OXFORD MODERN ART MODERN EXHIBITION NOTES

KIKI KOGELNIK

FLY ME

FREEDOM TO THE

JOSH KLINE JOSH MOON EXHIBITION NOTES EXHIBITION MODERN ART OXFORD CONTENTS

1 What is the exhibition about?

2 - 3 Upper Gallery Map

Instagram: @mao_gallery Instagram:

4 Extract from The Glory Days of ’s Garment District @mao_gallery Twitter: by Kim Bhasin, 2015 Oxford Art Modern Facebook:

5 Extract from Understanding Media www.modernartoxford.org.uk

by Marshall McLuhan, 1964

Josh Kline. Kline. Josh

6 - 7 Events and Florida Collection, Family Rubell The York, New Canal, 47 at Newton Oliver and Lee Margaret

lenders: the to thanks With

helped to realise this exhibition. this realise to helped

Modern Art Oxford is grateful to the many individuals, companies and organisations that have have that organisations and companies individuals, many the to grateful is Oxford Art Modern

continue our work by making a donation before you leave. you before donation a making by work our continue

If you have enjoyed your visit today and believe in free access to exhibitions, please help us to to us help please exhibitions, to access free in believe and today visit your enjoyed have you If This exhibition guide is available in a large print format. Please ask programmes. free its deliver to needed costs the of 100% raises and charity a is Oxford Art Modern

for a copy at the Information Desk located in the café.

for a copy at the Information Desk located in the café. the in located Desk Information the at copy a for

Modern Art Oxford is a charity and raises 100% of the costs needed to deliver its free programmes. ask Please format. print large a in available is guide exhibition This If you have enjoyed your visit today and believe in free access to exhibitions, please help us to

continue our work by making a donation before you leave. Modern Art Oxford is grateful to the many individuals, companies and organisations that have

helped to realise this exhibition.

Events 7 - 6

Tara Lai Quinian and Deborah Ramirez Deborah and Quinian Lai Tara

by Like Looks Profiling Racial of End The What is This from Extract With special thanks to Mono Schwarz-Kogelnik, Dr George Schwarz, Tatjana Okresek and Katya 5

Taneva from the Kiki Kogelnik Foundation, Elisabeth Koegler, Director, Austrian Cultural Forum

London, Andrew Rinkhy and Simone Subal Gallery, New York. Trecartin Ryan and Kline Josh between interview an from extract An

Interview Artist Kiki Kogelnik: Fly Me to the Moon is supported by the Kiki Kogelnik Foundation, and 4

Bundeskanzleramt Österreich. Middle Gallery Map Gallery Middle 3

www.modernartoxford.org.uk Piper Gallery Map Gallery Piper 2

Facebook: Modern Art Oxford

What is the exhibition about? exhibition the is What Twitter: @mao_gallery 1

Instagram: @mao_gallery CONTENTS 1

WHAT IS THE EXHIBITION ABOUT? KIKI KOGELNIK

FLY ME TO THE MOON Please ask our Visitor Assistants

this motif in this context suggests the dehumanising uniformity of armed state power. power. state armed of uniformity dehumanising the suggests context this in motif this 22 August – 18 October 2015 if you have any questions.

(2015). The repetition of of repetition The (2015). Arrest Resisting and (2015) Cream NYPD handcuffs and bullets and titles like like titles and bullets and handcuffs Upper Gallery

recreating a snack stereotypically favoured by cops, and through employing materials such as as such materials employing through and cops, by favoured stereotypically snack a recreating In Middle Gallery 1 are a series of doughnut , evoking the New York police both by by both police York New the evoking sculptures, doughnut of series a are 1 Gallery Middle In “I’m involved in the technical beauty of rockets, people flying in space and people becoming robots.

When you come here [to New York] from Europe it is so fascinating … like a dream of our time. The POLICE STATES POLICE new ideas are here, the materials are here, why not use them?”

Kiki Kogelnik

Blair, apologising emotionally to camera, expressing remorse for unspoken transgressions. unspoken for remorse expressing camera, to emotionally apologising Blair, KIKI KOGELNIK

substitution software to create the uncanny sight of the previous US administration, along with Tony Tony with along administration, US previous the of sight uncanny the create to software substitution Modern Art Oxford presents the first solo exhibition in the UK of acclaimed Austrian artist Kiki

(2015) is a new video in Middle Gallery 2. Here Kline works with actors and face face and actors with works Kline Here 2. Gallery Middle in video new a is (2015)

Crying Games Crying Kogelnik (1935-1997). Kogelnik first came to prominence in the mid 1950s in , where she

public address in 2009. in address public created influenced by the movement. Encouraged by fellow artist

mimics Obama’s oratory, Kline’s message is more provocative than the President’s actual pragmatic pragmatic actual President’s the than provocative more is message Kline’s oratory, Obama’s mimics , Kogelnik moved to the United States in 1961 where she moved in the same circles as

Hope and Change Change and Hope digitally mapping the President’s face onto that of an actor’s. Whilst the speech in in speech the Whilst actor’s. an of that onto face President’s the mapping digitally artists , , and .

is written by the artist and one of Obama’s former speechwriters. “Obama” is rendered by by rendered is “Obama” speechwriters. former Obama’s of one and artist the by written is

Change Captivated by the vitality of New York City – a far cry from the depressed economic climate of post

Hope and and Hope

monitor in the installation. This speech is a re-imagining of the 2009 inaugural address. address. inaugural 2009 the of re-imagining a is speech This installation. the in monitor war Europe – Kogelnik’s work underwent a dramatic shift. Eschewing abstraction for figuration,

This dark world is relieved by the rousing speech delivered by US President Barack Obama on a a on Obama Barack President US by delivered speech rousing the by relieved is world dark This and muted shades for vivid colour, her paintings began to depict a brave new world of space HOPE AND CHANGE / CRYING GAMES GAMES CRYING / CHANGE AND HOPE exploration. She also began to diversify her practice around this time, experimenting with ,

prints, ceramics and performance.

the population is placed under surveillance. under placed is population the FLY ME TO THE MOON

complete the ominous image of a world driven by profit and technology in which debt is tracked and and tracked is debt which in technology and profit by driven world a of image ominous the complete Large mobile phone masts disguised as ‘trees’ with credit card ‘leaves’, fill the gallery. They They gallery. the fill ‘leaves’, card credit with ‘trees’ as disguised masts phone mobile Large Fly Me to the Moon presents work by Kogelnik from the 1950s to the 1980s, focusing in particular

on the artist’s treatment of technology and its effect on the body. Kogelnik’s fascination with

. Games Hunger The

titles from the film film the from titles intergalactic travel is evident in the exuberant lunar landscapes of Fly Me to the Moon (1964) and

appropriating multiple graphic identities, from Obama’s 2008 presidential campaign to the opening opening the to campaign presidential 2008 Obama’s from identities, graphic multiple appropriating Brutal in Outer Space (1964). Painted just over a year later, works like Untitled (Robot) (1965) reveal a

(2015). This new animation looks at the rebranding of America by by America of rebranding the at looks animation new This (2015). Acts Patriot

re-imagined through through re-imagined new direction. Kogelnik’s works from this era continue to represent volatile celestial bodies, though

The logo of the American National Security Agency – an eagle clutching a key in its claws – is is – claws its in key a clutching eagle an – Agency Security National American the of logo The in a slightly more detached, melancholic manner.

feeds of political activists speaking on social media. social on speaking activists political of feeds

(2015); a video in which former police officers read aloud scripts drawn from the the from drawn scripts aloud read officers police former which in video a (2015); Privacy presenting presenting THE SPACE RACE

Four figures, dressed in riot police gear, stand poised around an urban park. Each bears a screen screen a bears Each park. urban an around poised stand gear, police riot in dressed figures, Four The majority of the works on display were produced during the Cold War, an era of great upheaval,

after Zuccotti Park in New York during the Occupy Wall Street protest camp in 2011. 2011. in camp protest Street Wall Occupy the during York New in Park Zuccotti after when the Space Race was at its height and fears of nuclear annihilation were vivid in peoples’

At the heart of this exhibition is Kline’s installation in the Piper Gallery. This environment is modelled modelled is environment This Gallery. Piper the in installation Kline’s is exhibition this of heart the At minds. This reached a climax in 1969 when Neil Armstrong took his first steps on the moon. Kogelnik FREEDOM marked the occasion with Moonhappening (1969), a live performance in Vienna where the artist

produced a series of lunar screenprints during a live broadcast of the landing of Apollo 11.

public and private interests. interests. private and public HANGINGS

With this darkly compelling new exhibition, Kline interrogates the shifting boundaries between between boundaries shifting the interrogates Kline exhibition, new compelling darkly this With

, Kline’s first solo exhibition in a public gallery. gallery. public a in exhibition solo first Kline’s , Freedom Modern Art Oxford is pleased to present present to pleased is Oxford Art Modern A new decade gave rise to a different focus for Kogelnik’s practice, in which her interest in advanced

high-tech materials came to the fore. She began to create a number of bright vinyl ‘hangings’ from

erosion of privacy and civil rights in the 21st century. 21st the in rights civil and privacy of erosion human stencils, drawing the outline of a supine model onto a large sheet of paper to create a form

technology of today. Kline’s work encompasses video, installation and sculpture and addresses the the addresses and sculpture and installation video, encompasses work Kline’s today. of technology which would then be cut out in vinyl. These silhouettes then presented on metal clothes racks, much Josh Kline (b. 1979 Philadelphia) is part of an emerging generation of artists working with the the with working artists of generation emerging an of part is Philadelphia) 1979 (b. Kline Josh like those wheeled through the Garment District of New York where Kogelnik’s studio was based.

JOSH KLINE JOSH By exploring her concerns in a rapidly transforming society, Kogelnik’s work speaks to our own

experiences today. It serves, too, as a timely reminder of the risks of embracing change without

Piper and Middle Galleries Middle and Piper reflecting on the potential impacts for humanity. Kogelnik’s critical stance on the times in which she

if you have any questions. any have you if 22 August – 18 October 2015 October 18 – August 22 lived has rendered her captivating work as vital today as when it was first made.

Please ask our Visitor Assistants Assistants Visitor our ask Please FREEDOM

JOSH KLINE JOSH WHAT IS THE EXHIBITION ABOUT? EXHIBITION THE IS WHAT

1 2

MAP variable dimensions foam, and aluminum and foam,

nylon, cast resin, paint, steel, steel, paint, resin, cast nylon,

UPPER GALLERY variable dimensions

plastic helmet, cotton, leather, leather, cotton, helmet, plastic vinyl and foam and vinyl

HD video, altered mannequin, mannequin, altered video, HD ABS plastic, paint, aluminum, aluminum, paint, plastic, ABS

LED screen, media player, player, media screen, LED , 2015 , Despair

, 2015 2015 , Professionalism 3.

Some Trees Breathe in in Breathe Trees Some

You are here 7.

dimensions variable dimensions

dimensions variable dimensions

4. Death With Sunglasses aluminum and foam,

Oil and acrylic on canvas foam and vinyl nylon, cast resin, paint, steel, steel, paint, resin, cast nylon,

1 aluminum, paint, plastic, ABS

2 91.2 x 121.5 cm plastic helmet, cotton, leather, leather, cotton, helmet, plastic

, 2015 , Transfer Imbalance

c.1963 6.

3 mannequin, altered video, HD

LED screen, media player, player, media screen, LED

5. Machine Florida] Collection, Family

media player, and wood and player, media

, 2015 2015 , Courtesy

Oil and acrylic on canvas 2.

[2-5 Courtesy of The Rubell Rubell The of Courtesy [2-5

244.5 x 184 cm TV, flat-screen supply, power and

Lightbox Display: Plexiglas, LEDs LEDs Plexiglas, Display: Lightbox

1963 wood and player, media

4 min 17:10

variable dimensions and power supply, flat-screen TV, TV, flat-screen supply, power and

HD video, sound, colour; colour; sound, video, HD

6. Fly Me to the Moon aluminum and foam, Lightbox Display: Plexiglas, LEDs LEDs Plexiglas, Display: Lightbox

, 2015 , Change and Hope 10.

Oil and acrylic on canvas steel, paint, resin, cast nylon, HD video, colour; 2:00 min 2:00 colour; video, HD

244 x 184.3 cm leather, cotton, helmet, plastic

with Jonathan Turner Jonathan with

HD video, altered mannequin, mannequin, altered video, HD

1963 variable dimensions

Josh Kline in collaboration collaboration in Kline Josh

LED screen, media player, media screen, LED

handcuffs and foam and handcuffs

, 2015 , Acts Patriot 1.

, 2015 2015 , Po-Po

7. Brutal in Outer Space 5.

5 Oil on canvas riot tie zip nylon aluminum,

92.2 x 73.7 cm paint, plastic, Fiberglass,

dimensions variable dimensions

, 2015 , Back Talking 9.

c.1962–63 variable dimensions

45 media, various Installation,

44 aluminum and foam, , 2015 , Freedom

nylon, cast resin, paint, steel, steel, paint, resin, cast nylon,

8. Untitled (A) variable dimensions

plastic helmet, cotton, leather, leather, cotton, helmet, plastic Oil and acrylic on canvas foam and handcuffs

46 stated. HD video, altered mannequin, mannequin, altered video, HD 180.6 x 120.5 cm riot tie zip nylon aluminum,

New York unless otherwise otherwise unless York New LED screen, media player, player, media screen, LED

6 c.1963 paint, plastic, Fiberglass,

43 , 2015 2015 , Respect 4. Canal, 47 of courtesy works All

, 2015 , You Disappear 9. Untitled (M) 8. 47 Oil and acrylic on canvas 42 203 x 142.7 cm 48 c.1964

10. Liquid Injection Thrust 41 49 7 Oil and acrylic on canvas 4 139.3 x 93.4 cm

50 c.1965 2 8 6

11. Untitled (Skeleton) 40 India ink on paper 3

51.3 x 40.2 cm

9 7

52 1957

10 51 1 39 12. Untitled (Tod mit Schürze) 10 India ink on paper 40.2 x 51 cm

1958 38 8

13. Untitled (Skeleton)

36 - 37 India ink on paper 5 40.3 x 51 cm 9 35 34 11 - 33 1957 14. Untitled (Space) Acrylic, enamel, India ink, ink and foil All works courtesy of Kiki 2. Untitled (Skull) wrapper on paper Kogelnik Foundation Vienna / Oil on board 35.5 x 55.5 cm

29 x 23.7 cm c.1963 New York here are You c.1963

15. Untitled (Spaceship) 1. Untitled (Skull) 3. Bleiburg Skull Acrylic, India ink and colour pencil on GALLERY PIPER

Oil on panel Sheet vinyl with mixed media paper 60 x 44.5 cm 242 x 70 x 2.5 cm 21.3 x 29.4 cm MAP 1960 1972 c.1963 2

3

media player, and wood and player, media 16. Untitled (Solitude) 28. Untitled (Pump for heart) 41. Vibrations on a Composite

and power supply, flat-screen TV, TV, flat-screen supply, power and Acrylic, India ink, watercolour and India ink and acrylic on paper Circuit

Lightbox Display: Plexiglas, LEDs LEDs Plexiglas, Display: Lightbox

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each collage on paper 35.2 x 27.7 cm Oil and acrylic on canvas with mixed

min 41.7 x 33 cm resin and handcuffs and resin 1965 media

HD video, sound, colour; ~11:51 ~11:51 colour; sound, video, HD 136.5 x 102 x 9 cm Nine cast sculptures in asphalt, asphalt, in sculptures cast Nine 1963

29. Ingredients Bags , 2015 , Games Crying 1a.

, 2015 , streets Their 4. 1965

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each 1 7. Untitled (Nescafe Nescafe) India ink on paper

bullets and trash bag trash and bullets Acrylic, enamel, India ink, colour 35.5 x 27.8 cm 42. Artificial Hand

Middle 2 2 Middle

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each

dollars, plastic shopping bag, bag, shopping plastic dollars, pencil, foil and collage on paper 1970 Acrylic with mixed media and

and handcuffs and

razor blades, auto glass, pennies, pennies, glass, auto blades, razor 44 x 62.8 cm metallic foil on canvas

Nine cast sculptures in silicone silicone in sculptures cast Nine 30. I Feel Like Gone Over 121.1 x 100.6 cm

clear resin, handcuffs, duck tape, tape, duck handcuffs, resin, clear c.1963

2015 each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each Nine cast sculptures in crystal crystal in sculptures cast Nine by a Truck 1966

, , are you think you do Who 3. 3. 18. Untitled (Space) India ink on paper blood.

, 2015 , Windows Broken . 7. Acrylic, enamel and India ink on 34.8 x 27.8 cm 43. Documentation of

cornstarch, water, salt and pig’s pig’s and salt water, cornstarch, paper 1970

plain yogurt, nutmeg, butter, butter, nutmeg, yogurt, plain Moonhappening

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each 33.1 x 45.1 cm Colour 8 mm film oil, lard, egg, vanilla extract, extract, vanilla egg, lard, oil,

cyanoacrylate cyanoacrylate

and handcuffs and c.1963 31. Where is All the 12 min 30 sec, 1969 purpose flour, sugar, vegetable vegetable sugar, flour, purpose

in plaster, ink-jet ink and and ink ink-jet plaster, in

plaster, ink-jet ink, cyanoacrylate cyanoacrylate ink, ink-jet plaster, Beauty Gone?

Nine fried doughnuts with all- with doughnuts fried Nine

Nine 3D-printed sculptures sculptures 3D-printed Nine

Nine 3D-printed sculptures in in sculptures 3D-printed Nine 19. Untitled (Spaceship) India ink and colour pencil on paper 44. George

, 2015 , hands the on Blood 9.

2015 Rides, Rough 2. , 2015 , States Police 6. 6. Acrylic, India ink and collage on 34.9 x 28 cm Fibreglass, chromed steel and mixed paper

1970 media

33.1 x 45 cm each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each 162.9 x 97.5 x 114 cm

each approx. 4.25” x 4” x 2” x 4” x 4.25” approx. each c.1963 resin 32. Untitled (Hanging) cyanoacrylate cyanoacrylate Nine cast sculptures in concrete in sculptures cast Nine c.1966

India ink on paper Nine cast sculptures in dirt and and dirt in sculptures cast Nine

, 2015 , arrest Resisting 1.

in plaster, ink-jet ink and and ink ink-jet plaster, in 20. Untitled (Still life with 35 x 28 cm 45. Untitled (Small hanging) , 2015 , like looks

Nine 3D-printed sculptures sculptures 3D-printed Nine robot, skull and hand) 1970 Sheet vinyl, Plexiglas and acrylic on

Middle 1 Middle This is what democracy democracy what is This 8. 2015 , Cream NYPD 5. 5. Acrylic, enamel, India ink, ink, cut steel and wood paper and collage on paper 33. Analyst Couch 41.5 x 31.1 x 24.5 cm 43.7 x 63 cm India ink on paper 1968

c.1963 35.3 x 43 cm

7 8 6 1970 46. Untitled (Small hanging) 21. Space Sheet vinyl, Plexiglas and acrylic on

Acrylic, India ink, foil and collage on 34. Claes steel and wood 9 paper Sheet vinyl with chromed steel 41.4 x 37.2 x 22.7 cm 50 x 65 cm hanger 1968 1963 143.2 x 57.2 x 4.5 cm c.1970 47. Small Seventh Ave People 22. Untitled (Spaceship) Sheet vinyl, acrylic hangers, Acrylic, enamel, India ink and foil on 35. Untitled (Hanging) Plexiglas, steel and acrylic on wood paper 45.3 x 37.3 x 20.5 cm 33 x 41.5 cm Sheet vinyl with chromed steel 1970/1993 c.1963 hanger and mixed media 60.5 x 143.5 x 15.1 cm 48. Plug-in Hand

23. Untitled (Spaceship) c.1970 5 Acrylic on polyurethane and papier Acrylic, India ink, ink, foil and collage mache

on paper 36. Untitled (Flight)

4 50 x 65 cm Silkscreen on Plexiglas 67.5 x 43.6 x 5 cm

3 2 1 c.1963 64 x 76.7 x 5.4 cm c.1967 1968 24. Robots 37. Untitled (Man with destiny) 49. Chandelier Hanging Sheet vinyl with acrylic hanger Ink on paper Silkscreen on Plexiglas 79.1 x 46.2 x 46.5 cm 32.5 x 27.5 cm 64 x 76.7 x 5.4 cm c.1970 1967 1970

25. Robots 38. Transparent Woman 50. Mono

India ink, ink and colour pencil on Sheet vinyl with chromed steel 1a Acrylic, ink, enamel and India ink on hangers paper paper 124.3 x 84.5 x 57.5 cm 73.5 x 58.5 cm 76 x 56.2 cm c.1970 1966 1965 26. Robots 39. Untitled (Robot) 51. Nobody Loves Me Sheet vinyl, wire hanger and acrylic India ink, ink and colour pencil on Acrylic, ink, enamel and India ink on on wood paper paper

41 x 30.6 x 15.8 cm You are here are You 58.9 x 73.5 cm 65.2 x 50 cm 1970 1966 1965

27. Robots 40. Ikarus 52. Hungriger Totenkopf

Ink and colour pencil on paper Glazed ceramics, steel and acrylic on

MIDDLE GALLERIES MIDDLE Oil and acrylic on canvas

wood 56.2 x 38 cm 128.9 x 104.2 cm MAP 50 x 53 x 19.6 cm 1966 1965 c.1986

3

4

going kinetic and actually changing the country country the changing actually and kinetic going

EXTRACT FROM THE GLORY from energy potential this of any keeps system

adapt to tomorrow’s technologies? technologies? tomorrow’s to adapt

DAYS OF NEW YORK CITY’S political America’s but Internet, the via mind people permanently out of work and unable to to unable and work of out permanently people wrong with the system and is free to speak their their speak to free is and system the with wrong

over the next 40 years, what happens to all the the all to happens what years, 40 next the over

GARMENT DISTRICT BY KIM what’s knows everyone hand, one the On

and most of our jobs are replaced by software software by replaced are jobs our of most and campaign and later during Occupy Wall Street. Street. Wall Occupy during later and campaign

keep up. If Silicon Valley’s plans come to fruition fruition to come plans Valley’s Silicon If up. keep BHASIN, 2015 2008 the by generated energy transformational

machines. The people left work like dogs to to dogs like work left people The machines. is really about the squandered squandered the about really is Freedom

the crisis hit and replaced by software and and software by replaced and hit crisis the This excerpt explores the location that inspired century. 21st the for Jr King Luther Martin or

start coming true. Employees were fired after after fired were Employees true. coming start Kiki Kogelnik’s ‘hanging’ works in New York’s Roosevelt D. Franklin 2008—a in for voted youth

when all the 1950s Jetsons automation dreams dreams automation Jetsons 1950s the all when Garment District. America’s that figure political transformational

about by technological progress. That this is is this That progress. technological by about campaign. I wanted to imagine Obama as the the as Obama imagine to wanted I campaign.

structural changes in the economy brought brought economy the in changes structural style of the speeches he gave during that first first that during gave he speeches the of style

Great Recession are really representative of of representative really are Recession Great

New York City’s Garment District was once the in action to call progressive a as address

and lackluster jobs on the other side of the the of side other the on jobs lackluster and a bustling hub of American manufacturing. inaugural 2009 Obama’s President reimagines

Many economists think that the poor incomes incomes poor the that think economists Many

After World War I, many of the city’s garment well— gravity other installation’s (2015)—the

admin work, and practice medicine and law. law. and medicine practice and work, admin Change and Hope factories moved to the area, carving out a plot video The 2008. in election

smart enough to drive cars, handle white-collar white-collar handle cars, drive to enough smart of Midtown Manhattan from Sixth Avenue to Martin Braunstein supervises loading of garments in Obama’s President through system the within

will be left if (and when) software becomes becomes software when) (and if left be will

Ninth Avenue and 35th Street to 40th Street. the Garment District on Jan. 31, 1967. from country the transform to attempt earlier

relatively tiny portion of Silicon Valley jobs that that jobs Valley Silicon of portion tiny relatively

During the district’s heyday from the 1920s to Photographer: Arther Browes / The New York Times the with disappointment deep of out arisen

labor—with all the people unsuited for the the for unsuited people the all labor—with the 1950s, vehicles jammed the roadways as have may momentum its of much system,

jobs. What do you do with all of the unskilled unskilled the of all with do you do What jobs. they prepped to ship clothes across the country. political our outside from course new a on

basics of life without the need for factories or or factories for need the without life of basics

Workers pushed and pulled around hand trucks, America steer to attempt an was Occupy If

clothes hanging all over as they scrambled to the provide can manufacturing automated fully

in a future where distributed, personalized, personalized, distributed, where future a in haul materials to the next factory. “The streets capital. entertainment into transformed speech

question of what happens to working people people working to happens what of question were packed,” says Andrew Scott Dolkart, a and privatized been has commons the where

the atom up—I’ve been obsessed with the the with obsessed been up—I’ve atom the professor of historic preservation at Columbia society a in uses and possibilities its about

and the ability to manufacture objects from from objects manufacture to ability the and

University, “At lunchtime you could barely questions poses and time our in speech political

would involve machines built out of molecules molecules of out built machines involve would looks at at looks Freedom move the streets were so congested. Trucks Missouri. Ferguson, in events

while in college—a potential technology that that technology potential college—a in while were parked and double-parked.” by ignited demonstrations the now and Street,

work. Since I first read about nanotechnology nanotechnology about read first I Since work. Obama campaign, the Tea Party, Occupy Wall Wall Occupy Party, Tea the campaign, Obama

truly on the other side of manufacturing and and manufacturing of side other the on truly

Kim Bhasin is a reporter for Bloomberg 2008 the been have which of newsworthy most

possible postindustrial future—a world that’s that’s world future—a postindustrial possible

Business. society—the American through washed have

children’s show accidentally presented a a presented accidentally show children’s years, waves of grassroots political activism activism political grassroots of waves years,

I was in film school in the late 90s. The The 90s. late the in school film in was I

This text is sourced from www.bloomberg.com/ these Across States. United the of President

I first encountered the Teletubbies while while Teletubbies the encountered first I 2008 and the election of Barack Obama as as Obama Barack of election the and 2008 news/features/2015-02-13/new-york-city-s-garment- JK:

district-photos of crash financial the with began that period

and conceptual functions in the piece. the in functions conceptual and in the soft dystopia we know and inhabit—the inhabit—the and know we dystopia soft the in

work? It seems like they have strong formal formal strong have they like seems It work? is set set is Freedom past. recent and present the in

them and why you are using them in the new new the in them using are you why and them more explicitly sci-fi, this first episode is rooted rooted is episode first this sci-fi, explicitly more

relationship to language. Can you talk about about talk you Can language. to relationship many of the later works in the cycle will be be will cycle the in works later the of many

Teletubbies have an incredible incredible an have Teletubbies of the 21st century—potential futures. While While futures. century—potential 21st the of Ryan Trecartin: Ryan

4-5 years that will explore possible trajectories trajectories possible explore will that years 4-5

circumstances. installations that I plan to produce over the next next the over produce to plan I that installations

and the majority of its citizens’ economic economic citizens’ its of majority the and begins a new cycle of of cycle new a begins Freedom Josh Kline: Kline: Josh

Kiki Kogelnik , Small Seventh Ave People, 1970/93,

© Kiki Kogelnik Foundation . Freedom of development

approach to exhibition making and the the and making exhibition to approach

In the interview, Josh Kline discusses his his discusses Kline Josh interview, the In

Triennial, New York, 2014. York, New Triennial,

, New Museum Museum New , Freedom for catalogue the in

Kline and artist Ryan Trecartin. Originally printed printed Originally Trecartin. Ryan artist and Kline

An extract from an interview between Josh Josh between interview an from extract An ARTIST INTERVIEW ARTIST

4

5 4

reduced in their day-to-day decision-making. day-to-day their in reduced federal-guidelines going kinetic and actually changing the country country the changing actually and kinetic going

implicit racial bias can potentially see its effects effects its see potentially can bias racial implicit com/commentisfree/2014/dec/12/end-racial-profiling- system keeps any of this potential energy from from energy potential this of any keeps system EXTRACT FROM

officers who get better training to counteract counteract to training better get who officers

This text is sourced from http://www.theguardian. from sourced is text This adapt to tomorrow’s technologies? technologies? tomorrow’s to adapt

mind via the Internet, but America’s political political America’s but Internet, the via mind UNDERSTANDING MEDIA

and law enforcement agents, can change. Police Police change. can agents, enforcement law and people permanently out of work and unable to to unable and work of out permanently people wrong with the system and is free to speak their their speak to free is and system the with wrong

has testified before Congress on racial profiling. profiling. racial on Congress before testified has conscious of, is difficult to change. But people, people, But change. to difficult is of, conscious over the next 40 years, what happens to all the the all to happens what years, 40 next the over

On the one hand, everyone knows what’s what’s knows everyone hand, one the On BY MARSHALL MCLUHAN,

policing and a law enforcement consultant who who consultant enforcement law a and policing decisions based on stereotypes one isn’t isn’t one stereotypes on based decisions and most of our jobs are replaced by software software by replaced are jobs our of most and campaign and later during Occupy Wall Street. Street. Wall Occupy during later and campaign

expertise in criminal law, racial profiling and and profiling racial law, criminal in expertise race-based decision making – and making making and – making decision race-based 1964 keep up. If Silicon Valley’s plans come to fruition fruition to come plans Valley’s Silicon If up. keep transformational energy generated by the 2008 2008 the by generated energy transformational

Northeastern University School of Law with an an with Law of School University Northeastern that racial bias is often unconscious, not overt overt not unconscious, often is bias racial that machines. The people left work like dogs to to dogs like work left people The machines. is really about the squandered squandered the about really is

Freedom Western man acquired from the technology of Deborah Ramirez is a professor at the the at professor a is Ramirez Deborah faces with criminality. But science also shows shows also science But criminality. with faces the crisis hit and replaced by software and and software by replaced and hit crisis the

or Martin Luther King Jr for the 21st century. century. 21st the for Jr King Luther Martin or literacy, the power to act without reacting. The that police officers still often associate black black associate often still officers police that start coming true. Employees were fired after after fired were Employees true. coming start

youth voted for in 2008—a Franklin D. Roosevelt Roosevelt D. Franklin 2008—a in for voted youth advantages of fragmenting himself in this way and public policy. policy. public and Eberhardt and researcher Joshua Correll, show show Correll, Joshua researcher and Eberhardt when all the 1950s Jetsons automation dreams dreams automation Jetsons 1950s the all when

transformational political figure that America’s America’s that figure political transformational are seen in the case of the surgeon who would Science in post-9/11 counterterrorism policing policing counterterrorism post-9/11 in Science Foundation “genius” grant winner Jennifer Jennifer winner grant “genius” Foundation about by technological progress. That this is is this That progress. technological by about

campaign. I wanted to imagine Obama as the the as Obama imagine to wanted I campaign. be quite helpless if he were to become humanly the London School of Economics and Political Political and Economics of School London the studies, including ones by 2014 MacArthur MacArthur 2014 by ones including studies, structural changes in the economy brought brought economy the in changes structural

style of the speeches he gave during that first first that during gave he speeches the of style involved in his operation. We acquired the policing expert conducting doctoral research at at research doctoral conducting expert policing African-Americans with crime and violence: violence: and crime with African-Americans Great Recession are really representative of of representative really are Recession Great

address as a progressive call to action in the the in action to call progressive a as address art of carrying out the most dangerous social Tara Lai Quinlan is a lawyer and transnational transnational and lawyer a is Quinlan Lai Tara like the general public, associate associate public, general the like and lackluster jobs on the other side of the the of side other the on jobs lackluster and

reimagines President Obama’s 2009 inaugural inaugural 2009 Obama’s President reimagines operations with complete detachment. But our A growing body of science tells us that police, police, that us tells science of body growing A Many economists think that the poor incomes incomes poor the that think economists Many

(2015)—the installation’s other gravity well— gravity other installation’s (2015)—the detachment was a posture of noninvolvement. and repairing eroded police legitimacy. police eroded repairing and admin work, and practice medicine and law. law. and medicine practice and work, admin Change and Hope

election in 2008. The video video The 2008. in election In the electric age, when our central nervous police officers focused on ending racial profiling profiling racial ending on focused officers police operate. smart enough to drive cars, handle white-collar white-collar handle cars, drive to enough smart

within the system through President Obama’s Obama’s President through system the within system is technologically extended to the whole that would host mandatory training for local local for training mandatory host would that the federal government telling them how to to how them telling government federal the will be left if (and when) software becomes becomes software when) (and if left be will

earlier attempt to transform the country from from country the transform to attempt earlier of mankind and to incorporate the whole of national police training centre for local police police local for centre training police national on their autonomy and aren’t interested in in interested aren’t and autonomy their on relatively tiny portion of Silicon Valley jobs that that jobs Valley Silicon of portion tiny relatively

arisen out of deep disappointment with the the with disappointment deep of out arisen mankind in us, we necessarily participate, in the creation of, and carve out a budget for, a a for, budget a out carve and of, creation the local police departments pride themselves themselves pride departments police local labor—with all the people unsuited for the the for unsuited people the all labor—with

system, much of its momentum may have have may momentum its of much system, depth, in the consequences of our every action. squandered. The Task Force should recommend recommend should Force Task The squandered. inspire local police to design their own – but but – own their design to police local inspire jobs. What do you do with all of the unskilled unskilled the of all with do you do What jobs.

on a new course from outside our political political our outside from course new a on It is no longer possible to adopt the aloof and implicit racial profiling, and it shouldn’t be be shouldn’t it and profiling, racial implicit The new guidelines are merely supposed to to supposed merely are guidelines new The basics of life without the need for factories or or factories for need the without life of basics

If Occupy was an attempt to steer America America steer to attempt an was Occupy If dissociated role of the literate Westerner. police departments that still use explicit or or explicit use still that departments police officials working with them on federal projects. projects. federal on them with working officials fully automated manufacturing can provide the the provide can manufacturing automated fully

opportunity to make long-needed changes to to changes long-needed make to opportunity federal law enforcement agencies and local local and agencies enforcement law federal in a future where distributed, personalized, personalized, distributed, where future a in

speech transformed into entertainment capital. entertainment into transformed speech After three thousand years of specialist Force on 21st Century Policing is an important important an is Policing Century 21st on Force of local law enforcement: they only apply to to apply only they enforcement: law local of question of what happens to working people people working to happens what of question

where the commons has been privatized and and privatized been has commons the where explosion and of increasing specialism and President Obama’s recently-established Task Task recently-established Obama’s President guidelines don’t address the profiling actions actions profiling the address don’t guidelines the atom up—I’ve been obsessed with the the with obsessed been up—I’ve atom the

about its possibilities and uses in a society society a in uses and possibilities its about alienation in the technological extensions of our Kiki Kogelnik, Transparent Woman, 1965, The biggest problem is that the federal profiling profiling federal the that is problem biggest The and the ability to manufacture objects from from objects manufacture to ability the and

political speech in our time and poses questions questions poses and time our in speech political bodies, our world has become compressional © Kiki Kogelnik Foundation would involve machines built out of molecules molecules of out built machines involve would looks at at looks Freedom Missouri. Ferguson, in events

New York. Photo courtesy of Joerg Lohse Joerg of courtesy Photo York. New by dramatic reversal. As electrically contracted, than White people. White than while in college—a potential technology that that technology potential college—a in while Street, and now the demonstrations ignited by by ignited demonstrations the now and Street,

, 2015, Courtesy of 47 Canal, Canal, 47 of Courtesy 2015, , Freedom

Josh Kline, Kline, Josh the globe is no more than a village. Electric regularly treat African-Americans differently differently African-Americans treat regularly work. Since I first read about nanotechnology nanotechnology about read first I Since work.

Obama campaign, the Tea Party, Occupy Wall Wall Occupy Party, Tea the campaign, Obama speed in bringing all social and political profiling that many police in America still still America in police many that profiling truly on the other side of manufacturing and and manufacturing of side other the on truly

most newsworthy of which have been the 2008 2008 the been have which of newsworthy most functions together in a sudden implosion has reminded those who don’t experience racial racial experience don’t who those reminded possible postindustrial future—a world that’s that’s world future—a postindustrial possible

have washed through American society—the society—the American through washed have heightened human awareness of responsibility The deaths of Michael Brown and Eric Garner Garner Eric and Brown Michael of deaths The children’s show accidentally presented a a presented accidentally show children’s

years, waves of grassroots political activism activism political grassroots of waves years, to an intense degree. It is this implosive factor 2003, and too often with deadly consequences. consequences. deadly with often too and 2003, I was in film school in the late 90s. The The 90s. late the in school film in was I

President of the United States. Across these these Across States. United the of President that alters the position of the teenager, and profiling is used in 2015 as much as it was in in was it as much as 2015 in used is profiling I first encountered the Teletubbies while while Teletubbies the encountered first I 2008 and the election of Barack Obama as as Obama Barack of election the and 2008

JK: some other groups. They can no longer be legitimacy in communities. Sadly, racial racial Sadly, communities. in legitimacy

period that began with the financial crash of of crash financial the with began that period contained, in the political sense of limited it’s ineffective and hurts law enforcement’s enforcement’s law hurts and ineffective it’s and conceptual functions in the piece. the in functions conceptual and

in the soft dystopia we know and inhabit—the inhabit—the and know we dystopia soft the in association. They are now involved in our lives, racial profiling is bad policing practice because because practice policing bad is profiling racial work? It seems like they have strong formal formal strong have they like seems It work? is set set is Freedom

in the present and recent past. past. recent and present the in as we in theirs, thanks to the electric media. against national security interests, and that that and interests, security national against them and why you are using them in the new new the in them using are you why and them more explicitly sci-fi, this first episode is rooted rooted is episode first this sci-fi, explicitly more

constitutional protections can be balanced balanced be can protections constitutional relationship to language. Can you talk about about talk you Can language. to relationship

many of the later works in the cycle will be be will cycle the in works later the of many Marshall McLuhan (1911-1980) was a Canadian It was 12 years ago when we first argued that that argued first we when ago years 12 was It Teletubbies have an incredible incredible an have Teletubbies of the 21st century—potential futures. While While futures. century—potential 21st the of

Ryan Trecartin: Ryan philosopher of communication whose work has

4-5 years that will explore possible trajectories trajectories possible explore will that years 4-5 had a lasting impact on media theory. circumstances. installations that I plan to produce over the next next the over produce to plan I that installations

and the majority of its citizens’ economic economic citizens’ its of majority the and begins a new cycle of of cycle new a begins Freedom Josh Kline: Kline: Josh This extract is taken from Marshall McLuhan

(1911-1980), Understanding Media, London, 1964. . . Freedom installation

of racial profiling, a theme explored in Kline’s Kline’s in explored theme a profiling, racial of

Guardian, reflects on the contentious issue issue contentious the on reflects Guardian, . Freedom of development

This extract, from an article published in the the in published article an from extract, This approach to exhibition making and the the and making exhibition to approach

In the interview, Josh Kline discusses his his discusses Kline Josh interview, the In

DEBORAH RAMIREZ, 2015 RAMIREZ, DEBORAH

Triennial, New York, 2014. York, New Triennial,

TARA LAI QUINIAN AND AND QUINIAN LAI TARA

, New Museum Museum New , Freedom for catalogue the in

PROFILING LOOKS LIKE BY BY LIKE LOOKS PROFILING Kline and artist Ryan Trecartin. Originally printed printed Originally Trecartin. Ryan artist and Kline

An extract from an interview between Josh Josh between interview an from extract An WHAT THE END OF RACIAL RACIAL OF END THE WHAT

EXTRACT FROM THIS IS IS THIS FROM EXTRACT ARTIST INTERVIEW ARTIST

5 EVENTS

Talks: Tours: Films: Music:

Friday 21 August, 6:00pm Short informal tours of the exhibitions are A series of film screenings inspired by the Thursday 27 August, 7:30pm, £8 / £10 Josh Kline in conversation with Amy Sherlock, hosted by members of Modern Art Oxford’s themes explored in the exhibitions. Nest Collective Residency: Piers Faccini & Reviews Editor at Frieze Magazine. Programme Team. Vincent Segal Thursday 10 September, 7:00pm Join artist Josh Kline and Amy Sherlock for Thursday 3 September, 6:30pm Metropolis a discussion of his work and the current Music Residency Ciara Moloney, Curator of Exhibitions and (Dir. Fritz Lang, 1927) exhibition, Freedom. One Note Forever Projects, leads a tour of the exhibitions In a futuristic city sharply divided between the Free, Booking Essential Freedom and Fly Me to the Moon. working class and the city planners, the son Independent record label One Note Forever take Free, Booking Essential of the city’s mastermind falls in love with a up residency at Modern Art Oxford with a series Thursday 24 September, 7:00pm working class prophet who predicts the coming of gigs in the Basement. Perspectives: Surveillance Thursday 17 September, 6:30pm of a savior to mediate their differences. The next in the series of Perspectives talks Ben Roberts, Curator of Education and Public Tuesday 1 September, 7:30pm, £4 / £6 focuses on ideas and manifestations of Programmes, leads a tour of the project Film Thursday 17 September, 7:00pm Lowws / Catalano surveillance in society. From how technology Studio. Dr Strangelove Formerly ‘The Sea The Sea’, Oxford’s Lowws can enhance privacy, to the ethics of Free, Booking Essential (Dir. Stanley Kubrick, 1964) bring their electro-tinged indie-pop to the surveillance and the uses of artificial An insane general triggers a path to nuclear Basement ahead of the release of their new EP. intelligence. Thursday 8 October, 6:30pm holocaust that a war room full of politicians and Free, Booking Essential Paul Teigh, Production Manager, leads a generals frantically try to stop. Tuesday 22 September, 7:30pm, £6 / £8 tour discussing the design and production of James Blackshaw / Jali Fily Cissokho Thursday 1 October, 7:00pm Freedom and Fly Me to the Moon. Thursday 8 October, 7:00pm Multi-instrumentalist James Blackshaw fuses On Kiki Kogelnik Free, Booking Essential Blow Up (Dir. Michelangelo Antonioni, 1966) folk and minimalist traditions in his extended Elisa Schaar, Leverhulme Early Career Fellow A mod London photographer seems to find compositions for 12-string acoustic guitar. at the Ruskin School Art, University of Oxford, something very suspicious in the shots he has will present an illustrated talk on the work of Friday 9 October, 7:30pm, £6 / £8 taken of a mysterious beauty in a desolate park. Kiki Kogelnik to accompany the exhibition at Sauna Youth / Poledo Modern Art Oxford; Fly Me to the Moon. Free, Booking Essential Free, Booking Essential Post-punk band Sauna Youth will showcase their new album Distractions, released on Upset the Rhythm, at this, their debut Oxford gig.

The Value of Making Symposium, Modern Art Oxford, 10 May 2014, Image: Hannah Wilmshurst Sauna Youth Promotional Photo, Courtesy Sauna Youth

6 7