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Ausstellung Exhibition 3CPB_KAT_Ausst.qxp 18.08.2004 16:24 Uhr Seite 18 AUSSTELLUNG EXHIBITION 18 3CPB_KAT_Ausst.qxp 18.08.2004 16:24 Uhr Seite 20 DIE AUSSTELLUNG THE EXHIBITION DER 6. WERKLEITZ BIENNALE OF THE 6TH WERKLEITZ BIENNALE Mit der aktuellen Zuspitzung von Eigentumsverhält- Fragestellungen und Debatten, die im Folgenden an- In face of the current tightening of ownership structu- tical reflection on established recording and ordering nissen wird die Forderung nach freiem Zugriff auf Wis- hand von einigen Positionen exemplarisch aufgezeigt res, the demand for free access to knowledge and infor- systems, as access regulations are ultimately decisive sen und Information gerade auch in der Kulturproduk- werden sollen. mation, especially in the field of cultural production, is for access to knowledge and information. The contribu- tion zentral. Gemeinsam mit den KünstlerInnen und Mit der aktuellen Diskussion um die Herstellung und becoming pivotal. Together with the artists and produ- tions of Edgar Arceneaux and Emma Kay, for example, ProduzentInnen entwickelte das kuratierende Team Vermittlung von Wissen einher geht eine kritische cers, the curatorial team of the 6th Werkleitz Biennale refer to the interest in library systematizations, socio- der 6. Werkleitz Biennale verschiedene Ausstellungs- Reflektion etablierter Archivierungs- und Ordnungs- has developed various exhibition foci and formats high- political cartography methods, and the debate on the schwerpunkte und Formate, die Aspekte des Themas systeme, denn Zugriffsbestimmungen entscheiden letzt- lighting aspects of the theme of ‹Common Property›: pretension to power inherent to knowledge sanctioned ‹Common Property / Allgemeingut› aufzeigen: Fragen lich über den Zugang zu Wissen und Information. So questions relating to the production, storage and com- by the state. Regulatory criteria and principles of cate- nach der Produktion, Speicherung und Vermittlung von verweisen etwa die Beiträge von Edgar Arceneaux und munication of knowledge, debates on copyrights and pa- gorization and exclusion are closely linked to the que- Wissen, Debatten um Copyrights und Patentrechte, Emma Kay auf das Interesse an Bibliotheksordnungen, tent laws, conceptions of free distribution of information stion of how history and the generally binding defini- Entwürfe freier Distribution von Informationen im öf- soziopolitischen Kartographierungsverfahren und auf in public, media and digital spaces, as well as ways of tion and reconstruction of historical data and facts are fentlichen, medialen und digitalen Raum sowie Fragen die Auseinandersetzung mit dem Machtanspruch von dealing with natural resources and developments in bio- dealt with. In this regard, the works of Michaela Me- zum Umgang mit natürlichen Ressourcen und Entwick- staatlich sanktioniertem Wissen. Eng verbunden mit re- technology. lián and Florian Zeyfang recontextualize the historical lungen der Biotechnologie. gulativen Kriterien, Festlegungs- und Ausschlussprin- More than forty individual and collective works of art, mural (as a form of conveying idealized images of so- Die über 40 individuellen und kollektiven künstleri- zipien ist die Frage nach dem Umgang mit Geschichte group projects, and thematic formats of this year’s exhi- ciety) and translate the model into a quote-like, copied schen Arbeiten, Gruppenprojekte sowie thematisch respektive nach der allgemein verbindlichen Definition bition are dispersed across different spaces of the Volks- and associative sample of social clichés. The starting- übergreifenden Formate der diesjährigen Ausstellung und Rekonstruktion geschichtlicher Daten und Fakten. park. Starting with the projects in the entrance area point of Fred Fröhlich’s work are current image poli- verteilen sich über die verschiedenen Räume des Volks- Unter diesem Aspekt rekontextualisieren die Arbeiten (‹Property of the People of Halle›) and the lobby (Shar- tics. Fröhlich animates the digital stock of motifs of parks. Beginnend mit einem Projekt im Eingangsbe- von Michaela Melián und Florian Zeyfang das histori- mila Samant, hybrid video tracks), the positions shown commercial image agencies to a sort of overall world reich (‹Property of the People of Halle›) und dem Foyer sche Wandbild (als Vermittlungsform idealisierter Ge- inside the Volkspark spread from the two gallery rooms view – a speedy sequence of stereotyped representati- (Sharmila Samant, hybrid video tracks), erstrecken sich sellschaftsbilder) und übertragen die Vorlage in ein zi- (Eastwood-Real Time Strategy Group, ‹Networks of ons of the picture motifs we are surrounded by ever- die Positionen im Innenraum des Volksparks über die tathaftes, kopiertes und assoziatives Sample geschicht- Commons›, ‹Insert 2›), the Weineck Saal (Michaela Me- yday. In the current conflict over intellectual property, beiden Galerieräume (Eastwood-Real Time Strategy licher Versatzstücke. Ausgangspunkt der Arbeit von lián), the central Thälmann Saal with balcony (Can Altay, the privatisation of knowledge is underpinned by new Group, ‹Networks of Commons›, ‹Insert 2›), den Wein- Fred Fröhlich ist hingegen die aktuelle Bildpolitik. Edgar Arceneaux, Matthew Buckingham, Ciné-tracts, laws leading to a tightening of copyright provisions in ecksaal (Michaela Melián), den zentralen Thälmannsaal Fröhlich animiert die digitalen Motivbestände kommer- ‹Einige RealistInnen›, ‹Insert 3 + 4›, Emma Kay, Seba- regard to works of art, music, films, books, digital data, mit Balkon (Can Altay, Edgar Arceneaux, Matthew zieller Bildagenturen zu einer Art Gesamtweltbild – ei- stian Lütgert, Ines Schaber, Sean Snyder, Peter Wat- and software. Ines Schaber’s contribution deals with Buckingham, Ciné-tracts, ‹Einige RealistInnen›, ‹Insert ner rasanten Abfolge stereotyper Repräsentationen uns kins/Rebond pour la Commune/co-errances, Florian Zey- the business practices of the Corbis company, for in- 3 + 4›, Emma Kay, Sebastian Lütgert, Ines Schaber, alltäglich umgebender Bildmotive. fang), its anteroom (Dpto. de Intervenciones Públicas, stance, that privatises on the Internet historically si- Sean Snyder, Peter Watkins/Rebond pour la Com- Im aktuellen Konflikt um das Geistige Eigentum wird die Oda Projesi), the small club room (Christian von Borries, gnificant photographs, which are in fact common pro- mune/co-errances, Florian Zeyfang), dessen Vorraum Privatisierung von Wissen durch neue Gesetze gestützt, Judith Hopf/Frauke Gust, Anne König/Jan Wenzel, Kri- perty, through watermarks. Musical citations and ex- (Dpto. de Intervenciones Públicas, Oda Projesi), den die zu einer Verschärfung der Copyright- und Urheber- stin Lucas) up to the stairwell (‹Aktionsraum›). Further cerpts of Lawrence Lessig’s critique of the concept of kleinen Klubraum (Christian von Borries, Judith Hopf/ rechtsbestimmungen von Kunstwerken, Musik, Filmen, projects (Lara Almarcegui, Jeroen Jongeleen, ‹Insert 1›, authorship is the source material Christian von Borries 20 21 Frauke Gust, Anne König/Jan Wenzel, Kristin Lucas) Büchern, digitalen Daten und Software führen. Der Bei- William Hunt, Eric Sandillon, Tomas Saraceno) are dis- uses for his sound production. While in the field of cul- bis hin zum Treppenhaus (‹Aktionsraum›). Weitere trag von Ines Schaber verweist hier etwa auf die Ge- played directly in front of the Volkspark and in the ur- ture, copyright problems are predominantly discussed Projekte (Lara Almarcegui, Jeroen Jongeleen, ‹Insert schäftspraxis der Firma Corbis, die historisch bedeu- ban space. with the focus on the figure of the author, within a lar- 1›, William Hunt, Eric Sandillon, Tomas Saraceno) wer- tende und eigentlich gemeinfreie Fotografien durch As a former workers’ assembly locale, the Volkspark is ger societal frame it is the economies and interests of den unmittelbar vor dem Volkspark und im städtischen Wasserzeichen im Internet privatisiert. Musikalische not a classical exhibition building, and so it suggested globally operating corporations that are pressing for Raum gezeigt. Zitate und Ausschnitte von Lawrence Lessigs Kritik am itself to alter the given spatial conditions and bundle the the extension of copyright and patent laws. The marke- Der Volkspark als ehemaliger Arbeiter-Versammlungs- Autorbegriff bilden das Ausgangsmaterial für die Hör- invited contributions by means of architectural inter- ting strategies in the biotech and genetic-engineering ort ist kein klassisches Ausstellungsgebäude und so lag stückproduktion von Christian von Borries. Werden im ventions. The large partition, a free-standing ‹white sector, for example, are examined and visualised in the es nahe, in die bestehenden Raumverhältnisse zu inter- kulturellen Feld Copyright-Probleme vor allem an der cube›, and the enlargement and realignment of the stage contribution of the group hybrid video tracks from venieren und die eingeladenen Beiträge mit architekto- Figur des Autors und der Autorin diskutiert, so sind es areas in the Thälmannsaal now formulate a deliberate Berlin, directing the view to the regional business loca- nischen Eingriffen zu bündeln. So leisten nun die große innerhalb eines größeren gesellschaftlichen Rahmens over-drawing and reflection of traditional presentation tion Saxony-Anhalt. Stellwand, ein frei stehender ‹White Cube› und die Ver- Ökonomien und Interessen global agierender Konzerne, and communication formats. Being further examples of a collective practice Oda Pro- größerung und Neuausrichtung der Bühnenflächen im die auf eine Ausdehnung von Urheber- und Patentrech- The artistic works and projects of the
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