stepanyan, Maria Stepkina Ivan Isaev, Sona Stepanyan, Maria 356 Stepkina Culture” Aleksander Komarov — 405 Estate 447 496 Pascal Gielen — Maria Theresa Alves — Studio for New Music The Global Civil Parade 360 Tchám Krai Kytõm Pandã Ensemble — th Yanis Varoufakis — Grét 6 Moscow Biennale What am I doing here? 419 Programme Ilya Budraitskis, 450 Boris Dolgin, Evgeny 373 Fabrice Hyber — 497 Gontmakher, Dmitry Almagul Menlibayeva — Montmartre Spirit Maarten Vanden Abeele — Center of Eurasia Venkov, Vasily Zharkov — 22 September – 01 October The Invention of Eurasia 455 2015 374 David Polzin — 424 Park Chan-kyong — Department for Information 510 Almagul Menlibayeva — Anyang, Paradise City Exchange Otto Snoek — Green, Yellow, Red and 22 September – 01 October Green Again 375 458 2015 Ulrike Guérot and Evgeny Granilshchikov — 428 Robert Menasse — Unfinished Film (Script) 511 Europe: The Reconstruction Jimmie Durham — Anatoly Osmolovsky — Bekkah and Son, and Elpidio/ of the Free World 467 The End of Modernism in Bekkah in Europe Jon Rafman — Russia Erysichthon 435 514 Fedor Dubinnikov and 468 Els Dietvorst — Igor Doshlygin — Michelangelo Pistoletto — We are All Driftwood Exhibition Architecture Third Paradise Part VI: Cartographies of Time

527 576 Sergey Bratkov — Ricardo Brey — Eclipse Parallel Universes

530 579 Maya van Leemput — Anne-Mie van Having Looked for Moon- Kerckhoven — Time Madonna and Leviathan

544 580 Katja Novitskova — Ieva Epnere — From Social Housing to Renunciation Mars 581 547 Renunciation from Alexander Ugay — the World Earth and Shape Marina Simakova

548 582 Anastasya Gacheva — Luc Tuymans — How Can We Learn to Live The Worshipper Together? 585 552 Alevtina Kakhidze — Bart De Baere, Anton Unstable Systems Vidokle and Arseny Zhilyaev — 592 Society and an Suchan Kinoshita — Indivisible Whole Chaos Pendulum

565 593 Ives Maes — Elena Kholkina — A Three-Dimensional Dreams of the Pavilion Experience On The Spot

575 Lu Yang — Wrathful King Kong Core & Moving Gods 607 Biographies 617 Image Credits 622 Colophon The globalised world at the onset of the 21st century is hyper- connected but at the same time more rife than ever with conflict and antagonistic impasses. “How to Gather” brings together a remarkable group of cultural and scientific practitioners who reflect on the conditions with which to overcome this, in the span between the individual and the world. The publication is an outcome of the 6th Moscow Biennale, which took the form of a ten-day event that also enacted the question of gathering.

Bart De Baere Defne Ayas Nicolaus Schafhausen Marie Egger