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Raupenimmersattism. the Affluent Society As Consumed Society Or the Myth of Endless Production and Consumption

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Raupenimmersattism. the Affluent Society As Consumed Society Or the Myth of Endless Production and Consumption RAUPENIMMERSATTISM. THE AFFLUENT SOCIETY AS CONSUMED SOCIETY OR THE MYTH OF ENDLESS PRODUCTION AND CONSUMPTION ON SHOW 26.09.–22.11.2020 THURSDAY–SUNDAY 14:00–19:00 WITH Laylah Amatullah Barrayn Lhola Amira ArTree Nepal (Hit Man Gurung) Yasmin Bassir Sol Calero Mansour Ciss Kanakassy Phil Collins Minerva Cuevas Sarah Entwistle Samira Hodaei ILYICH Anton Kats Cinthia Marcelle Fallon Mayanja Daniela Medina Poch & Juan Pablo García Sossa Jean David Nkot Krishan Rajapakshe Nasan Tur and an Afropop Worldwide podcast feature NEW SPACE – NEW ADDRESS! S A V V Y Contemporary Reinickendorfer Straße 17 13347 Berlin-Wedding VISIT IN CORONA TIMES Entry only with a mask. Please respect and follow the hygienic measures we have put in place for all our health and safety. Please bring your own headphones for sound installations. TEAM ARTISTIC DIRECTOR Bonaventure Soh Bejeng Ndikung CURATORIAL TEAM Elena Agudio Antonia Alampi Lynhan Balatbat-Helbock Kelly Krugman António Mendes Arlette-Louise Ndakoze MANAGEMENT Jörg-Peter Schulze and Lema Sikod COMMUNICATION Anna Jäger GRAPHIC DESIGN Juan Pablo García Sossa HANDOUT Melina Sofia Tsiledaki TECH Bert Günther and Björn Matzen ART HANDLING Rey KM Domurat Kimani Joseph Stephan Thierbach LIGHT Catalina Fernandez SAVVY.DOC Elena Quintarelli Sagal Farah Laura Kloeckner SAVVY SPACE DESIGN Ola Zielińska ARCHITECTURE Max Dengler/Kombinativ SAVVY SPACE REALISATION Peter Lowas Wilhem van den Hoek SPECIAL THANKS TO Joerg Heitmann / Silent Green and Andi Banz / Kundschafter F U N D I N G The project is funded by the Senatsverwaltung für Kultur und Europa des Landes Berlin. ILYICH’s contribution is supported by Musikfonds. SAVVY Contemporary The Laboratory of Form-Ideas CONTENT 01 POEM BY KARL FEUWEU 04 02 TRACING RAUPENIMMERSATTISM 06 03 FLOORPLAN 10 04 WORK DESCRIPTIONS & BIOGRAPHIES 12 05 CURATORIAL TEXT BY BONAVENTURE SOH BEJENG NDIKUNG 22 SAVVYContemporary: The Laboratory of Form-Ideas RAUPENIMMERSATTISM 26.09.–22.11.2020 03/28 raupe-nimmersattism more, always more encore plus, toujours plus never enough! jamais assez ! consumption suffers from blindness la consommation souffre de cécité it knows neither race nor sex elle ne connait ni race, ni sexe amnesic, it does not forget its victims. amnésique, elle n’oublie pourtant pas ses victimes the word consumption has no ally other than the verb to le mot consommation n’a pour seul vrai allié que le verbe consume consommer beep! bip ! a packet of cigarettes un paquet de clopes beep! bip ! for each item purchased, 1€ donated to help the third world. pour chaque article acheté, 1€ reversé en aide au tiers-monde beep! bip ! life is nothing but inanity la vie n’est qu’inanité beep! bip ! the remains of a 3-year-old boy on a Turkish beach la dépouille d’un petit garçon de 3ans sur une plage turque beep... ! beep... ! beep... ! bip… ! bip… ! bip… ! breaking news between bulletin and weather forecast alerte info entre JT et météo humanity turns into statistics l’humain devient statistique death becomes vulgar la mort se fait vulgaire 1960 deaths in Kasai 1960 morts au Kasaï millions of des millions de réfugiés socio-political-economic socio-politico-économiques refugees aux larges des côtes occidentales off the west coast BOZA ! BOZA ! BOZA ! BOZA! BOZA! BOZA! Malgré Despite l’éternelle insatisfaite gueule de la méditerranée the eternally unsatisfied mouth of the Mediterranean et sa mare de sang dans laquelle ils se noient and its pool of blood in which they drown. Malgré Despite les cranes asséchés par la chaleur extrême du désert the dried-out skulls in the desert proches desquels ils prieront non les ancêtres mais Jéhovah, Allah, Jésus close to which they will pray not to their ancestors but to Jehovah, Allah, Jesus Malgré Despite les larmes, pleurs, sueurs et sang versés pour bâtir cet eldorado the tears, weeping, sweat and blood shed to build this Eldorado (garden of Eden). Malgré Despite le refus de leurs humanité par ces sociétés soi – disant civilisées the denial of their humanity by these so-called civilised societies tous them all orpailleurs gold panners du droit à l’existence, de la liberté, du bonheur of the right to existence, freedom, happiness tous them all marchent, nagent, courent, pagayent walk, swim, run, paddle vers le nord to the north ca ne peut qu’être mieux it can only be better car c’est l’enfer qu’ils quittent se disent t - ils for it is hell they leave, they say internally encore plus, toujours plus more, always more et si la consommation se dirigeait vers une and what if consumption was heading towards auto – consommation ?! self-destruction?! Karl Feuweu Berlin 2020 SAVVYContemporary: The Laboratory of Form-Ideas RAUPENIMMERSATTISM 26.09.–22.11.2020 04/28 SAVVYContemporary: The Laboratory of Form-Ideas RAUPENIMMERSATTISM 26.09.–22.11.2020 05/28 a work by KRISHAN RAJAPAKSHE that With tablecloths, S A M I R A H O D A E I looks consists of images and mannequins focusing on the into the painful history of Iran’s ties to oil money, TRACING plight of around 6,000 factory workers in Cambodia which has not fostered social equity in the country: as who protested in 2014 by using their one hour break means of resistance and justice-seeking, she works time to demand from Western brands, such as C&A with the material that Iranian peaceful protesters RAUPENIMMERSATTISM and H&M, a 177€/month minimum wage. L A Y L A H implemented as they laid empty tablecloths in the A M A T U L L A H B A R R A Y N presents an excerpt streets, symbolizing their inability to feed their families of portraits taken in New York and Minneapolis that and highlight the workers’ poor economic conditions. document the lived experiences of Black Americans This bridges to the series I Have to Feed Myself, My during the double crisis of the current Covid-19 Family and My Country… by HIT MAN GURUNG pandemic, and the simultaneous uprisings against of A R T R E E N E P A L . His photographs systemic injustice and racism. N A S A N T U R ’ s HAPPY NEPAL !!! PROSPEROUS NEPAL !!! addresses Variationen von Kapital commissioned a computer labour migration, a phenomenon prevalent in South scientist to create a formula, which enabled the Asian countries like Nepal, and reflects on Nepal’s computer to generate all possible spelling variations rapidly changing socio-political and socio-economic of the word “Kapital”, calculating more than 41.000 landscape. possible variations: where Nasan then transferred the In the staircase leading to the basement, D A N I E L A variations of the word with a brush on handmade paper; MEDINA POCH & JUAN PABLO the show features 100 of a current number of 800 these GARCIA SOSSA’s Papel Soberano hangs above unique handwritten pieces. Our structures of pandemic- us aiming to be a site of empathy and support, while precarity are echoed in M I N E R V A C U E V A S ’ s investigating the roles of papers: making tangible, film El Pobre, El Rico y El Mosquito. In it, a young child sensible, and graspable the hardships of the Venezuelan Cities, spaces in general, give to their dwellers and further pushes us to reflect on precarity, reckoning with reads a poetic fable by Spanish socialist author Tomás humanitarian crisis by directing attention towards the visitors mnemonic tools that help people remember the fact that we are often chips in a larger system of Meabe, as a mosquito hovers behind him: a tale is unstable Venezuelan currency and the country’s wave of and navigate them. These tools can be wide-ranging gambling, the first project in our new home interrogates told of a callous rich man who felt he had nothing in migration which has created generations with irregular from remarkable buildings like churches or skyscrapers, the potentiality of the risks and realities of having to be common with a poor man living across from him; in statuses and undocumented children. In the basement, to monuments, prominent sculptures and many other tricksters, surviving as such. To confront the endless the end both die of the same virus a mosquito carried. five of CINTHIA MARCELLE’s slow and outstanding structures. Besides the obvious structures consumption of our societies and the affluence many S A R A H E N T W I S T L E unravels, vandalizes, poetic films show on loop, each relating to the myth of like the Gedächtniskirche or the Fernsehturm at hold at the expense of others’ poverty, a collective and problematizes her late grandfather’s archives. overproduction and its industries, the performance of Alexanderplatz, people that have visited Berlin in the exhibition is composed as a result of ten months of He was an architect whose professional practice is power through the automobile, and how it relates to last years, and even the city’s residents, have taken with research, grapplings, and reasonings together. The deeply conflated with the imagery of the female nude. labour and consumption. LAGOM: Breaking Bread with them an unlikely feature that has been marked in their show unfolds as a choral questioning to challenge Sarah Entwistle is working in ongoing partnership the Self Righteous is a film by L H O L A A M I R A memories: the image of young and old people alike structural inequalities and stand alongside positions of with Moroccan weaver Kebira Aglou – extracting which takes its title from the word pronounced with a sack hanging from one shoulder, a torch in one vulnerability: and magnifying scars and traces of her grandfather’s laah’gom, the Swedish ethos of “not too much, not too hand and the other digging deep in the trash containers process to rewrite his architecture from a perspective little – just the appropriate amount”; it is an ongoing of the city in search of food, drinks, or mostly empty The brick wall facing S A V V Y Contemporary of care, questions, and feminist lenses.
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