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tions Strategies of no.3 Visualization

In Brussels, eyes are closed to the West Balkans, have made the decision not to discuss with ACADEMY REMIX while in the Balkans, eyes are closed to their own artists themes like the mafia, the trafficking Städelschule, Frankfurt meets Missing Identity, of women or war, and prefer instead to con- Prishtina. Confrontation, cooperation: past. Are Europeans thus blind to Europe? Or are centrate on the possible artistic and cultural Two art academies discover unknown territory. we just settling comfortably into a recurring circular- trends, and, hence, developments in civil so- Pages 3-5 ciety. In other words: we avoid the “victim” ity of perception? “relations” talks to Gerald Knaus, discourse by focusing on a thematic ap- WILD CAPITAL / WILDES head of the European Stability Initiative (ESI), about proach. For us, the artists with whom we co- operate are experts from whom we can learn KAPITAL, Dresden myths, art, empiricism, and the necessary work of and with whom we can discuss. Look, it’s capitalism! In some places it fits quite raising awareness. nicely into the city landscape, in other places it Working with experts locally is also fundamen- is unbound and wild. Post-socialist transforma- tal for the ESI. In Kosovo, for example, we are tions in focus. Gerald Knaus, if you had to draw a map of thing aside. If the European institutions were working with a group of young social scientists Pages 6-9 Europe, what would you color red? to examine the situation, it would soon become researching the relevance of Prishtina’s urban plainly obvious that most of the produce on of- history for the city’s development. This is of im- ALTE ARTE, Moldova Gerald Knaus: If you go to the EU Commission fer at local markets comes from Greece or Hun- mense importance because most tertiary insti- No one could have imagined it, now it’s hard website you’ll find maps of the current EU can- gary, where the farmers are subsidized. The tutions in the region have no empirical social to imagine life without it: Art TV in Moldova. didates and Member States in different colors: question is then of course: what is to be done? research: they are in a deplorable state in the Pages 10-11 sometimes blue, sometimes in different shades However, if this information is fading away, then West Balkans. Students are forced to work with of red to indicate unemployment levels, some- very different questions emerge. For instance, it texts from the 1970s, and they have to buy them times green tones for the divergences in per is claimed that underdevelopment is one of the from the academics teaching them, who earn displaced, Berlin capita income. And then there are the white results of organized crime, which also, in turn, their money in this way. It is, therefore, neces- Who decides what we should remember? spots – areas which are neither a member nor prevents foreign investment. The solution is sary to help people get going. We are trying to Where are decisions made? What can be have EU candidate status, and which, from the thus – how practical – to do what we are al- do this by setting up local think tanks. In my ignored? Interventions on repression, visuali– perspective of the decision-makers, are still not ready doing, namely sending soldiers and po- opinion, too little is being invested in what zation, and transitoriness in public space. regarded as part of this Europe. No data is lice to Kosovo and tightening border controls. “relations” is also trying to do in the arts and Pages 14-16 complied on them. The current maps of Europe And this view of the Balkans, criminalizing culture: to establish long-term working rela- show a large white spot in the middle of Eu- problems that are issues of development policy, tions with new institutions and the media on a Mind the Map! – History rope, and that is the West Balkans. Then there is reinforced every time a conference on the local level and researching the recent past. are the white spots on the edges: the Ukraine “trafficking of women,” “organized crime,” and Is Not Given, Leipzig and Moldova. At the ESI we are attempting, so “smuggling of drugs” is financed. The more in- Debates and arguments focusing on history History is being made. Best to take a part in it. to say, to color these spots red: through applied ternational police we send there, the greater the and memory are very present in the “rela- Urgent moves to (re-)construct European art empirical research undertaken on location we number of reports they write, and, of course, tions” projects. Over and over again we have history. are trying to pick up those themes we believe to they believe that these really are the gravest observed that voices in the intellectual dis- Pages 17-19 be important to the pan-European discussion, problems, simply because they are there to course are refusing to allow the 40 years of and present them in such a way that they be- solve them. This leads to circularity of percep- communism or socialism to be simply erased Zagreb – Cultural Kapital come visible for the public. At the same time, tion. In such situations, it is crucial to ask rigor- from memory, but are posing the provocative our research concentrates on influencing those ous empirical questions. question: which experiences from this time of Europe 3000 persons directly responsible for making decisions, can be made productive today? For example, Things are really happening! What city locally as well as in Brussels or Washington. As a rule, analysis based on the social sci- does the collective experience under the aus- politics has learned from the free art scene. ences seeks to delineate problems and identify pices of socialism have the potential to coun- Pages 20-21 Are these areas and their respective situa- their causes. In contrast, “relations” seeks to ter neo-liberalism? A key concern for many tions really going unnoticed? Or is it not so promote discussion. We try to understand of the “relations” projects is to rupture and Overview that they are being consciously ignored, or and convey how specific problems in specific disrupt the sometimes very selective way of A short description of the “relations”’ projects. fading out of the picture – because any offi- places are being discussed. What visions of dealing with recent history and to develop a Pages 22-23 cial recognition would bring with it changes the future are artists and intellectuals devel- language that enables alternative systems to to European policy, changes the political oping there? What vocabulary is being used, be discussed politically. decision-makers wish to avoid? what kind of artistic language and praxis? Agenda We cooperate with intellectuals and artists And that is exactly the region’s greatest prob- “relations” locally. They reinforce one another. Let’s take Kosovo as who tackle explosive themes and want to lem: the political, but also the social and eco- Page 24 an example. Forty percent of the working popu- make a difference. The goal is to develop vi- nomic developments have not been researched lation is employed in agriculture, but this sector sions, to initiate discussions in the local con- and discussed over the last 30 years. And while is still trapped on the level of nineteenth-century text and make them comprehensible to an there has been abstract talk about a “third way,” farming: tiny subsistence farms, without any outside public. If anywhere, then the provoc- there has been no concrete discussion about capital at all, without any chance of putting any­ ative impetus of our work resides in how we what has happened. Let me give you one exam-

read relations no. 3 08/2005 /24 ple: Bosnia’s industrialization. The key to in- ed to cover all other areas of society, so that Dear Readers! dustrialization in Bosnia was the Yugoslav ar- students can study at all European universities maments industry. To manufacture arms and because their diplomas are recognized every- sell them to Third World countries or exchange where, so that farmers can sell their produce Confrontation, communication, cooperation, continuous disputes them for raw materials – this was the core of throughout Europe, and so on. There is not one the “third way.” Bosnia was Tito’s fortress. European model. There are thirty. For this rea- – these terms outline those activities that have determined our There was a military factory in Vitez, munitions son alone we need to share our ideas and expe- work in the last few months. And encounters and exchange were were manufactured in Bugojno, artillery in riences. This model, cohesion in its broadest Sarajevo, and fighter aircraft in Mostar. But no- sense, says: we don’t want any of those white always at the heart of these activities – as well as the firm intent body reflects on what this means for launching spots on the map of Europe, and we have a re- to structure international cultural exchange differently from the economic reform in Bosnia today. Things are sponsibility to actively redress the situation. talked about general terms like “capitalism” usual routine. and the “Western model” and discussed in an Do those circles involved in practical policy, unbelievably ahistorical way. Foreign consult- where you are active, believe that art and ants are no better; they simply say, “Create a culture projects have the power to initiate After initiating and assisting the launching of art and culture good business climate and the investors will change? projects in eastern Europe, as reported in the first two editions of eventually come.” I recently attended a meeting of former state our newspaper, “relations” has in the meantime long entered its But isn’t the refusal of the decision-makers and government leaders, all members of an in- second phase. Through our mediation, the initiatives in Sarajevo, to engage with the past connected to emo- ternational Balkans commission that is working tions as well, to a sense of shame or an infe- on recommendations for how European politics Sofia, Ljubljana, and Kosovo have developed new projects jointly riority complex? After all, it is in a society’s should approach the Balkans. The meeting was with institutions in Berlin, Dresden, Leipzig, and Frankfurt/Main, interest to approach its own past. The prob- opened with a showing of the documentary film lem is that this past is being negotiated at “Whose Is This Song?” by the Bulgarian director respectively. Local themes were analyzed as to their international present in the mode of nostalgia or being Adela Peeva. The film was about a folksong that relevance and reinterpreted through new perspectives. While this canalized into a disastrous identity discourse. every Balkan country is convinced belongs to A situation that we could easily tie into the its own folklore, even though there are versions was not always easy, it was always fruitful. Above all, the inten- controversy surrounding Germany’s election of this song everywhere, from Turkey to Alba- sive cooperation not only brought about a revision of the image of campaign, the use of terms like “nostalgia for nia, Kosovo, Serbia, and Greece. A very touch- the East” or the “frustrated.” ing and disturbing documentary, for naturally one’s counterpart, but also of one’s own position. an enormous argument broke out as to whose I don’t think that has anything to do with sever- song it is. I believe that documentaries from the ing connections to the communist tradition. The region are an extremely effective way of redis- We now have the opportunity to experience the “return leg” of the most painful experience would be to look close- covering and visualizing hidden realities, and transmitted impulses: beginning in August, the outcomes of the in- ly at how communism had really functioned in that there is great potential for closer coopera- these countries. And many of the myths of com- tion between artists and social researchers in ternational cooperation between artists, curators, social research- munism are still alive today. Incidentally, it is this field. But art projects are also capable of ers, and art theoreticians are to be presented to the German public. not as if the Bosnians were the only ones who setting off positive discussions, as the initiative didn’t look into their economic history. The to erect a Bruce Lee monument in Mostar has In this issue we would like to present you with an insight into the World Bank also neglected this. shown. questions raised by the different projects and how the projects

Let’s return to our own work and interaction. For us, unusual combinations and confronta- have evolved. The interviews, essays, and reportages revolve After the first phase, where “relations” initi- tions between different actors, from both the around the various collaborations: between the Kunsthaus Dres- ated and supported art and culture projects artistic as well as the cultural and political in eastern and central Europe, partnerships fields, are extremely productive. “relations” den and the “Visual Seminar” from Sofia (“Wild Capital / Wildes were then established with German cultural has not been initiated to simply replicate Kapital”), between the Neuer Berliner Kunstverein and the “De/ institutions, and these institutions will begin what the international art market does. The presenting the results of this cooperation in result does not stand in the foreground of construction of Monument” project in Bosnia-Herzegovina (“dis- Germany this summer. Our chief concern our three-year project, for instance, in the placed”), the student exchange “ACADEMY REMIX. Städelschule, when communicating these themes from the form of a large exhibition. We are concerned eastern regions to Germany is to point out with the process of confrontation, and again Frankfurt meets Missing Identity, Prishtina,” and the symposium that an urbane, innovative tradition of and again with the necessary adjustments to be held in Leipzig, “Mind the Map! – History Is Not Given,” thought exists there, one which is interesting that emerge from this confrontation. When it for us here as well, and furthermore, from works well, this leads to unexpected themat- inspired by the “East Art Map” conceived in Slovenia. We also which we can learn. A great deal in fact. It ic turns and extends our vocabulary. In the provide an insight into the local relevance of the projects “ALTE was amazing to observe just how many un- end, nobody takes exactly the same position expected awareness-raising processes were as they had before; or one has at least three ARTE” and “Zagreb – Cultural Kapital of Europe 3000,” which set off by the long-term institutional cooper- more concepts for their original position. We have been taking place in the framework of “relations” for the ation alone. One example is the student ex- are thus concerned with productive disputes, change program between the alternative arts so that afterwards I’m in a different relay sta- last two years in the Republic of Moldova and Croatia. Why this is academy in Prishtina and the Städelschule in tion and can enter into new relations. This important is explained in an introductory interview with Gerald Frankfurt/Main. The outcome of the cooper- grass-roots work is important to us. ation is not only, as planned, collective works Knaus, director of the European Stability Initiative (ESI), with and exhibitions, but a symposium will also The interview was conducted for “relations” whom we discussed the significance of intervention and mediation be held, entitled “What is an art academy to- by Katrin Klingan, Ines Kappert, and Peter day?” In Germany, where this question Wellach. within Europe. seemed to have been answered long ago, the Edited by Christiane Kühl. confrontation with a completely different world of experience has given the issue a We would like to sincerely thank Gerald Knaus and all our dia- new lease of life. And this is what we are logue partners and authors who contributed to this edition. We aiming at: to focus less on providing assist- ance and more on stimulating discussion be- would also like to thank Maria Ziegelböck for her photography tween equal partners. work featured in the centerfold.

This is very similar to our vision on how Eu- rope should approach the West Balkans. To say, Herewith, we warmly invite you to take part in our discussions while resources are scarce there, they have to be contributed from outside sources in the tran- and, above all, to visit our events, symposia, and exhibitions! sition phase; otherwise, no discourse is possi- ble. To say, you are a part of us, but we are still going to help you. This kind of approach, as a Katrin Klingan, Artistic Director, and principle for European policy, has to be extend- Samo Darian, Managing Director

read relations no. 3 08/2005 /24 ACADEMY REMIX Städelschule, Frankfurt meets Missing Identity, Prishtina

Ten years of Miloševi´c, years of war, and then six years as an UN protector- enthusiastic when they returned from their first ate have left behind a number of voids in Kosovo – including the international stay in Frankfurt. Some of them had never been outside Kosovo. That was a real experience exchange of ideas, dialogue, and contact with contemporary art movements. for them. And in Kosovo it is rather unusual to For the last two years, the project “Missing Identity” has sought to redress this work in groups. shortfall with art and educational initiatives in Peja and Prishtina. Taking up an Were any guidelines set for the students? invitation from “relations,” the Städelschule began cooperating last fall: “ACAD­ Dietrich: From the very start we didn’t want to EMY REMIX” brings together art students from Frankfurt/Main and Prishtina set out any concrete definition of what should and discusses the question of what an art academy should accomplish today. emerge out of the exchange. For us it was im- portant that the students seize the initiative, and we wanted to refrain from formulating some title that would set out a working thematic. project between students from Germany and We, therefore, had no idea which direction the This is a Historical Kosovo, one of the starting points was to extend whole thing would take. The most important the self-understanding of art academies. Hence, thing in our view was that the students concen- how can we create a dimension of cooperation trate on their art projects, step out of their own Opportunity for Us that is not tied to one place or another? It’s not trusted environment, and work with people a matter of presenting what we have or what from another culture. And that’s worked out we do in the Städelschule, or vice versa. What really well until now. Nikola Dietrich, Portikus curator, and Dirk the motivation behind the title of our project: really matters is to create a format that all of a pertinent description of the situation without the 25 participating students can work on con- Erzen Shkololli, how do you plan to press on Fleischmann, artistic coordinator at the Städel­ speaking about the political system. With this tinually throughout a whole year. In doing so, after the “relations” project comes to an end? schule, form the artistic direction of “ACAD- title we wanted to stress that we are trying to the project operates on two levels: on one level fill voids. We want to make it easier for com- there are the students’ individual art projects Shkololli: That’s always a difficult question and EMY REMIX” (together with Mehmet Behluli). ing generations. We’re trying to at least do this, which they have developed here in Frankfurt not only in Kosovo. The interest in initiatives Here they exchange ideas and impressions because, after all, we don’t have the power to and/or in Prishtina; the other level is made up that are somewhat smaller in scale always fades change all the structures. of the theoretical seminars and group projects. at some point. But “Missing Identity/ACADEMY with Erzen Shkololli, director of the art project The great thing is that this exchange generated REMIX” is the first project of its kind to take “Missing Identity” in Kosovo, about the encoun- What problems do students in Kosovo have its own inner dynamic from the very beginning place in Kosovo. It is, therefore, immensely im- to contend with? and the students more or less automatically portant that we continue with our educational ters between the students, astounding dynam- developed projects which required assistance programs, exhibitions, and artist exchanges. ics, and concentrated work for new contexts. Shkololli: There are so many! The art acad- from their counterparts. As we arrived in Prish- emy in Prishtina, for example, is still firmly tina with the Städelschule students in April, There is no chance of changing the existing stuck in the 1970s; it is poorly organized and it was amazing to see just how much interest structures in Prishtina? Erzen Shkololli, you are co-founder of the conservative. There are no exchange programs there was in us and how much support we re- “Missing Identity” project. What does identity and no teachers are brought in from outside. ceived from all sides. Not just from the students, Shkololli: Of course, it would be great if we mean in this context? And what else is miss- Our greatest problem is the lack of informa- but from all sorts of people in the city as well. could have an impact and give new impetus ing in Kosovo? tion and communication with the international to such efforts, but this is foremost a question art world. The academy curriculum only of- For example? of finances and infrastructure. It goes without Erzen Shkololli: A great deal was missing dur- fers subjects like painting, design or sculpture. saying that any participation by our Ministry of ing the ten years of the Miloševi´c regime. And That’s why we founded “Missing Identity.” We Fleischmann: We invited the artist and art crit- Culture and Education would be beneficial, but not only in everyday life, but in the art scene never had the intention of changing the acade- ic Ronald Jones to hold a theory seminar. Upon we have yet to receive any signal from them that as well. If I have to speak for the art world and my, which is impossible in any case. We simply arriving in Prishtina, he wanted to realize a would give cause for optimism. That’s why we my generation of students then I must say that wanted to offer young people an alternative. garden project because he works on these kinds want to approach other foundations and spon- many of us had never heard of the Manifesta; of projects as an artist. It was unbelievable to sors, both local and international. And within we didn’t know what the Documenta is, or what Nikola Dietrich and Dirk Fleischmann, what see how much infrastructure was put into place our own center we are trying to put structures a contemporary exhibition looked like. All the were your expectations when you joined the within four or five days, providing the project into place that enable us to generate some kind art that was being created at this time hung in joint project “ACADEMY REMIX”? with the required basis. of income. It is very important to us that we pizzerias or cafés. There was nothing that could carry on. really be taken seriously. Things only began Dirk Fleischmann: As we were pondering The first joint meeting between the students to improve after the war. This is more or less the best way of going about such an exchange had already taken place in Frankfurt in Interview: Dr. Sandra Danicke February. Was the experience there similar? Dr. Sandra Danicke lives as a freelance journalist in Nikola Dietrich: It was very intensive. It was Frankfurt/Main. the first time that the students had gotten to- gether, although they’d already had contact and Mehmet Behluli: see page 4. exchanged some ideas via the internet. They’d Ronald Jones: US artist and art critic, professor for already looked into the planned projects before Interdisciplinary Studies at the University College of Arts, their departure, and after their arrival the first Crafts and Design (Konstfack) in Stockholm. His works seminars and discussions were held, dealing, challenge questions of identity and its positions and fea- for example, with what an art academy is or ture diverse garden projects (for example, “Außendienst,” should be. We also visited other art institutions Hamburg 2001). in Kassel, Düsseldorf, and Cologne, where the Kosovo students were able to view exhibitions and meet curators and directors.

What did the Kosovo students expect to gain from the collaboration with the Städelschule?

Shkololli: This is a historical opportunity for us in that young artists can come to Frankfurt and work with people from the Städelschule in the framework of an exchange project. The way some of the working groups have developed is absolutely amazing. The students were really

Workshop in Prishtina (April 2005): Students from the Städelschule, Frankfurt/Main, in Kosovo. ART Center, Faculty of Fine Arts, University of Prishtina. Photo: Dirk Fleischmann. Photo: Dirk Fleischmann.

read relations no. 3 08/2005 /24 What Can, What Should an Art Academy Accomplish Today?

Two statements by Prof. Dr. Daniel Birnbaum, President of the Staatliche Hochschule für Bildende Künste – Städelschule Frankfurt am Main, and Mehmet Behluli, lecturer at the Academy of Fine Arts Prishtina, director of the “Missing Identity” education program, and project leader of “ACADEMY REMIX.”

Vagueness as a Virtue Mission to confuse by Prof. Dr. Daniel Birnbaum by Mehmet Behluli

A strange question perhaps, but hardly a super- departmental fields. But to abandon awareness I have been teaching at the Faculty of Arts in out on an adventure. After all, isn’t the explora- fluous one: what is an art academy? There was of the historical development of art and the tra- Prishtina since 1995. The school was estab- tion of the unknown the goal of all art? a time when the continuous production of what ditional skills of artists would perhaps be even lished some 30 years ago and has not experi- was officially viewed as “good art” was organ- more problematic. After all, we have come a enced many changes since then, particularly I believe that everyone has a certain “dose” of ized according to set rules. Which rules are in long way since Cennino Cennini gave the fol- not for the better, or at least not in the way I creativity within themselves, and with that in force today? lowing advice to young artists in around 1400: understand what “good” should be in an art mind, the greatest challenge then becomes how “Begin to rub color after color: take a porphyry school. to stimulate that creativity, how to break loose In 2001, Christian Bode, Werner Becker, and stone, not too smooth, flat at the bottom, in the from stereotypes, and how to be unique, both in Claudius Habbich published a book on educa- shape of a cup, a little smaller, so that the hand With the precision of a Swiss timepiece, this artistic expression and in general. tion in Germany. One of the authors came to the has a good hold, and direct…” kind of environment defines what is to be con- following conclusion: “The art academy, a state- sidered art and what not, what is good art and To achieve this, we need to take a totally differ- funded refuge for art teachers and students still In a more concrete sense than most other uni- what is bad, what is of value and what is not, ent approach. Young people studying art should vested with generous freedom, has long ceased versity institutions, art academies are always what is culture and what is not – in short, the be treated as artists and individuals who have to be as unchallenged and undisputed as many defined locally. No matter how large or inter- teachers know everything and have an answer something to say. We should have the patience speeches held on solemn occasions would have national the city as such may be, the local art for every question. And on the other hand, there to listen to them and show them respect. Be- us believe.” And then the following sentence by academy will always display qualities not to be are the clueless students who know nothing; at sides this, perhaps the most important attribute the German art historian Wieland Schmied is found anywhere else. On the one hand, this is best, when they’ve completed their studies they we teachers should have is to act as mediators quoted: “Today – and it has been for some time, something we can only welcome. Who should supposedly will have a vague idea about what and moderators. We are a reservoir of infor- if not from its very beginnings – the art acade- define the local “art situation” if not the young art is? mation on old and new artistic practices and my is a pure contradiction.” Obviously, drawing artists studying in the city and the professors versed in the basic principles of philosophy, a “personality profile” of today’s art academy is who are their teachers? On the other hand, This is not the only attitude that I detest. Nev- sociology, and communications. This is what by no means an easy task, but at the same time academies can all too easily become enclosed ertheless, I continue to teach there and often we should be imparting to our students, not en- the vagueness and elasticity of its identity is microcosms, without any contact to the rest of ponder the saying: “…if you can’t conquer your crusted views and articles of faith. We should not solely a problem; rather, it is a virtue that the world and, seen in this way, somewhat pro- enemy, then confuse him.” Half jokingly I often teach openness. the art institution shares certain qualities with vincial. If an academy develops the ambition tell myself that my main “mission” at the Prish- other interesting places of discovery, reflection, to open itself completely to the international tina Faculty of Arts is to CONFUSE …mainly With the “Missing Identity” project we want to and production, like the laboratory, for example. art world, then it can end in anonymity. An art the students or the artists who may happen to utilize these principles as a platform for offering academy is not the same as an international drop by. The strategy I pursue to achieve this young Kosovar artists an alternative. We want An art academy that wants to be in tune with art fair. To remain interesting it must interact is quite simple: install DOUBT as the highest to show them how they can communicate and the times must take this trans-disciplinary situ- with the local culture and find its own identity value. If artists have to learn one thing, then it exchange ideas with others, while maintaining ation seriously. It would be reactionary and in this paradoxical mixture of local and global is this: doubt what is proclaimed to be good and a critical distance to the phenomena of their im- stubborn to insist on the important role of the elements. what not, what we can do and what not, what is mediate and more remote environments – and possible and what not. This doubt is the driving how to utilize the potential of this positioning in force that makes artists search and sends them their future artistic production.

The columned hall of the Städelschule, Frankfurt/Main. Photo: Lisa Jugert. Contemporary Art Institute EXIT, Prishtina. Photo: Lulzim Bejta.

read relations no. 3 08/2005 /24 The Utopian Garden

Language games, drawings, tumbling expectations: a working visit with the Städelschule to EXIT in Prishtina.

“Building Art,” a project by Paul Wiersbinski (poster). “The Slang Office,” a project by “The Garden Project,” initiated by Hanna Hildebrand and Maria M. Ronald Jones. Photo: Matthias Scholten. Loboda (poster).

If you’re looking for a symbol of the situation in Kosovo, this church could be it. In the mid- dle of Prishtina, highly visible on an empty, desolate square in front of the National Library, is the shell of a giant Serbian-Orthodox brick cathedral: without plaster, without doors and windows, fully empty inside, but on the top a large, golden cross. Miloševi´c had it built be- ­fore the war began. Now it just stands there, unfinished and fenced-in with barbed wire. It stands for the past, a time when the Serbian mi- nority dictated the life of the Albanian majority. It stands for the war, it stands for the upheaval. And it stands for the present standstill, mark- ing time in a country that is not one legally but, Power failures are a recurring event, and often The American artist and theoretician Ronald And the projects from Prishtina have also be- under the protectorate of the United Nations, is a generator needs to be called on. Most of the Jones intuitively creates a fine balancing act in come more concrete in the meantime: Anita still part of Serbia-Montenegro. While building students are enrolled in the nearby state art the EXIT academy. He provocatively lines up Baraku and Flaka Haliti are developing a game is going on all around it wildly and excessively, academy – but they haven’t learnt what they ethical next to aesthetic criteria: he uses images for translating one medium into another, based it stands there and waits for circumstances to know about contemporary discourses there. from Rwanda to speak indirectly about Kosovo. on “Chinese whispers.” Diamant Bytyqi is or- settle. Their knowledge stems from the alternative Such art historical interpretations interrelat- ganizing a library exchange of electronic music; EXIT program – a circle of artists around Erzen ing world events are uncharted territory for the while Dita Et‘hemi, Blerta Zabërgja, Flaka Haliti Paul Wiersbinski chose this abandoned ruin Shkololli, Mehmet Behluli, and Sokol Beqiri. students from Prishtina, and while much of it is and Vesa Kada are using photography to play with as the object of his project: he asked passers- These three belong to the generation of artists old hat for the Städel students, Jones manages the prejudices tied to different physiognomies by what they would think if German investors shaped by the experience of war and who have to convey to them indirectly an inkling of what in both countries. Together with Claudia Gaida had it gilded – as a kind of monument. And if enjoyed some international success, therefore, has happened in their own land. from the Städelschule, Sead Rama is planning an art academy was to be built next to it? Basi- putting them in a position to transmit what’s to put on a workshop for school pupils in both cally nothing surprises the passers-by anymore; going on in the international art discourse to Ko­ The time has finally come to further develop the of their home cities. Fitore Nita Salihu is plan- and they don’t really feel like talking about such sovo. Most of their students, however, had never student projects. What once emerged from the ning to “transplant” landscapes from one coun- plans, especially since communication via an been abroad prior to their Frankfurt visit – visas drawing-board in Frankfurt now has a concrete try to the other, using giant billboards. And in interpreter is difficult. For the 21-year-old Städel are difficult enough to obtain, let alone money. context: Adrian Williams and Shannon Bool are video interviews Sabile Tmava is comparing the student Paul doesn’t speak a word of Albanian starting up a book-exchange project in the Na- prejudices on both sides with the judgments and arrived in Prishtina only yesterday. In the beginning, expectations tumble. Although tional Library, involving artists from Germany then made after real encounters. the gin and tonic is unbeatably cheap and the and Kosovo. Anna Kerstin Otto is working on Paul has traveled to the former Yugoslav region “Strip Depot,” a Western-style café with a large an art magazine that is to be released in both But perhaps the most metaphorical and utopian together with under two dozen other fellow stu- comic collection, is quickly established as the countries; Matthias Scholten, in collaboration work has arisen out of Ronald Jones’ workshop dents, as well as the Portikus curator Nikola favored bar, the unfamiliar working conditions with the Kosovar Erodita Klaiqi, is developing as a collective project. A garden with a view Dietrich and Dirk Fleischmann from the Städel­ are anything but simple. Maria M. Loboda and an urban planning project; and Lasse Schmidt over Prishtina is to be developed, opening up schule. Their trip is a follow up to the trip made Hanna Hildebrand have developed a project Hansen is exploring his interest in the routes a new vista of the capital, as Jones raves: “An to Germany the preceding winter by a group of that deals with the possibilities of slang: invent- taken by everyday goods in globalized trade. expression of gentle force, the garden will once fourteen students and three teachers from Kos- ing a language of one’s own as an act of libera- Anna Ostoya is collecting drawings that re- again show how important art and design can ovo. Until the end of the year at least, the vener- tion – or “language games” as Ludwig Witt- construct childhood memories from all those be. Because it will inevitably be an allegory for able Städelschule and the small, self-organized genstein would have put it. They’ve prepared involved; Özlem Günyol and Mustafa Kunt are what Kosovo will become when things are no art school EXIT in Prishtina have entered into a radio show and are advertising it with comic photographing the different borders of Kosovo longer in transition, but renewed and enduring an exchange program within the framework posters. But when people like Migjen Kelmendi as a form of documentation. Taner Tümkaya forever.” of the “relations” project “ACADEMY REMIX” (publisher of the important oppositional weekly is planning to return on his next visit with a – two rather unequal partners. JAVA) begin to brim with enthusiasm for the camper and his younger brother. Florian Malzacher idea – as someone who has been calling for a The Städelschule is regarded as one of Europe’s return to Gheg, the Kosovan language used in Florian Malzacher lives as a freelance journalist in finest art academies, and it’s a reputation its everyday speech (as opposed to Tosk, the Frankfurt/Main. students firmly believe in. Their teachers are language of standard Albanian) for some time outstanding artists from across the globe and now – these “language games” become in- the academy’s facilities are capable of accom- volved in a serious national issue in Kosovo. modating the demands of a creative environ- The project evolves through these kinds of mis­ ment on an everyday basis. In contrast EXIT is understandings. a humble counterpart made up of a couple of offices, and two or three rooms for seminars.

read relations no. 3 08/2005 /24 WILD CAPITAL / WILDES KAPITAL

Systems are abstract, but their manifestation is visible – particularly in public space. The “Visual Seminar” project in Sofia analyzes visual cultures in so-called transformation societies (between socialism and capital- ism). “relations” brought together the Bulgarian artists and theoreticians with the Kunsthaus Dresden for “Wild Capital.” As its central theme, the project deals with the dissimilarity between visual elements dominat- ing urban space in Sofia and Dresden and the impact of economic processes on their symbolic character.

The City as Mirror

Informal economies versus over-regulation of urban space: Christiane Mennicke, curator and director of the Kunsthaus Dresden, on “Wild Capital / Wildes Kapital.”

“Socialism is victorious” – for several years this Whereas in Sofia mafia-like machinations and slogan stood in bright neon letters on the Pirna informal economies determine in equal meas- Gate, a residential complex with restaurant and ure the face of the city and contribute to the bar located in the heart of Dresden. It was dis- sense of powerlessness pervading the critical mantled overnight at the end of 1980s and now culture scene, in Dresden the excessive “or- survives solely in memory, for instance, in Via der” and the systematic blending out of histori- Lewandowsky’s contribution to the project cal and social development processes through “Heimat Moderne” in Leipzig. Although the visual stringent “image politics” are generating an in- features of cities have changed dramatically in creasing discontent amongst critical voices. To the course of the transformation from socialism what extent is it possible, however, to effectively to the new social system, it is barely conceiv- differentiate the social and visual manifesta- able that a slogan proclaiming “capitalism is tions of capitalism according to the categories victorious” would flash across a building today of “wild” or “civilized”? Informal economies, and promote the new economic system. Never- tourist marketing, monument protection, civil theless, the system change is clearly visible in society potential – or its absence – and access to new buildings, advertising, the reconstruction the media are some of the results of the political of historical buildings, and the tourist market- development processes between German unifi- ing of urban spaces. cation and EU accession negotiations.

“Wild Capital / Wildes Kapital” is the title of a Today, a significant proportion of the Pirna project taking place in late summer and winter Gate building complex in Dresden’s inner city in Dresden, a project based on encounters be- is vacant. Laws of the jungle, predators – this is tween Sofia and Dresden. It owes its origin to only a tiny sample of the metaphors that were “Socialism is victorious” – the Pirna Gate in Dresden, 1969. Photo: W. Viebig. two initiatives which emerged independently of taken from the animal kingdom in the past to one another: the “Visual Seminar” in Bulgaria, describe how capital behaved, and such a meta- a project of the Institute of Contemporary Art phoric is currently enjoying a revival. To what in cooperation with the Center for Advanced “civilized” capitalism of a Western character How are post-socialist cities changing in terms extent informal economies or the regulation Study, both located in Sofia, devoted to plotting regulated through institutional ordinances, of their architecture and utilization concepts of access to urban spaces and active economic and analyzing the changes in the cityscape dur- and the other a “wild,” unregulated version, under the primacy of economic competition involvement will determine the respective ho- ing the transition from socialism to capitalism; typical of the former Eastern Bloc. In Dres- and privatization? What types of conspicuous rizons of future development, what impact this and a group of artists, curators, and other cul- den, strict regulations and specifications for visibility and dissimilarities in the cityscape will have on the symbolic capital and the social tural participants from Germany and western urban planning, hand in hand with efforts by are generated by economic processes? How are reality of urban spaces, and how ideas and ex- Europe who have worked on the social changes local authorities and private entrepreneurs to social transformation processes reflected in a periences of “wild” and “civilized” capital can to the urban space in Dresden for a number of exploit the city’s tourist potential, have led to city’s appearance and which interests lead to a be exchanged between founding EU Member years, for instance in the project “DRESDEN a focus on the “historical heritage” and a ho- new ordering of public spaces? These are the States and accession candidates – these are the Postplatz,” and continue to be active in the cir- mogenous, streamlined “image” of a “Baroque” initial questions which the curatorial teams in issues to be broached by a series of public guid- cle around the Kunsthaus Dresden. The deci- old city center, disregarding the dissonances Dresden and Sofia are pursuing for the duration ed tours, lectures, and workshops in August, sive factor for the ensuing cooperation with the of the real historical fabric of the architecture, of their very different projects and activities. and an exhibition (including artistic interven- project “Wild Capital / Wildes Kapital” was the which ranges from nineteenth-century histori- Corresponding to the real conditions observ- tions) in Dresden’s urban space in December/ encounter between both projects within the cism to the socialist modernism of the twentieth able in Dresden and Sofia, these questions have January. “Wild Capital / Wildes Kapital” exam- framework of “relations.” century. The extreme opposite can be observed necessarily led to different outcomes and theses ines, on the one hand, the urban structures of in how Sofia’s city center has developed: here – and to an urgent need for extensive discussion capital, and, on the other, understands the strat- Both cities and local authorities in Sofia and what one might call “wild” capitalism reigns, or and controversies, which actually makes up the egies and methods pursued by those involved Dresden found themselves, and continue to at any rate this is where the scantly regulated productive friction to be generated by the “Wild in the workshops and other contributions as the find themselves, in a process that is gener- priorities of a great array of parties interested in Capital / Wildes Kapital” project developed in “wild” capital of civil society, excluded from the ally described as “structural transformation.” utilizing urban space have come into their own, Dresden in dialogue with the protagonists from official planning processes. However, the economic processes within this ranging from pioneer capitalists in the form of Sofia. overarching process could be grasped roughly wild advertising spaces, food stalls, and kiosks, as two different variants of capitalism: one a to the mirrored-glass architecture of large inter- national investors.

read relations no. 3 08/2005 /24 Logo: Dirk Lange of the artist group STAFETA, Dresden.

read relations no. 3 08/2005 /24 The Logic of the Symptom

The Bulgarian philosopher Boyan Manchev on the methodology of “Visual Seminar.”

Svetla Kazalarska, “On Route 76,” Sofia, May 2005. Krassimir Terziev, “A Movie,” 2004. Photo: Bogdan Penev.

In a city undergoing such tremendous transfor- discourse is that it ultimately forces its adher- images, Boyadjiev, for instance, succeeds in re- and last but not least, the interested public. To mation like Sofia, where neo-liberal economics ents to become apologists for a liberal economic vealing how the distinction between public/pri- mobilize as broad a public as possible, “Visual is changing the historical, architectural, cultur- model, which they regard as a manifestation of vate in urban space is blurred, if not erased. His Seminar” also promoted “game” strategies, such al, and social surfaces, intangible political mat- post-modern heterogeneity. Although these two critical interventions revealed something of cru- as a telephone number to register complaints ter acquires visual density: it suddenly becomes responses judge the situation entirely differ- cial importance: that visual politics is substan- about “visual pollution” and an internet vote on intensively visible, even tangible. Public space ently, they share the same starting point: both tially related to the place, to the local space. His Sofia’s most superfluous building, which was becomes visual space. This phenomenon de- proceed from a logic of exception, implying a works are manipulated shifts, displacements, then awarded the nickname the “mirrored rasp- mands critical reflection on the visual environ- kind of ontological opposition between the ideal and rearrangements of the city’s visual surfaces: berry.” Our activities do not provide instructions ment and certain forms of visual politics. prototype and its inferior copy. washing hanging from the windows of the for how to train critical seeing or instigate spec- parliament building, or an advertisement for a tacles for practicing it. We can only hope that This was the a priori critical position that the We counter this explanatory model with a dif- small Roma family business (“Stephan’s Bri- we have provoked our fellow citizens enough so “Visual Seminar” took as its starting point. It ferent king of logic, the logic of symptom. This gade”), the size of a billboard, that was placed that they begin to see and imagine their city dif- seems important to comment firstly on the logic avoids reducing the merciless manifesta- on the façade of the former czarist palace (today ferently. project’s methodology, which, at least in my tion of capital in a city in upheaval like Sofia to the National Art Gallery). Obviously this latter view, was one of its most original achieve- an ontologically different version of capitalism, manipulation contained something uninten- Dr. Boyan Manchev teaches philosophy at the New Bul- ments. The main methodological challenge was seeing it instead as a symptom that reveals its tional that touched upon an important political garian University in Sofia and the International College the need to formulate new ways of translating hidden structures. The presumed absence of unconscious: on the eve of the municipal elec- of Philosophy in Paris. He is a member of the advisory the critical attitude and the aesthetic activity regulation in Sofia does not mean that there is tion, the image of “Stephan’s Brigade” was in- board to the “Visual Seminar” project. of the intellectual and artistic elites into social an absence of violence, neither in its transgres- terpreted as a caricature of the current (and lat- action. Or I should rather say, into a critical in- sive nor repressive forms. Indeed, the present er re-elected) mayor of Sofia, Stephan Sofianski. The “Visual Seminar” fellowship program is incorporated teraction with the urban population that would visual environment of Sofia is extremely restric- Why the image of a modest Roma worker into the Center for Advanced Study Sofia (CAS) under the provoke a response and so enable influence to tive. This is an outspokenly homogeneous, ex- should be taken as offensive when identified directorship of Alexander Kiossev; the program promotes be exerted on the city’s local decision-making clusionist environment, an environment that is with the image of the city mayor, is, of course, collaboration between artists and social researchers. institutions. imposing severe role models and in this sense the symptomatic question arising here. a repressive space over-regulated by economic This methodological debate necessarily implied interests. These interests are translated into im- But “Visual Seminar” not only fosters critical a confrontation with the different critical sen- ages, often violent in intent and forceful in their interventions “irritating” the symptom, it also sibilities and voices on the ongoing transfor- imperatives. cultivates “therapeutic” strategies: recollecting, mation of the city. The critical positions can be reintegrating, and rearranging the city’s visual roughly divided into two camps. In one camp This is why “Visual Seminar” did not join any worlds. This was the aim of Svetla Kazalarska’s is the dominant critical reaction that stresses struggle to restrict visual spaces. We were more recent project “Route 76.” The project proposed the abnormality of the situation. It presupposes interested in critically resisting the new brutal a “cultural heritage trail” along a single pub- a kind of universal (and, of course, fictional) regulations of public space and the monopoly lic transport route – bus 76 – that connects two norm, that of a European urban model. This of economic interests in the city’s living space. outlying residential districts without any ap- position, shared by the majority of the public, Whether artists or theoreticians, the main cri- parent historical or cultural value. The project considers the ongoing transformation of the city teria for selecting the “Visual Seminar” fellows aroused the curiosity of Sofia’s citizens for the to be aberrant to its European character and as was the symptomatic value of their projects, “small” histories and images in their trusted but a process that will culminate in its “orientaliza- their potential to generate critical analysis, or generic neighborhood. tion.” This discourse deplores the absence of even how irritatingly confusing their “counter” regulation in the urban environment, naturally symptoms were. The symptoms are more than Such was the vein of the theoretical works un- blaming the corrupting force of new capital just signs that can be read with the aid of an dertaken by the “Visual Seminar” members, and the mechanisms of a free market economy adequate hermeneutic tool; rather, they are the which ultimately aims to compile a “conceptual for the deplorable state. In the other camp, and result of a critical intervention, an intervention dictionary” explicating descriptive and interpre- following the same impression of “deviation,” whose sense resides in creating open spaces tive tools for the ongoing processes affecting the there is the contrary position, the emancipa- – where blindness becomes in-sight. visual environment. These tools were placed tory, “anti-repressive” discourse. According to under the microscope at the public discussion this position, in contrast to the over-regulated Such a strategy of irritation was perfectly exem- forums organized by the “Visual Seminar,” space typical of other European capitals, the plified by the projects of Luchezar Boyadjiev, X- which were attended by architects, municipal urban space of Sofia is permissive – and, con- TENDO, Krassimir Terziev, and Yavor Gardev, decision-makers (before the local elections sequently, its actual situation is positive rather all of whom were fellows of the “Visual Seminar.” the mayor of Sofia and the rival candidate), than negative. What is paradoxical about this With his own radically confusing and irritating multipliers, investors, artists, publicity agents,

read relations no. 3 08/2005 /24 Come, See, Act

Two artist groups describe how they are approaching the project “Wild Capital / Wildes Kapital.”

Reinigungsgesellschaft, “‘Rubble Women’ on Modern Urban Wasteland,” 2005.

Observatorium, “DRESDENPostplatz,” 2003. Observatorium, “Amersfoort Vathorst,” Netherlands, 2004, commissioned by Heijmans BV.

“Observatorium,” One of our ideas for “Wild Capital / Wildes Ka- “Reinigungsgesellschaft,” Some 1,800 Vietnamese are currently living in pital” originated as Christiane Mennicke told Dresden. Many of them came to the GDR as Rotterdam: us of her wish to move the Kunsthaus Dresden Dresden: workers or students to learn or practice a quali- Moving Knowledge from the picturesque Neustadt to the 1960s the Activists’ Garden fied occupation. And they stayed, even after Pirna Gate complex. We envisaged making the the firms where they worked closed down. Ms institution’s creative capital visible to the en- Thien Hoa speaks of her wish that Germans Friends and acquaintances of “Observatorium” In the wake of Dresden’s building boom of the tire city by having a colorful parade of people should gain a sense for how relative difficul- are always out and about. Why? Filming in 1990s, there are currently 40,000 vacant apart- transport the form and content of the Kunsthaus ties, unemployment, and lack of prospects can Moldova, doing construction work in Jordan, or ments, and 400,000 m2 of office floor space Dresden across the Elbe Bridge. We envisaged be. Other concerns of hers are to generate a the lure of a guest studio in China keeps them remains without tenants. In Johannstadt, a dis- a traveling exhibition that put the art institu- sharper awareness for the public sphere and to on the move. Nowadays the list of journeys trict close to the city center, residential blocks tion itself on show. In our vision the sharehold- encourage citizens to become actively engaged. abroad in pursuit of trade is long as well. This alternate with properties swamped by vegeta- ers and investors of cultural capital would then is how you can reap knowledge, influence, and tion, new developments, and wastelands. play the role of the movers. Ideally, this vision “Reinigungsgesellschaft” established contact create turnover. But when “Observatorium” would be organized and realized in cooperation with the operators of the citizen’s garden on be- traveled to Sofia last fall at the invitation of “re- A group of Vietnamese women are clearing with Krassimir Terziev from Sofia, because he half of “Wild Capital / Wildes Kapital.” Concrete lations,” all we had written down on our list away the debris of the district’s extinct indus- has already masterfully depicted the uncertain- examples like this one are to highlight the rela- was “establish contact.” trial age and transforming wastelands into ty surrounding the future of Bulgarian cultural tions between informal economies and thematic “blooming gardens.” Through the voluntary capital – in a move that came to a standstill. fields like urban development and intercultural As guests of the “Visual Seminar,” we were in work of the Thien Hoa Minh family, a disused dialogue. We are inviting participants of the Sofia to look around and listen. We were enticed municipal property was converted into a public The joint staging of this move would provide “Wild Capital” workshop being held in August by the idea of grasping something that lay out- garden in 2001. Today dahlias, roses, and fruit a unique opportunity to bring, along with the to meet the activists. Entitled “Informal Econo- side our own lives. We were interested in peo- trees flourish where boundary walls, rubbish, inventory, ideas and knowledge from one bank mies,” this meeting on the initiative’s terrain ple we’d never heard of before, and we listened and building rubble once lay. of the river to the other. It would be a cross be- provides an opportunity to enter into new col- to stories that were dissimilar in all respects to tween a move and a demonstration, with plac- laborations for the next phase of “Wild Capital / the ones we could tell. If the goal was to aston- The Thien Hoa Minh family found dealing with ards and slogans, in Cyrillic as well. But stop! Wildes Kapital.” ish the world and, thus, inspire philosophical the bureaucratic by-laws difficult in the begin- – we’re getting ahead of ourselves. reflection, then this was to be largely achieved ning. But the city council’s active cooperation, “Reinigungsgesellschaft” acts as a project group at the here. combined with persistence and lots of effort, “Observatorium” (André Dekker, Ruud Reutelingsperger, crossroads between art and society. Martin Keil and soon convinced other citizens, firms, and build- Geert van de Camp) works at the interface between Henrik Mayer are for a “watchful perception” from If you were to ask “Observatorium” what we ers to lend their support to the project. Together architecture, urban planning, and landscape architecture, which interventions then result. Their exhibition projects have planned for the project “Wild Capital / with people taking part in job-creation schemes focusing on “art with a function.” Their projects are first include: “Arbeite mit, plane mit, regiere mit!,” Kasseler Wildes Kapital” in Dresden, our answer would and employees from a nearby educational brought to completion when the users put them to use. Kunstverein (2005); “The City of Cool,” Leipzig-Plagwitz be: we don’t know. At “Observatorium” we agency, the women got to work on cleaning up Their projects include: “Dwelling for Seclusion,” New (2005); “Autonom ist nicht einmal der Mond,” Lothringer think after we act. In principle, “Observato- the 5,000 m2 area, collecting rubbish in sacks, York, 1997, (Bauwelt Prize 2001); “Autobahn Observato- 13, Munich (2005). rium” begins the “thinking process” only when digging up cobblestones, and filling contain- rium A20,” Rotterdam, 2001, (Asfaltprijs 2004); “Sechs www.reinigungsgesellschaft.de something has already been set in motion, ers with rubble. They then laid out flowerbeds Zollhäuser für Zeche Zollverein,” Essen, 2005-2006. when something has happened. Then we comb and began to realize their ideas for the design of www.observatorium.org the place where our art is supposed to take the entire area. With ingenuity and improvisa- place and search for stories. We bring nothing tion a counter model based on mutual help was ready-made with us, but are ever looking out tested out. For example, building workers from for whatever provokes us, for initiators or ne- the adjacent supermarket construction site used cessities. Our capital is our longing, in an age of their excavator shovel to dig out larger chunks haste and fast-moving changes, to build places of rubble and heavy paving stones. In exchange, of silence, contemplation, and aloofness. For the women cooked them lunch throughout the this, we need contact to the people there and building work. Such a form of barter economy their approval, because our sites are to be used is to help spark a sense of community, ex- and appreciated. We bank on the capital of so- plained the women, who have an accountant, a cial existence. specialist in German studies, and a vocational school teacher amongst their ranks.

read relations no. 3 08/2005 /24 ALTE ARTE The first step is always the most difficult, and sometimes it almost seems impossible: by the time “ALTE ARTE,” initiated and realized by artists, premiered on the state-run channel, twelve months, six station di- rectors, and diverse power failures had occurred. But since going on air in January this year, “ALTE ARTE” has managed to establish itself as the first art and cultural magazine to be shown on Teleradio Moldova. Each fortnight, the program’s reportages and artistic works provide its audience with an insight into current developments on the local and international art scene.

Opening the Door to Unknown Universes

An interview with Ilie Teleshku, director of Teleradio Moldova, on the success of an independent project on public television.

The Teleradiokompanija Moldawija (TRM) building – Teleradio Moldova. Photos: Olga Cebotari.

Mr. Teleshku, what was your first reaction always comes up at our conference meetings when you heard about the idea and concept where we discuss the qualities and drawbacks of “ALTE ARTE”? of the broadcasted programs. It fits in perfectly with our programming and complies beautiful- Ilie Teleshku: My first impression was curios- ly with the role of a public TV channel. Without reviews in specialist publications, for instance, ity: what do these guys want with this project? the financial clout of commercial stations, a in those put out by the Academy of Science. The second thought was about how the project public channel is obliged to produce programs Would you say that the cooperation between will fit into the texture of the already existing whose basic goal must be to serve society as a the state channel and the independent initia- programs shown on Moldova Television, with whole than attain great rating figures. “ALTE tive has proven worthwhile? their traditional form and message, let’s say, ARTE” fits into a special format along these with their specific Moldavian style? And sud- lines; it’s not addressing a public aged between Giving these guys the OK to do the program denly this project turned up, an idea that didn’t 14 and 70, but is targeting a clearly defined was good business for me. When the project’s fit the dimensions, message, background or audience. The program is opening the door to term comes to an end we’re going to propose form of our usual programming. Thus, once unknown universes, to art in all its diversity, a that we continue our collaboration, either in again, curiosity enticed me to take the second door that had been bolted shut until now. I am the same direction or perhaps with a different step — so I said: let’s see what happens. convinced that people involved in the arts are concept. also interested in the magazine. They watch So what happened? Did the show fit in? “ALTE ARTE” and begin to rethink their own Does the public station’s development strat- positions and revise their own creative activities. egy include programs that cover culture and It wasn’t easy. The project took a long time to cultural events and are different from classi- develop and it seemed as if a veritable century How open is the general television audience cal formats? If so, what role will they play in had passed before it materialized on the screen. for an art magazine and for art? your station’s future, which is constantly de- The producers took small steps, proceeding veloping and being reformed? slowly, probably because they themselves were Our public is completely ignorant of art that entering a new universe. Or perhaps this refus- is not broadly popular or known in Moldova. Our public channel status doesn’t offer us any al to rush things was also motivated by a sense “ALTE ARTE” shows new directions in art, new alternatives. We have to address both the major- of responsibility for the task they had taken on: ity and the minority, both tradition and innova- they were to present their work to a large audi- tion. We have to promote values that already ence with different opinions and expectations. genres that have great difficulty in warming the enjoy general approval in society, and at the The first broadcast then aroused the curiosity hearts of the people, like anything that is new. It same time prepare the public for confrontation of my colleagues: what’s going on? These ad- is indisputable that “ALTE ARTE” broadens the with values that are fully new, not understood venturous guys who are experimenting and try- viewers’ horizons, precisely by showing them or are being negotiated and debated. Even if ing out different things, attacking stereotypical artistic positions, long familiar to any European the artistic positions presented in “ALTE ARTE” ideas and the narrow mentality of our television art connoisseur. And in a way, that’s the point: have yet to become popular, we have to grasp producers? I must admit that the birth of this this is something that is just getting going in them as independent paths which may lead us new show forced some of our other art pro- our country. to previously unheard of realms in the art uni- gram-makers to revise their production tech- verse. And this is what we have every intention niques and general approach and look at art in How have viewers responded to the magazine? of doing: it is our mission and our obligation. a new way. Sometimes we just have to show the public The chairman has told me that people called up things that they reject at first or can’t accept. The initial difficult stage is now over, the the station, and that there was public response. Categorically. teething problems solved, and the show now But we missed the chance to invite critics to has a certain rhythm. It is integrated into the review the program and express their opinion. Interview: Marin Turea station’s programming, and then… Perhaps this was due to time constraints or a kind of ingrained inertia. But it’s never too late. Marin Turea lives as a freelance journalist in Chisinau. It has been integrated into the station’s profile, although I admit that at first some of my col- The critics are, though, frequent guests on Ilie Teleshku, 54, studied philology and worked for many leagues couldn’t quite accept the presence of the program. years as a literary editor. Since March 2004 he is director this show in our schedule. In the meantime, of Teleradio Moldova, the only public radio and television their doubts have been allayed. “ALTE ARTE” On it, yes, but it wouldn’t have hurt to have some broadcaster in Moldova.

read relations no. 3 08/2005 10/24 Awakening Awareness for Europe’s Productive Forces

Martin Pieper, chief editor for culture at ZDF/arte and one of the international consultants to the “ALTE ARTE” magazine, on utopias, artistic productive forces, and the constraining necessities inherent to media work.

Mr. Pieper, the Moldavian artist and initia- what they were seeing – whether it is a report life, social research, politics, and history into alized material that was already paid for. At the tor of the “ALTE ARTE” project, Pavel Braila, or an independent work that they can under- relationship with one another.” In your opin- same time however, it was pointed out repeat- described the idea of an art magazine on the stand as art. ion, what can an art program like “ALTE edly that the program had to refrain from mak- state-run television station as an “absolutely ARTE” contribute in this connection? ing explicit political statements, but that goes utopian undertaking.” How has it been possi- Can you give us a concrete example? without saying. And we shouldn’t forget that we ble to realize it then? To be able to answer this, one has to have a are once again in the field of art, with the ques- We took a video performance by Pavel Braila, clear notion of the target audience, that is, who tion: how subversive can or must art be? Espe- Pavel Braila is an artist, not a maker of televi- a very powerful piece whose iconography ex- the program is addressing. I think it makes a cially amongst the works in the program’s last sion programs. Inasmuch, he’s completely plicitly stood for what he intended for the pro- difference if “ALTE ARTE” is being broadcast section, there are quite a few which an audience right: “ALTE ARTE” is absolutely unique in the gram as a whole, and turned it into an identity in Germany or in Moldova or eastern Europe versed in art can decipher. television world and could only have been con- marker, as a kind of visual signature tune for in general. If we take the Moldavian situation ceived by an artist, in my opinion. Certainly, it the magazine. This trailer now introduces every as the starting point, then the issue boils down Do you know of a comparable project on is within the power of the artist to realize uto- program and gives the viewer an idea of what to the question of what art is actually capable German television? pias. What is extraordinary about “ALTE ARTE” they are letting themselves in for. I believe that of achieving. And then you quickly see that is that artists use the medium of television to the audience becomes restless and gets angry the spectrum of possible answers is extremely No, not really. Alexander Kluge’s television pro- express themselves and, so to say, create a one- if you leave them alone for too long. While you broad. I’ve only seen the pilot program and a gram, “DCTP,” might come close. It is the only on-one situation, because their contributions can certainly count on curious viewers, you also couple of contributions which were later not attempt I can think of that mixes reportage with are both television material and genuine art at have to tell them what they can expect to see. included, but I believe and hope that “ALTE genuine art. The culture magazines we have, as the same time. With Braila’s trailer sequence we were able to ARTE” can arouse an awareness for the pro- well as other programs focusing on art – such package the whole in a specific mode. We then ductive forces, for the dragging resistance, and as “West-Art” on WDR, “Bilderstreit” on 3sat or You were one of the international consult- took an item that was extensively explicatory: for the artistic discourses which are possible in “ARTE Kultur” on arte – are all shaped by the ants for “ALTE ARTE.” What exactly was your an artist telling about his very own personal an expanding Europe. I really do believe that a attempt to mediate and present art. task? situation. We also introduced a “service rubric,” program like “ALTE ARTE” and the “relations” and at the end of the program we present a projects in general are capable of drawing at- Can you imagine broadcasting a program My input was basically limited to stressing work where the viewer knows, ok, here some- tention to the fact that we find ourselves in con- like “ALTE ARTE” in Germany on a regular to those involved that the contributions must thing is being shown that has not already been stantly changing structures. basis? mean something to the people sitting in front of interpreted, but is itself a work of art. their television sets. But we didn’t change the Was there resistance to the project within the Difficult question. Personally I can see it work- contributions that much. What we did do was to The “relations” projects pursue a specific broadcaster Teleradio Moldova? ing. But in all seriousness, I don’t think that structure the magazine’s form, to create more goal, namely, and I quote, “to formulate such a program would have any real chance clear cut categories for the program, and so overarching, transnational questions out of As far as I know, no. The charm of the project here. My answer would therefore be: yes, but provide the audience with an orientation as to the local context which bring, art, everyday for the broadcaster was that it received fully re- on a different level, and arte is already doing this. We have formats that are broadcast late at night, such as “La Nuit/Die Nacht,” “Exhibi- tion,” or on the weekends the format about our studio visits, which try to do something similar. However, by “level” I don’t mean qualitative cri- teria, but instead the demographic knowledge of what interests our viewers. It is more of a feeling than a well-supported thesis: something like that would certainly arouse my interest, but I believe that it would be very difficult to realize in television – which is subjected to the rules of a mass medium economically as well. But it is possible that changes are afoot, particularly when the dissemination channels switch over completely to broadband and internet.

Interview: Ulrich Clewing

Ulrich Clewing lives as a freelance journalist in Berlin.

ZDF’s broadcasting center II in Mainz, headquarters of arte in ZDF. Photo/copyright: Silke Paradowski.

read relations no. 3 08/2005 11/24

Photo: Maria Ziegelböck. she deals with the imminent threat and the creation of security – aspects not only dominat- ing Bosnian society, but which are playing an increasingly important role here as well after displaced September 11 and Madrid. In contrast, for Edgar Arceneaux personal history is important: begun Whoever is in power, governs the present – and rules over history. Through in 1999, his installation project “Drawings of separatist “monument politics” in particular, the new national elites in the Re-moval,” for which he cuts out elements from drawings and reassembles them anew, em- former Yugoslavia are fortifying their power over history. “De/construction of blematizes precisely the process of remember- Monument” counters this manipulation with projects for open, de-ideologized ing and forgetting. monuments: at the request of the Bosnian project, the curator Kathrin Becker Both the public space as well as the monu- from the Neuer Berliner Kunstverein, in cooperation with “relations,” developed ments are thus grasped to a large extent as dematerialized – that is, we shouldn’t expect to the project “displaced.” Reflecting on the situation in Sarajevo, works are emerg- see an equestrian statue on a market square? ing on the principles of collective memory and the economies of attracting atten- And if so, then at the most as mimicry. All art- tion in public space that are particular to the West. ists involved share the view that contemporary art is deconstructive, and “displaced” is not to be some kind of city furnishing. It was clear from the very beginning that radio shows, interven- ing in subway advertising, or similar such ac- tions are possible. In this regard it is interest- Forming Counterweights ing to note in turn that the new monuments selected for Sarajevo within the framework of Berlin is not Sarajevo, but they have more things rated with history: for Sarajevo, World War I, and reflect the local context as well. How is this “De/construction of Monument” are all block the Balkans War; for Berlin both World Wars and connection being sought out? or cube shaped. In Berlin, the monuments take in common than the obvious at a first glance. the Wall. And last but not least, we should not on unexpected forms such as sounds, newspa- Kathrin Becker on city furnishings, fleetingness, forget that many war refugees from Bosnia fled Stih & Schnock strive to grasp analytically how per articles, and plants. In any case, there will to Berlin – this is another connecting element. history and memory are taken up as themes be an element of fleetingness in all the works. and raising awareness in public space. and the functions art performs in public space. And this fleetingness stands diametrically op- Are these parallels visible in the works for For ten days they will write a column for a posed to the immobile presence of monuments “displaced”? Berlin paper that focuses on life in Bosnia- and how they are thus susceptible to ideological “De/construction of Monument” is a project Herzegovina in a seemingly perpetual state of monopolization. about the symbolic content of monuments: it The works in Berlin emerge from an observa- emergency. The works of Danica Daki´c and analyzes the ideologies and relationships of tion, namely that the themes taken up in “De/ Maria Thereza Alves tend more toward poeti- dominance which only become decipherable construction of Monument” are symptoms: cal metaphors: Daki´c makes use of the human Interview: Christiane Kühl or visible at the moment they are erected or symptoms of social processes for the cur- voice, while Alves uses the plant world to show destroyed. What is it about this phenomenon rent state of a city. All of the artists involved in the interpenetration of history, economics, and Kathrin Becker is managing director of the Neuer and the debate accompanying it that inter- “displaced” have visited Sarajevo, except Šejla identities. As far as Šejla Kameri´c is concerned, Berliner Kunstverein and head of the NBK Video Forum. ests you? Kameri´c, who lives there in any case. Their one clearly notices that she is younger and has She studied art history and Slavic studies in Bochum, observations about Sarajevo are the trigger for grown up in a media-dominated world: her Moscow, and Leningrad. For “relations,” she has taken Kathrin Becker: For a long time now, I’ve been their works; they seek out correspondences strategies are public strategies. For “displaced” on the project leadership for “displaced.” interested in art from socialist countries and with the state of Bosnian society. The complexi- their successor states. Paradigmatic transitions ty of monument history will thus play a less sig- like those that have taken place in the former nificant role in the Berlin project than in Sara- Yugoslavia and Bosnia-Herzegovina are espe- jevo. It will be addressed in so far as all projects cially interesting: from a socialist notion of art, are being developed for public space. That is in particularly in the sense of an independent path itself already a statement on the issue of art’s pursued under Tito, to an understanding of art representative dimension. today that is revealing itself everywhere as a “dictatorship of the ethnic nation.” To typify this Which issues and questions are to be placed transition using the example of monuments in public space? opens up an interesting spectrum. Concep- tual art forms have had a great tradition in the Awareness for the dialectic between public former Yugoslavia since the 1970s. The doctrine memory/public amnesia and the economy of of socialist realism did not hold sway there as attracting attention. The project’s artists are not completely as in the states of the Warsaw Pact; working on the complexes of East-West rela- modernism was very much part of the official tions and monuments. But this is not motivated line on art. A very important part of the work by a sense that East-West history has been ex- undertaken in “De/construction of Monument” hausted as a theme; on the contrary, it’s just is the aspect of counterweights: forming coun- that there seems to be more pressing issues terweights to the conservative notions of art at the moment, namely generating awareness held by the new national elites. for displacement and how, in a media-domi- nated society, our historical memory is becom- “De/construction of Monument” counters an ing increasingly tied to agendas that seem to ethnically defined concept of nation preva- shift almost on a daily basis. And this naturally lent in Bosnia-Herzegovina with an artis- includes monuments. But today it is more im- tic corrective, one that focuses on cultural portant to focus on themes like migration proc- openness and communication. How can one esses, expulsion, and nationalization tendencies connect a project that originated in such a in the heart of Europe. specific political context with the reality in Germany? Therefore the title “displaced”?

On the one hand, there is no doubt that there is The idea for the title came to me under the im- a tradition here as well that ideologically appro- pressions left by my trips to Bosnia-Herzegovina. priates and exploits monuments – think of the From a European perspective one can say that monuments in East Berlin. And even our demo- the country is a “displaced nation,” in the sense cratic state has no qualms about demolishing of being excluded from Europe. Our project is the ideological signs of a past rule, a praxis of concerned with the condition of being ousted, or “damnatio memoriae.” On the other hand, the of being shunned. In a kind of reflex to what is monument in public space and its functions is a happening in Sarajevo, awareness is to be raised fiercely debated topic, especially in Berlin: and and enhanced in Berlin; the events are to be re- I’m not just thinking of the recent controversy trieved and re-placed in public consciousness. over the Holocaust Memorial by Peter Eisenman, but also the monument for Rosa Luxemburg. Nevertheless, the works – especially with And beyond this connection, Sarajevo and Ber- their being realized in public space – must lin are tied together in their being places satu- “Hotel Evropa,” Sarajevo, 2004. Photo: Kathrin Becker.

read relations no. 3 08/2005 14/24 Maria Thereza Alves, “What is the color of a German rose?” 2005.

Edgar Arceneaux, “Star Coviek Brdo (Old Man Hill),” 2005.

Danica Daki´c, “MS Berlin,” performance, 2005.

Šejla Kameri´c, “Bosnian Girl,” 2003.

Renata Stih & Frieder Schnock, “Sarajevo – 2005.” Copyright: Stih & Schnock, Berlin.

displaced in Berlin

Six artists have been invited to develop works for “Bosnian Girl” (2003), for which she combined Berlin within the framework of “displaced.” sexist and racist graffiti, found in Srebrenica and scrawled by a member of the UN Protection Force (UNPRO-FOR) stationed in Bosnia-Herze- govina, with a self-portrait. The work was then distributed as a postcard, newspaper advertise- ment, and in a poster campaign in various cit- ies, including Sarajevo, Frankfurt, and Berlin.

Šejla Kameri´c was born in 1976 in Sarajevo, where she still lives today. Solo exhibitions include “Close,” Maria Thereza Alves bases her work on the touches, in his very unique style, moments from National Gallery of Bosnia-Herzegovina, Sarajevo (2005) idea that the cultivated soil in both industrial- figurative art and word-oriented improvisation. and “Others and Dreams,” Portikus, Frankfurt (2004). ized and in developing countries is covered to Contributions to group exhibitions include “Another Expo a large extent by plant life that has migrated or Edgar Arceneaux was born in 1972 in Los Angeles, where – Beyond the Nation-States,” Gallery Level 1, Kitakyushu been introduced from the outside. This develop- he lives today. Solo exhibitions include “Project Space,” (2005); “I am here and you are there,” Galerie für zeit- ment will continue as it is estimated that over a San Francisco Museum of Modern Art (2005); “Negative genössische Kunst, Leipzig (2004); MANIFESTA 3, Euro- billion people will migrate from rural to urban Capability. The Michael Jackson Project,” Galerie Kamm, pean Biennial of Contemporary Art, Ljubljana (2000). areas in the next 20 years. In her work, Alves Berlin (2004); “Drawings of Re-moval,” Studio Museum is less interested in the consequences of such a of Harlem, New York (2002). Contributions to group exhi- shift for the ecosystem; she focuses instead on bitions include “The Imaginary Number,” Kunst-Werke, Renata Stih and Frieder Schnock live and the “local” stock of plants and seeds – frequent- Berlin (2005); “Double Consciousness: Black Conceptual work as artists in Berlin. Prof. Renata Stih ly found in the vicinity of large construction Art Since 1970,” Contemporary Art Museum, Houston teaches at the University of Applied Sciences in sites – which she then plants in greenhouses. (2003); “Persönliche Pläne,” Kunsthalle Basel (2002). Berlin (art & technology, film & media), Frieder Her experiments show that the seeds can sur- Schnock, a trained art historian (PhD) works vive as “sleepers” for decades after having been also as curator and art consultant. Their art is thrown away by travelers or traders. Using this In her work, Danica Daki´c traces the inter- principally devoted to the ways in which the data, she reconstructs the historical developments faces between cultural and personal, political, introduction of new media have brought about and migratory processes which condition the oc- and geographical identity. Tapping into her ex- new modes of seeing and experiencing one’s currence of specific exotic plant seeds in Berlin. perience as a migrant, she takes up the theme surroundings and to the possibilities of exerting of how social changes and the consequences psychological influence through the intrusion Maria Thereza Alves, born in 1961 in Brazil, lives today of globalization and war dissolve and redefine of art into the sphere of everyday life. The work in Berlin. In 1986, she co-founded Brazil’s Green Party in identity and one’s sense of a homeland, or has been shaped by studies about how memory São Paulo. Amongst others, her work has been exhibited Heimat. She repeatedly identifies language and functions in the social sphere and how it is at the Liverpool Biennial; NGBK, Berlin; Villa Medici, the act of speaking as the decisive factor in the reflected symbolically in the space of the city. Rome; Steirischer Herbst, Graz; Venice Biennial; formation of identity, often working in close Lectures and public discussions are an integral New Museum of Contemporary Art, New York; Musée contact with specific communities. For the video part of their activity as artists. Portuaire, Dunkerque; CEAAC, Strasbourg; Spacex, installation “Tauber Tanz,” for example, she Exeter; Gallery 101, Montréal; BüroFriedrich, Berlin; cooperated with a dance group from a Bosnian 2005 artists in residence at the Museum of Art, The House of World Cultures, Berlin; Galerija Miroslav cultural association in Düsseldorf. Fort Lauderdale, Florida Kraljevi, Zagreb; Porin Taidemuseo; Zerynthia, Italy; 2000 Rockefeller Fellows, The Rockefeller Foundation, Museum in Progess, Vienna; Werkleitz Biennial, Halle/ Danica Daki´c was born in 1962 in Sarajevo. She lives Bellagio Study and Conference Center Saale; Insite, Tijuana/San Diego; Boxx, Brussels; today in Düsseldorf and Sarajevo. Solo exhibitions and Buersschouwburg, Brussels; Central Space Gallery, projects in public spaces include Skulpturen-Biennale Projects in public space (selection): London; Temistocles 44, Mexiko City; Casa del Lago, Münsterland; EXIT Gallery, Peja; Valencia Biennial; 1993 “Places of Remembrance,” memorial in the Mexiko City; La Estación Gallery, Cuernavaca; Bienale National Gallery of Bosnia-Herzegovina, Sarajevo. Bavarian Quarter, Berlin-Schöneberg Havanna; Kenkeleba House, New York. Contributions to group exhibitions include “Be what you 1994-95 “Bus Stop,” project for a Holocaust Memorial want, but stay where you are,” Witte de With, Rotterdam in Berlin (2005); “How do we want to be governed? (Figure and 1996-97 “Neues Deutschland Bild,” Haus der Geschichte, Edgar Arceneaux is interested in conscious as Ground),” Miami Art Central (2004). Bonn/Leipzig well as unconscious memory and, specifically, 1998 “Invitation,” advertising self help groups, Berlin- personal as well as public memory, as he lets Alexanderplatz strands crisscross and branch in his drawings, Šejla Kameri´c belongs to the generation of art- 1998 “Who needs art, we need potatoes,” Staatsgalerie collages, and installations. In a mixture of clear- ists from Sarajevo who grew up during the war Stuttgart ly structured and improvised stream-of-con- and siege and experienced the breakup of the 2003-4 “Signs from Berlin,” The Jewish Museum sciousness-like approaches, he links elements construct that was the “multinational state” of New York of history with literature, film, and music based Yugoslavia into ethnic separation. Central to her 2004 “The Art of Collecting – Flick in Berlin,” Billboards- on poetic redundancies. Often using linguistic work are the manifestations and mechanisms Publication-Panel discussion strategies as a starting point, Edgar Arceneaux of exclusion as well as the relation between in- 2005 “Berlin Messages,” Museum of Art, Fort Lauderdale, advances the tradition of conceptual and mini- dividual self-perception and being perceived Florida malist art as it relates to the investigation of as the “other.” Kameri´c uses a variety of media 2006-7 “LIFE~BOAT,” Museum of Art, Fort Lauderdale, image-text relations, and at the same time he in her work. One of her best-known projects is Florida

read relations no. 3 08/2005 15/24 Braco Dimitrijevi´c, “Monument for Victims of the War and the Cold War,” 2005.

Memories of the Future

Nermina Omerbegovi´c on a “New Monument” for Sarajevo

32 artists took part in a competition for a “New At the beginning of this year, the Sarajevo 32 artists took part in the competition, submit- visages of Franz Ferdinand and Sophie Hohen- Center for Contemporary Art (SCCA), operating ting a total of 34 designs for new monuments. berg. A monument erected in 1917 in honor of Monument” that was initiated by the Sarajevo within the framework of the “De/construction They were all put on show at the Academy of the heir to the throne was removed during the Center for Contemporary Art within the frame- of Monument” project, launched a competition Fine Arts Gallery in Sarajevo. A five-person period of communist rule. The new monuments for a new monument in Bosnia-Herzegovina. international jury, which included the Berlin for Sarajevo – at least those which the jury work of the “De/construction of Monument” The goal of the competition was to encourage artist and art critic Frieder Schnock, agreed on reached an agreement on – refer directly to the project. An international jury chose three of artists to examine monuments as a direct re- three designs in May. Besides “Elgen Park or fact that historical time in this city did not first action to contemporary events. The question I The Plinth of Remembrance,” those selected for begin with us and that we should respect the the submitted designs. Nermina Omerbegovi´c, asked myself was, What kind of monument do realization were the “Monument for the Inter- past (and its monuments). journalist and one of the competition’s winners, we need in a society that is already overloaded national Community” by Nebojša Šeri´c-Šoba with monuments as it is, in a society where de- and the “Monument for Victims of the War and The next step in the “De/construction of Monu- writes about the monument and personality molishing a monument is taken as a provoca- the Cold War” by Braco Dimitrijevi´c. ment” project is the placement of the monu- cult in Bosnia-Herzegovina. tive act? ments. A suitable location must be found and, Nebojša Šeri´c-Šoba has created a brilliant work above all, permission for their erection has to All of the monuments I know were either erect- that recalls the recent past: atop a plinth he has be wrested from the city or the local authori- After thinking about it for awhile, one has to ed in honor of important battles or dedicated to set an “Ikar” tin can, one of food items Sarajevo ties. If this proves successful, the hope remains admit that the former Yugoslavia was a true El heroes, some genuine heroes and others pro- residents were given as humanitarian aid dur- that these monuments, which we could also Dorado for monument builders. At that time claimed to be so for ideological reasons. Apart ing the siege of their city. But why an “Ikar” tin? call anti-monuments, do not become cult sites everything just had to be recorded and hung from the monuments for Josip Broz Tito, which Surely because this tinned meat landed here for heathen rites and obeisance, but sites of onto, especially sites of suffering. The sheer were erected during his lifetime (and removed without any product information and because, reflection. They should remind us that we can number of monuments dedicated to the people’s after his death), all these monuments com- we may hence presume, it was past its sell-by become better people. And not people who struggle for liberation and its victims, the very memorate the victims, evoking death. But does date. Šeri´c-Šoba’s original concept intended conduct cold wars with “hot” weapons, but real monument cult, and in particular the per- it always have to be this way? Is it not possible that the monument bear the following inscrip- who “fight heatedly” – with computers, with sonality cult, suggest strongly that we have to to turn things around and erect monuments tion: “To the International Community – From thoughts, with respect for themselves and others. view this time as a heathen epoch. Every com- which do not commemorate suffering? the Grateful Citizens of Sarajevo.” The jury de- memoration day that was connected to a con- cided, however, to leave out the reference to crete event was ceremoniously honored in front My work for the SCCA competition, complet- the International Community, which of course of a monument. ed in collaboration with the artist Aida Paši´c, does much to deprive the work of its irony. But touches a very different dimension. “Eglen perhaps the “Ikar” tin on the plinth speaks for After the insane wars in Yugoslavia during the Park or The Plinth of Remembrance” is an in- itself. 1980s and 1990s, a second heathen phase be- teractive work. “Eglen” is a Bosnian word from gan. The monuments erected in honor of the the time of the Ottoman occupation, meaning Braco Dimitrijevi´c was probably inspired by heroes, victims and battles of World War II were a conversation between both friends as well the numerous decapitated monuments in torn down. New ones were built in their place, as lovers. The plinth to be set in the park is to the city. His monument is the negation of all dedicated to the new heroes and new victims. serve as an improvised rostrum, thus turning monuments: it is a gravestone for monuments. Each nation now builds its monuments with the park into a place of public discussion. Each Dimitrijevi´c’s work is full of irony and corre- which it glorifies its victory – the question is, side of the plinth has a message: I THINK – I sponds superbly with the orphaned monuments though, over whom and for what? At any event, SEE – I LISTEN – I SPEAK. The inscriptions in the city, through which it simultaneously the principle of “there was nothing prior to us” are to encourage passers-by to reflect on how highlights the current desolate state of monu- is postulated, and proof of this is furnished in a we live first and foremost as individuals and ments throughout Bosnia-Herzegovina. Braco simple way – by tearing down the monuments not as insignificant “nobodies” within ethnic, Dimitrijevi´c’s conceptual gesture, “to bury” the of the former system and having them vanish political, social or other groups. In this way the monument, opens up an important discussion into thin air. The new monuments are dedicated “we” and “they” that have become so prevalent on the social reality at home and abroad and its to the “heroes” and victims from the Bosnian, of late are to be replaced by terms that have impact on contemporary art. Serbian or Croatian nation – as the case may been all but forgotten, “I” and “he/she.” Instead be. The result of one nation being expelled by of honoring someone who is dead, this is to Besides the three award-winning works, the another is, thus, dignified with, of all things, a be a monument in honor of the individual, the jury gave an honorable mention to two other monument. free-thinking person. I’m hoping that collec- designs: Sanjin Selimovi´c’s work on the foot- tive thinking will be one day buried beneath the prints of the assassin Gavrilo Prinzip, which monument, the “thinking” of the herd that as- were removed during the siege of Sarajevo, and sents to the leader. TRIO’s “Forgotten Monuments” featuring the

read relations no. 3 08/2005 16/24 Mind the Map! – History Is Not Given For the project “East Art Map,” the Slovenian artist group IRWIN invited curators, critics, and the public to extend the art map of eastern Europe by adding previous- ly ignored terrain. “Mind the Map! – History Is Not Given” examines the prerequi- sites and implications of the new reference system in an international university network mediated by “relations” and probes the theoretical interventional charac- ter of performative practices. Productive Border Crossing

Undertake interdisciplinary studies of multime- to setting up a matrix that provides a tightly side of the university partners, its real uphold- research in this form of triangular relationship meshed information structure on specific and ers are young up-and-coming researchers yet between scholarly studies, praxis, and public dia arts and pass the outcome back to society: sometimes less-known artistic and cultural to gain a foothold in the academic system, who sphere to the various faculties and university Veronika Darian and Günther Heeg from the processes, products, and realities in eastern Eu- will contribute insights from their threshold research commissions, as well as the different rope. And this matrix generates in turn its own situation. They will present their work on art funding agencies and foundations, campaigning Institute of Theater Studies at the University new prerequisite, to create conditions facilitat- production and the politics of representation hard for its establishment. The panel discus- of Leipzig on their engagement for “Mind the ing an understanding – and the construction together with established academics who also sion that will close the symposium, to which – of art history, cultural practices, and theoreti- work at the interfaces between the disciplines renowned representatives from corresponding Map! – History Is Not Given” and the model of cal models. and between theory and artistic as well as so- institutions are invited, represents another step triangular research. cial praxis. Their counterparts are the involved towards this goal. The most important innovation – also in and artists, for whom theoretical reflection on their For some time now, the Institute of Theater above all the context of research policy – that work has become a matter of principle. Dr. Veronika Darian is an assistant professor at the Studies at the University of Leipzig has devoted we are currently developing with our partners Institute for Theater Studies (University of Leipzig) and its attention to studying not only theater in the within the scope of the “University Network,” The symposium will take place at the editor of the journal “Kaleidoskopien. Medien – Wissen – narrow sense, but also the theatricality of cul- is the model of a “triangular research” between Schaubühne Lindenfels, once a ballroom in a Performance.” Prof. Dr. Günther Heeg is the institute’s tural practices in all their manifold diversity: the poles of academic research, art, and society. district that can be counted amongst the los- director and mentor at the University for Performance from the staging of politics and acts of collective Exchange and cooperation between scholars ers of the Wende (fall of the Wall) and that Studies and Dance (DasArts, the Netherlands), where he remembering to everyday rituals and private and artists is something the Institute of Theater is still waiting today for its “assignment.” As co-directs the curriculum block “Media, Mediality, forms of self-portrayal. Accustomed to working Studies has practiced for some time now. The part of this history and yet also outside it, the Community,” collaborating with Homi K. Bhabha, from an interdisciplinary platform, we place goal of “triangular research” is to open the sci- Schaubühne Lindenfels represents a kind of Richard Schechner, and Sergej Romaschko. Together emphasis on productive border-crossing. Inter- entific community’s ivory tower to society and “third space.” Neither exclusively academic nor with Prof. Dr. Marina Gržini´c (see p. 18), Prof. Dr. Heeg faces or points of intersection – between aca- to position ourselves in public space. We want artistically connoted, this location is a social and Dr. Darian are project leaders of “Mind the Map! – demic disciplines, between art forms, between to stimulate exchange between the arts and aca- communications center in the first instance History Is Not Given.” research and the public sphere – inspire us. It demic studies; at the same time, we also want and, thus, a forum for critical and public discus- is, thus, no surprise that the “East Art Map” of to encourage that perspectives and movements sion. A location where the artistic-scholarly dis- the Slovenian artist group IRWIN fascinated outside the university are taken up and then, af- course can be transferred into society. us from the very beginning. The project’s (re-) ter being reflected on artistically and academi- construction of postwar art history in eastern cally, played back into public discussion. As far as the future is concerned, we will un- and central Europe refuses to bow to the he- dertake every effort to present, extend, and es- gemonic claims raised by a single discipline: The symposium “Mind the Map! – History Is tablish the principle of “triangular research,” art history. As a topography of hundreds of art- Not Given,” to be held in Leipzig from October the “East Art Map” university cooperation in works and artistic relationships across time 13 to 16, will present this model for the first general, and the symposium “Mind the Map! and space, the “East Art Map” goes beyond the time and serve as the launching pad for long- – History Is Not Given” in particular. We are framework set by national affiliations and geo- term “triangular research” in praxis. On the currently presenting the chances afforded by graphic borders. It demands an uninhibited The Schaubühne Lindenfels look at the rupture zones between the cultures in Leipzig, 2000 and 1975. of eastern and western Europe and within east- Photo: Schaubühne Lindenfels. ern Europe itself. It demands that we take a frank look at the fault lines running between past and present. And last but not least, it de- mands and fosters reflection on one’s own out- look.

For us, “East Art Mapping” is both a critical undertaking as well a saving one: critical to- wards the encrusted cultural identities and standpoints of “East” and “West,” while saving them from the threat of vanishing. It is essential not to leave the remaining vestiges of eastern European avant-garde and retro avant-garde art to western historical writing and to prevent them from being forgotten in First World art markets. What is at stake is not a (re-)construc- tion of a museum for “East” art, but rather the development of an open-structured platform for discussing and interpreting history. The goal is to historicize the present, in the sense of a “re- vision of the present” (Homi K. Bhabha). The “East Art Map University Network,” compris- ing eight partners, is, thus, more than a con- tribution to IRWIN’s “East Art Map”: it marks the start of a new exchange. We are committed

read relations no. 3 08/2005 17/24 Radical Contamination

The Slovenian artist and theoretician Marina Gržini´c on the necessity of revising and reconstructing European art history.

To say, “Mind the map! – history is not given,” sessive production of interpretations – the crea- ditions for networking. It is seeking to enlarge capital is not psychological, but deeply struc- means starting to rethink the history and theory tion of surplus – fits in perfectly with the global the European map of art to include other sig- tural. And it is precisely within this context that of contemporary art and to turn the usual pro­ capitalist system: only in exceptional cases is nificant themes, schooling a critical eye capable we will rethink and (re-) construct the project cess of constituting knowledge and writing his- anything substantial or significant contributed of disclosing hierarchies and forms of inclusion, “Mind the Map! – History Is Not Given.” tory about European art on its head. It means to the histories of art in the former Second exclusion, and discrimination, as well as the redrawing the European map of art and culture, (eastern Europe) and Third Worlds. dominant role of capital. Prof. Dr. Marina Gržini´c teaches conceptual art at the giving a place to the immense, albeit unknown, Academy of Fine Arts in Vienna and is a lecturer at the art and cultural production of eastern Europe. “Mind the Map! – History Is Not Given” is about “Mind the Map! –History Is Not Given” encom- Slovenian Sciences and Arts Academy in Ljubljana. recalling, reconstructing and displaying, vis- passes the following areas of research: art his- Together with Dr. Veronika Darian and Prof. Dr. Günther Sixteen years after the fall of the Berlin Wall, ibly and loudly (that is, publicly), a different art tory, socio-cultural and political studies, and Heeg, she directs and coordinates the project “Mind the the anti-communist sentiments that were the history and theory – one from eastern Europe performative politics. The project aims to define Map! – History Is Not Given.” dominant phobia of the 1970s and 1980s have – and asserting its capacity for social criticism. radical nodes of resistance to the capitalist ma- vanished, yet it seems that interest in the realm This approach allows us to evade the constric- chine that, one might say, obscenely intervenes of eastern European and its history, art, and tive view of history as a set of techniques for in contemporary art. We hope that the planned culture has vanished as well. What does it implementing well-worn knowledge mecha- public discussions will also have a great impact. mean to say that history is not given? It means nisms; instead, we can locate and uphold cer- acknowledging that art history and its inter- tain differences, differences that can function as In the history of Europe, which is not given pretation are part of a process that is deeply a productive platform for contaminating other but is a construct and so must be constructed, embedded in shifting contexts. It is about ques- spaces and ideas. The project does not aim to it is important that any possible exoticism be tioning the ways in which art history and art cultivate western images of eastern European eliminated. This means taking a clear theo- theory develop, about exploring how symbolic art and cultural traditions. retical and social activist position toward con- and economic authorities and power structures temporary art. With different representational in western culture and art assume positions “Mind the Map! – History Is Not Given” thus of- models we are seeking to counter the hype and of unquestioned influence, and, in turn, how fers young researchers a forum for reflection seductive glamour of the theory industry and this is linked to questions of class, gender, and on different dimensions of contemporary art art history production in the West. The history “race.” It would seem that the power structures and society, while at the same time networking of art and culture is today a res publica that has underpinning today’s contemporary art scene research at universities in different cities in Eu- to be linked with political ideas and fight not grant very few critics and theoreticians the right rope, opening in this way a continuous dialogue popular, but populist measures. to speak to and for the general public in the role on artistic and cultural production along the of the “institution of art,” while other artists and axis of (former) eastern and western realities Our project is, therefore, also a search for new artistic currents are relegated to a special status in Europe. This model enables universities and concepts for a future Europe, a kind of con- and position – that of the margin. academies on both sides of the European divide vergence into a multitude of resistance against to act as vehicles for processing knowledge, “Empire,” understood both as the United States The project “Mind the Map! – History Is Not building relationships, and presenting interpre- as well as the old concept of “unified” Europe. Given” aims to reboot the system of contempo- tations which consciously reflect their own po- We are especially keen to put issues of rights rary art, so that in the future eastern European sition. Self-reflection means being able to think on the agenda: granting rights of citizenship to art and cultural spaces may be juxtaposed with about and question the role that academics play immigrants and regulating the issue of people their western counterparts and considered in establishing the “institution” of contempo- without identity papers. All of this is integral to parallel art and social paradigms, equally ca- rary art. the task of rethinking the democratic project of pable of generating challenging art concepts Europe. and cultural processes. We are not seeking This “new generation” forum, made up of theo- to “discover a new continent” within Europe; reticians, art historians, artists, and critics, Historical achievements have not emerged from rather, we wish to develop a process that “con- considers theory and aesthetics within a politi- a process of sharing, but are the outcome of taminates” or “infects” the very institution of cal context. It also promotes reflection on the constant struggle. All that has been achieved in art history and cultural theory in Europe with position of theory today and the institutions that history by leftist and activist politics has been new – eastern European – ideas and propos- develop and spread that theory. “Mind the Map! part of a process, the attempt to implement als. This entails a refusal of attempts to resolve – History Is Not Given” creates a framework for strategies combating the mechanisms of exploi- contradictions in contemporary art. Such a false thinking about how artistic and social processes tation in its various guises. But these mecha- harmony continues to be perpetuated by the are established. nisms themselves have been continually refined machinery of capitalism with its unquench- and are to be found today not only in the brute able thirst for surplus value, which transforms “Mind the Map! – History Is Not Given” also reality of economics, but also in the ways global every cultural practice and social relation into examines processes, such as the politics of capital distributes new technologies, informa- a brand. A brief glance at the theory industry mobility in the new Europe (still enjoyed by a tion, and immaterial forms of work and art pro- suffices to recognize how the ceaseless and ob- privileged minority), and the very different con- duction. The relationship of the masses towards

“Mind the Map! – History Is Not Given,” International Symposium, Leipzig, October 13 – 16, 2005 (postcard).

read relations no. 3 08/2005 18/24 The East Art Map University Network

Academy of Visual Arts Adam Mickiewicz Univer- Karl Franzens University, Academy of Fine Arts, (HGB), Leipzig sity, Pozna´n – Institute of Graz – Institute of Art Vienna Cultural Studies History Prof. Dr. Beatrice von Bismarck The Faculty of Philosophy www.hgb-leipzig.de Prof. Dr. Grzegorz Dziamski Dr. Werner Fenz at the Research Center of www.asp.poznan.pl www-gewi.uni-graz.at Founded in 1764, the Academy of Visual Arts the Slovenian Academy Leipzig – Hochschule für Grafik und Buchkunst The Institute of Cultural Studies at the Adam Our institute has a long tradition of research – is one of the oldest art schools in Germany. of Arts and Science (ZRC Mickiewicz University in Pozna´n, one of the into modern and contemporary art. And now About 530 students are currently enrolled in largest and most renowned universities in Po- the “East Art Map” provides us with an oppor- SAZU), Ljubljana diploma programs in painting / graphics, photo­ land, was established in 1976. Research and tunity to take up another longstanding tradition: graphy, graphic design / book design, and new teaching are amongst the institute’s primary with Graz situated close to Ljubljana and Prof. Dr. Marina Gržini´c media. The Institute for Theory, the Institute for tasks. Research activities cover both theoreti- Zagreb, we can look back on numerous projects www.akbild.ac.at; www.zrc-sazu.si/fi/ the Art of the Book, and the HGB gallery offer cal and practical levels: the development of a in which we cooperated with Slovenian and formats and courses that address the general general theory of culture and a methodology Croatian artists, not least, for over 30 years now, The class for conceptual art at the Academy of public and enable diverse connections between for cultural studies, field work in the area of for the trigon Biennial. Despite this tradition, Fine Arts in Vienna is conceived as a working, theoretical and practical approaches to art. In contemporary culture, and formulating prog- our engagement with eastern Europe and its living, and exchange platform. As such, it is or- accordance with the respective accents of four noses and concepts for cultural change. Our culture within the “East Art Map” project has ganized around projects, seminars, and mod- of its classes, the HGB will participate in the educational courses focus on contemporary art, confronted our students with a completely new ules rather than strict classes; an open network “EAM” university network by developing its film and audiovisual culture as well as the his- and unknown challenge. Over the past year structure that enables the students to actively graphic design, producing a spatial concept for tory and methodology of cultural studies. The they have studied a variety of relevant aspects intervene in art, society, technology, and urban the symposium, offering a photographic inter- faculty maintains close research links with aca- in a number of eastern European countries; space. The idea of temporary zones of activity pretation of the historical levels of the project, demic institutions in Germany, the US, the UK, since the spring of this year, Russian art has and interaction provides us with the contexts and presenting videos works related to the per- France, and Sweden. emerged as a new focal point. we focus on. Our latest project is an exhibition, ception of western and eastern European rela- panel discussion, and publication on the theme tions. of medialization / labor / spatialization / (re-) politicization. The ZRC SAZU in Ljubljana spe- cializes in political philosophy and contempo- Institute for Theater Karl Ernst Osthaus- University of Fine Arts, rary theories of culture, covering a wide range Studies of the University Museum, Hagen Belgrade – Faculty of of themes in these disciplines, such as global capitalism, theories of new media, post-socialist of Leipzig Music / Interdisciplinary societies, the politics of the visual, post-democ- Dr. Michael Fehr racy, and the retro avant-garde. www.keom.de Postgraduate Studies Prof. Dr. Günther Heeg, Dr. Veronika Darian www.uni-leipzig.de/~theater The Karl Ernst Osthaus-Museum is the suc- Prof. Dr. Miško Šuvakovi´c cessor to the Museum Folkwang (1902-1921), www.arts.bg.ac.yu Institute of Contemporary The institute follows the interdisciplinary ori- which gained renown as the first museum for entation of a subject that embraces art, society, Art, Moscow contemporary art worldwide. The Museum The University of Fine Arts in Belgrade con- culture and their interaction. Hence, not only Folkwang owed its reputation to its collection of sists of four faculties: music, visual arts, design, theater in the narrow sense is the focus of atten- Prof. Dr. Ekaterina Degot avant-garde art and its revolutionary museum and dramatic arts. The interdisciplinary post- tion, but also the theatricality of cultural prac- concept, which was based on the idea of bring- graduate program combines these areas. The tices in all their diversity. Besides the institute’s The Institute of Contemporary Art in Moscow ing art and life into harmony. This approach theoretical section of the program is made up basic research and educational activities – the was founded in 1991 with the aim of realizing inspired numerous initiatives to reorganize and of seminars dealing with art and media theory, cultural history of theater and drama, aesthet- exhibitions, carrying out research projects, and improve everyday life through art. Today, the philosophy and aesthetics, cultural studies and ics, intermediality – our scholars are involved offering educational courses. The goal of the museum is home to an important collection of analysis, communications, and art history. Em- in various research and project formats special- institute’s activities is to raise the profile of con- modern and contemporary art. In 1990, the cul- phasis is attached to the interdisciplinary na- izing in eastern Europe. Initiating exchange temporary art and culture in the public sphere. tural foundation of the city of Hagen entrusted ture and cross-media complexity of these fields. between research and praxis is of particular Special attention is also given to reintegrating the museum with the task of concentrating on A doctorate program in art and media studies importance. The institute not only invites guest Russian contemporary art into the structures of the following themes: natural relations, foster- was set up in 2003. The students are given as lecturers and artists on a regular basis, but also the international art world. A range of activities ing historical consciousness, trivial machines, much freedom as possible to explore their own cooperates with various institutions active in serve this purpose, including in-depth analyses gender, and the museum of museums. creativity, and this includes the possibility of at- Leipzig’s cultural life. of the history, theory, and philosophy of con- taining their doctorate without needing to com- temporary art, the publication of catalogues, plete their masters. The program has received and the translation of important texts on con- international recognition and been integrated temporary art. Another important element of into the TEMPUS program. the institute’s work is a program on new meth- ods in contemporary art education, which, be- sides the theoretical dimension, offers practical training in the techniques of contemporary art.

read relations no. 3 08/2005 19/24 Zagreb – Cultural Kapital of Europe 3000 In times when the market rules, reflect on your own capital. The platform “Zagreb – Cultural Kapital of Europe 3000” does just this – and makes use of it. Its capital is its network, the connections between the actors in the independent scene, and the coordination between projects. This is how power accrues, which “Zagreb – Cultural Kapital of Europe 3000” deploys at specific targets: to mobilize press and public, to con- quer space, and to influence cultural policy decisions. With concrete success. Observations from Zagreb.

Operation City (From left to right) Emina Višni´c, Tomislav Tomaševi´c and Tomislav Medak at the symbolic opening of the by Vid Mesari´c potential independent cultural and youth center Badel – Gorica, Zagreb, in May 2005.

The joint platform “Zagreb – Cultural Kapital of ration of intent, which was signed by most of Europe 3000 (ZCK 3000),” whose title plays a the party representatives, including the can- bit ironically but quite possibly clear-sightedly didate for the mayor’s office who would go on with Zagreb’s claim to one day become the cul- to win the election. This was a decisive step in tural capital of the Old Continent, has changed creating the prerequisites for the next phase of understanding about the concept of cultural “Operation City,” as the coordinated independ- capital in Croatia. In times when the diktat of ent groups call their plans to acquire a potential the free market decrees new forms of capital site for a cultural center. accumulation, the methods implemented for exchanging goods and services become increas- The abandoned Badel factory, Zagreb. Photo: Ivana Ivkovi´c. The Zagreb scene sees the abandoned Badel – ingly unscrupulous. This gave rise to new con- Gorica industrial complex in the city center as a fusions in the societal and social balance. In tive creativity, which was opened in the Frideri- decided to dissolve the Council for New Media possible future hub of its project activities. The addition, Croatia was destabilized by the war cianum in Kassel on May 1; visiting theoreti- and Youth Culture. With lightning speed, the complex was occupied symbolically with a sim- that devastated the entire region and compli- cians and artists will then present the accents coordinated groups stirred a large part of the ulated opening at the beginning of May. Breath- cated the processes of transition to a far greater set at this exhibition in Zagreb. A month later, independent scene into action. Via the media, ing life into this monument of early industrial degree than in other countries of the former the Center for Drama Art realized the seminar but also in direct talks they presented the re- architecture saves the complex from falling into Eastern Bloc. “Politics of Virtuosity,” which discussed the po- sponsible minister with clear and well-founded further disrepair, on the one hand, while, on the litical and social role of performance and whose arguments in favor of the Council. As a result, other, giving the independent scene a further The independent scene in Zagreb gathered contributors featured distinguished European parliament immediately amended the legisla- boost – especially for those artists who do not around the project ZCK 3000 reflected on the intellectuals and artists. Taking a somewhat tion, enabling the Council to be reinstalled. have the means to realize projects on their own. power of those instruments it had at its disposal different direction in their long-term project, A graphic example of what can be created when and resolved to implement them. It views cul- the architect and urbanist group Platforma 9,81 ZCK 3000 initiated another political discus- the city fathers respond positively to the inde- ture as a means for commenting on and chang- identifies deserted squares and buildings in sion in the run-up to the recent local elections pendent scene’s demands will be presented to ing current tendencies: ranging from the pro- the city which could be used as locations for in Croatia. The goal was to utilize the election the public in September. For two weeks, differ- tection of intellectual property, addressing the independent cultural production. Platforma promises made by the politicians for their own ent groups will innovatively reutilize the Badel – phenomenon of standardizing large cities, and 9,81 opened a provisional office in the Galerija aims. At the very start of the election campaign, Gorica complex and test out the tenability of the interpretation of the heritage of socialism, Nova in June; an interactive exhibition, an ar- ZCK 3000 held a press conference to draw at- their aspirations for achieving a fundamental to exerting a direct influence on political deci- chive listing, and lectures will present the next tention to the problems facing cultural projects change in the understanding of independent sions. The platform ZCK 3000 understands cap- project phases to the public. in finding adequate and suitable space. There culture production. ital accumulation as establishing connections. It is no polyvalent space available to independ- understands connections between the actors in During June alone, ZCK 3000 realized over a ent artists in the city that would enable them the scene as an instrument for creating a new dozen different programs – exhibitions, lec- to realize their projects. In a series of public Vid Mesari´c is cultural editor at the state radio station cultural-social climate. For the platform, cul- tures, film showings, performances, and work- forums, to which both independent experts as HR 1 and lives in Zagreb. tural capital is collaboration. shops. Thanks to its position in the scene, the well as representatives from the main political coordination with other platforms, the mobili- parties in Zagreb were invited, the state of the Four groups form the core of ZCK 3000, groups zation of a large, mostly young audience, and its independent scene was discussed and compari- which have contributed greatly to opening up profound knowledge of political decision-mak- sons drawn with the stolid municipal culture the “culture market” for independent initiatives: ing praxis, ZCK 3000 has emerged as a motor institutions. Existing legislation sets aside 85% the Multimedia Institute (mi2), the curator team for changing the direction of the city’s cultural of the city’s culture budget for these institu- WHW, the Center for Drama Art (CDU), and policy strategy. And what’s more, the non-insti- tions, a share that is inversely proportional Platforma 9,81. In January, the Multimedia In- tutional financing of projects and a self-sustain- to the number of events and projects carried stitute staged the “Freedom To Creativity” festi­ ing infrastructure enable this initiative to act as out by the independent scene. A new finance val, an event that showed how it is possible to an independent control mechanism of politics. model was presented that guarantees the scene reinterpret the concept of intellectual property the same working conditions as the municipal today through creative-common licenses and The scene’s political potential was discovered institutions. The politicians responded by giv- open sources. The curator team WHW organ- as early as the beginning of 2004, when, after ing assurances to rectify the situation and their ized a large international exhibition on collec- a change of government, the Culture Ministry promises were then incorporated into a decla-

read relations no. 3 08/2005 20/24 The Turning-Point Came When We Became Partners

An interview on the learning aptitude of politicians with the literary scholar and essayist Andrea Zlatar, responsible for cultural affairs in the Zagreb city council between 2001 and summer 2005.

Andrea Zlatar, over the past ten years the How do politicians view the project independent culture scene in Zagreb has at- “Zagreb – Cultural Kapital of Europe 3000 tracted great interest and praise, both locally (ZCK 3000)”? and internationally. Do you think that the independent culture initiatives possess the I can only answer this for myself and a cou- potential necessary to further the city’s devel- ple of others who have dealt with officials in opment? the department for culture over the last few years. The project itself is projective, that is, it Andrea Zlatar: We really do have a very special projects a vision, and I have to say that it is far scene here in Zagreb, made up of both artists too complicated to explain to your average poli- and cultural initiatives. This scene emerged out tician sitting in the city council or local author- of individual projects at first, and the need to ity. Still, the project draws its power precisely find a solution to problems of space and how from its projective impetus, its reference to the to utilize disused spaces. Over time though, the future, and refusal to see things within the ex- second important task and characteristic devel- isting framework, and instead envisions differ- oped – the need for networking. These groups ent models. Intensive lobbying and positioning then became visible and recognizable as a net- the issues in the public sphere are absolutely work on the level of cultural policy in the city, crucial for mediating these models. and this is when they were able to start chang- ing the city’s appearance. Are there signs that ZCK 3000 has changed cultural policy in Zagreb? How has the relationship between the city’s political structures and the independent cul- There is evidence of real collaboration. The tural scene changed? strategic planning seminar for cultural institu- tions, organized by the authorities responsible The first public discussion held within the framework of the Policy Forum in Zagreb, April 2004. A lot has happened over the last five years, on for cultural affairs in the city, was carried out Photo: Tomislav Medak. the level of the cultural policy implemented and in cooperation – and I’d like to stress, active co- in the city administration, where changes are operation – with people involved in ZCK 3000. long term and not subject to the expediencies of In praxis, this means that people from different everyday needs or the consequences of election cultural institutions and city authority employ- was remarkable. In a way, it is irrelevant as to results. After the change of government in 2000, ees attend lectures held by members of the in- how the discussions went, whether they were guidelines for national cultural policy were re- dependent scene or the ZCK 3000. This would demagogical or entangled in silly party poli- vised, and as a result the independent cultural have been unimaginable four years ago. tics. What’s important is that these people were scene was given recognition as a special field. present and stated their commitments. Natu- Attempts were also made to change the financ- Can the local authorities learn anything rally these commitments are not legally bind- ing of cultural policy, as the existing regulations from the ZCK 3000 project? ing, but they are at least policy related and have and instruments ruled out supporting inde- the character of a political promise given in a pendent initiatives. Unfortunately, this problem They can – but first they have to get rid of their pre-election period. And there is a clear indi- remains unsolved, and it will remain so as long aversion to change and fear of anything that cation that the politicians took these commit- as state-supported institutions and independent is new. It is indisputable that the project has ments seriously; for Milan Bandi´c, our mayor, culture initiatives continue to apply for finan- a lot to offer that is valuable, you only have to mentioned in his inauguration speech that the cial support from the same source. think about the model for networking. Let me independent scene should be allowed to utilize give you an example: the cultural centers have disused factory buildings for their activities. In the meantime, the independent cultural finally begun to exchange and coordinate their scene initiates dialogue with state and local programs. This, too, was inconceivable three Was this kind of positive response due to authorities – for example, about space alloca- years ago! The city administration needs to the election campaign or genuine proof that tion or solving the problem of how to finance become flexible, not mobile in the sense that it politicians now accept ZCK 3000 as an equal overhead costs – so as to improve working is transferable, but sensitive and responsive to dialogue partner? conditions. Do you think this is a sign of its what is taking place. maturity? For the upper-echelon politicians it was just In the run-up to the local elections held in part of their election campaign. That’s why it’s For me, the turning-point came when the inde- May and June, ZCK 3000 organized three absolutely necessary to keep going, to further pendent scene realized that it had to position panel discussions featuring representatives develop this type of networked public event. It’s itself as a partner. And although not involved from the independent scene and politicians. also necessary to lobby members of the city as- directly in decision-making processes, it must How would you access this action? sembly directly and utilize every available in- represent its standpoint and ensure that its situ- strument for this purpose – discussion forums, Interview: Dea Vidovi´c ation and problems are brought to the public’s The scene definitely displayed a sense of hav- both for the broad public and smaller circles, attention. ing matured; just the simple fact that it man- with the city council’s cultural authorities, and Dea Vidovi´c is coordinator of Clubture (a network of aged to bring together the incumbent authori- meetings with assembly members, etc. After all, independent Croatian culture initiatives); editor of the ties and their rival candidates and have them politicians usually reject the things they know website, www.kulturpunkt.hr; and a television journalist. discuss their views in public for the first time little or nothing about. She lives in Zagreb.

read relations no. 3 08/2005 21/24 Formats Discussion rounds, Forum “Visual Culture,” relations Resident Fellows Program, Guest Program “Visual State- ment,” exhibitions, art in public space, publications a project initiated by the German Federal Project leadership Iara Boubnova, http://ica.cult.bg Responsible for the fellowship program Cultural Foundation Ass. Prof. Alexander Kiossev, PhD, www.cas.bg Team Maria Vassileva, Iskra Zaharieva ficial representation in the area of culture, the Advisory board Luchezar Boyadjiev (artist, Sofia), joint platform presents new working forms and Prof. Dr. Ivaylo Ditchev (cultural anthropologist, Sofia), collective strategies of cultural production with Ass. Prof. Irina Genova, PhD (art historian, Sofia), the aim of enhancing the presence of indepen­ Boyan Manchev, PhD (literature theorist, Sofia), dent Croatian culture. Ass. Prof. Miglena Nikolchina, PhD (philosopher, Sofia), Diana Popova (art critic, Sofia), Kiril Prashkov (artist, Formats Political platform, lectures, debates, symposia, Sofia), Nedko Solakov (artist, Sofia), Orlin Spassov, PhD interdisciplinary cooperation, performances, internation- (expert in print and visual media, Sofia) al curatorial collaboration, website, publications Operating within the framework of the Federal Fellows Luchezar Boyadjiev; Milla Mineva; X-TENDO; Project leadership Goran Sergej Pristaš (CDU); Tomislav Cultural Foundation’s “Central and Eastern Krassimir Terziev; Boris Missirkov / Georgi Bogdanov; Medak (mi2); Damir Blaževi ´c (Platforma 9,81); Sabina Europe program,” “relations” develops art and Lost and Found – Georgi Gospodinov; Svetla Kazalarska; Ivan Moudov; Sabolovi ´c (WHW); Boris Bakal (Bacaˇci sjenki); Vesna culture projects in collaboration with curators, a film project Yavor Gardev Vukovi ´c (BLOK); Aleksandar Batista Ili ´c (Community social researchers, and artists from eastern Eu- Guests / Artists Gelatin; Olaf Nikolai; Sean Snyder; Birgit Art); Olga Majcen (Kontejner) ropean countries and Germany. A co-production of ICON FILM and “relations.” Brenner; Christine de la Garenne; Ulrike Kuschel; Via Team Ivana Ivkovi ´c (Project coordinator); CDU: Lewandowsky Una Bauer, Ivana Ivkovi ´c; mi2: Željko Bla ´ce, Teodor In terms of content, the goal is to formulate Six filmmakers from six countries tell six sto- Celakoski, Ružica Gaji ´c-Guljaševi ´c, Petar Milat, Nenad overarching transnational questions and lines ries about new forms of self-understanding Romi ´c, Emina Višni ´c; Platforma 9,81: Dinko Peraˇci´c, of inquiry out of the respective local contexts in one film. The starting point of the project Marko Sanˇcanin, Ana Šilovi ´c, Miranda Veljaˇci ´c, Josipa which connect art, everyday life, social re- was the thesis that a sense of a common bond, Križanovi´c; WHW: Ivet Curlin,´ Ana Devi ´c, Nataša Ili ´c; search, politics, and history. These questions WILD CAPITAL / WILDES based on the idea of “generation” and thereby Bacaˇci sjenki: Katarina Pejovi ´c, Sonja Leboš, Mirko and lines of inquiry strive to counter nationalist transgressing national boundaries, is opening KAPITAL, Dresden Bogosavac; BLOK: Dea Vidovi ´c, Sonja Bori ´c, Miroslav attitudes and stances with a differentiated per- up new perspectives on traditions, history, and Jerkovi ´c; Community Art: Ivana Keser, Karmen Ratkovi ´c, spective, create and foster dialogue, and focus experience. The young directors were invited to A project of the Kunsthaus Dresden in coopera- Tanja Vrvilo; Kontejner: Sunˇcica Ostoi ´c on the processes of social transition. Through each make a short film dealing with the theme tion with “Visual Seminar,” Sofia, and “rela- Other partners Zagreb – Cultural Kapital of Europe 3000 their critical engagement with the dominant of “generation”. The project was developed and tions.” is being conducted within the framework of “relations” mechanisms of fixing identity, visions of the fu- discussed in a series of five workshops. “Lost in cooperation with Kontakt, the Arts and Civil Society ture, constructs of historical memory, and how and Found” premiered as the opening contribu- “Wild Capital / Wildes Kapital” is the result of Program of Erste Bank Group in Central Europe. the past is come to terms with, these conceptual tion to the International Forum for New Cinema meetings and discussion rounds between part- Other supporters City of Zagreb; Ministry of Culture of and working approaches address an interna- at this year’s Berlin Film Festival. ners in Sofia and Dresden, initiated by “rela- the Republic of Croatia tional public as well. A film by Stefan Arsenijevi ´c (Serbia-Montene- tions,” which focused on developments in the Website www.culturalkapital.org gro), Nadejda Koseva (Bulgaria), Mait Laas (Es- utilization of urban space in the two cities. The “relations” wants to be able to respond to lo- tonia), Kornél Mundruczó (Hungary), Cristian switch from socialism to capitalism has gener- cal contexts flexibly and individually, and has Mungiu (Romania), Jasmila Žbani´c (Bosnia- ated different transformation processes. In gen- therefore refrained from setting any rigid pre- Herzegovina). eral terms, we may classify these processes as scriptions. Exhibitions and publication projects East Art Map. (Re-)con- expressions of two variants of capitalism: a receive the same support as archival projects Format Cinema film, 90 minutes, 35 mm, Dolby Digital “civilized capitalism” modeled on the West that struction of the History or fellowship programs for artists and theorists. Artistic direction Nikolaj Nikitin is characterized by administrative regulation, “relations” supports its partners in establishing of Contemporary Art in Producer ICON FILM (Herbert Schwering, Christine and a “wild capitalism” typical of the transfor- legally secure, stable organizational structures Kiauk), www.icon-film.de mation taking place in the former “East Bloc.” Eastern Europe and facilitates the exchange of ideas, initiatives, Initiator and co-producer “relations” – a project initi- How are privatization and social transformation and information through an extensive website ated by the German Federal Cultural Foundation reflected in the visual aspects of post-socialist A project by IRWIN (Miran Mohar, Andrej and regular meetings of the involved partici- In co-production with ART FEST (Stefan Kitanov, cityscapes and which particular interest groups Savski, Borut Vogelnik), Ljubljana. pants. Bulgaria); Art & Popcorns (Miroslav Mogorovi ´c, Serbia- are reorganizing public space? Which types of Montenegro); Deblokada (Damir Ibrahimovi ´c, Bosnia- urban space are the variant forms of capitalism The art project “East Art Map” is seeking to plot At the same time, “relations” makes the over- Herzegovina); MOBRA Films (Hanno Hoefer, Roma- spawning and what does the future hold? Work- and make accessible previously unknown areas all project in its diverse facets accessible to the nia); Nukufilm (Arvo Nuut, Estonia); proton + cinema shops, lectures, and an international symposi- of postwar art in Eastern Europe. The goal is to German and international public through collo- (Viktória Petrányi, Hungary) um to be held at the World Trade Center Dres- create an ‘orientation aid’ that plots connections quia, publications, and targeted public relations Advisory board Gabriele Brunnenmeyer (artistic advisor den and featuring artists, cultural theorists, and extending beyond national borders and enables work. In this way, “relations” is performing pio- to MOONSTONE and Connecting Cottbus, Berlin), Didi sociologists, examine these different manifesta- comparative analysis. After EAM I invited cura- neer work in establishing long-term and sus- Danquart (scriptwriter, director and producer, Freiburg), tions of capitalism and form the project’s first tors, critics, and artists to present important art tainable transnational collaborations. Sibylle Kurz (dramaturge, script consultant, advisor to phase (in August 2005). Invigorated by these projects from their respective countries, since EAVE and pitch expert, Erbach) events, an exhibition in the Kunsthaus Dresden January 2005 EAM II, a map of these artistic Distributed worldwide by Bavaria Film International and artistic interventions in the city will present activities, is now accessible on the internet. The Supported by ifa – Institut für Auslandsbeziehungen; the the results during the winter 2005/2006. visitors to the site are able to contribute to the “Thematic Landscapes in Robert Bosch Stiftung, the Filmstiftung NRW map by changing its topography. 7 Cities of Eastern Sponsors Erste Bank Group; BMW Group Formats International symposium, international With the friendly assistance of Bavarian State Radio and group exhibition Formats Interactive website, research, cooperation with Europe” (working title) arte Project leadership/curator Christiane Mennicke, universities, exhibition, publication curator and director of the Kunsthaus Dresden Project leadership IRWIN: Miran Mohar, Andrej Savski, The publication project of “relations” follows www.kunsthausdresden.de Borut Vogelnik the projects in Chisinau, Ljubljana, Prishtina, Co-curators Torsten Birne, Sophie Goltz Team Lívia Páldi (copy editor and co-editor of the EAM Sarajevo, Sofia, Warsaw, and Zagreb. The book Visual Seminar, Sofia Project coordination Kathrin Krahl publication); Inke Arns (head of EAM website); will provide initial insights into the respective Marina Gržini ´c (head of the EAM University Network); social situations. The key questions to be posed A project of the Institute of Contemporary Art, Darko Pokorn include: why are discussions being initiated to- Sofia, in cooperation with the Center for International jury Ekaterina Bobrinskaia (art historian, day in these places on the current politics of re- Advanced Study Sofia, Bulgaria. Moscow); Ješa Denegri (art historian, Belgrade); Lia Zagreb – Cultural Kapital membrance? What are the rapid changes to the Perjovschi (artist, Bucharest); Georg Schöllhammer cityscape and its urban signs? And what is the The “Visual Seminar” devotes its attention to of Europe 3000, Zagreb (editor of the culture magazine “springerin,” Vienna); refusal of a clearly-defined national identity? the culture of the visual in so-called transfor- Christoph Tannert (director of the Künstlerhaus What kinds of argumentation are being em- mation societies. The changes made to the sur- A project of the Center for Drama Art (CDU), Bethanien, Berlin) ployed? What exactly are these initiatives trying faces of urban space since the introduction of a the Multimedia Institute (mi2), Platforma 9,81 Other supporters European Union’s Culture 2000 pro- to achieve? And what “kind” of public is being capitalist economic system, the dominance of and What, How and for Whom (WHW), Croatia. gram; Slovenian Ministry of Culture. reached? Why are these debates being started new visual codes and its concomitant altered The exhibition will be organized as a co-production with and carried forward mainly by artists and intel- patterns of perception are analyzed – using “Zagreb – Cultural Kapital of Europe 3000” is the Karl Ernst Osthaus-Museum, Hagen; the website is lectuals? Sofia as an example – and their political dimen- seeking to strengthen collaboration between in- supported by Renderspace Pristop Interactive; the book sion revealed. Art actions in public space and dependent initiatives who understand cultural will be published in cooperation with Afterall Publishing; Team Katrin Klingan, Ines Kappert with Marius Babias, discussion forums offer the broader public engagement as social action and social activi- East Art Map I was produced by the New Moment Ideas Mathias Greffrath, Georg Schöllhammer, in cooperation strategies for dealing with and deciphering the ties as critical culture. In the face of increasing Company with the individual project teams images. privatization, centralization, and the logic of of- Website www.eastartmap.org

read relations no. 3 08/2005 22/24 De/construction of Monument, Bosnia-Herzegovina

A project of the Sarajevo Center for Contempo- rary Art.

After the collapse of the former Yugoslavia, new national elites have begun to rewrite the history of their countries. Memories are being Missing Identity, Kosovo extinguished, places renamed, books altered, and at the same time new hymns, icons, and symbols established. Particularly the erection Re:form, Poland A project of the Contemporary Art Institute and dismantling of monuments is proof of a EXIT in cooperation with the Laboratory for newly gained empowerment over history. “De/ A project of the Foksal Gallery Foundation, Visual Arts and the Center for Humanistic construction of Monument” counters this ma- Warsaw. Studies Gani Bobi, Prishtina/Peja. nipulation with deconstruction. Artistic actions in public space, public discussions, workshops “Re:form” undertakes the attempt to re-read “Missing Identity” queries the efforts to estab- and diverse publications all pursue the goal of Polish (art) history from the perspective of the lish a uniform national identity and propagates defusing the ideology implanted into historical present. This process of re-signification and the protection of difference. The project at- understanding and changing the currently exist- re-contextualization also involves the develop- tempts to create an artistic reality of what is ing cultural model. ment of new models for presenting art publicly, experienced as missing in Kosovo: cultural, which are aiming to find international recog- linguistic, and ethnic diversity. Through art Mind the Map! – History Formats Artistic interventions within public spaces in nition and do justice to the changed economic projects, educational work and the produc- Sarajevo, Banja Luka, and Mostar; discussion forums, and social conditions now prevailing in Poland. Is Not Given, Leipzig tion of the art supplement ARTA for the weekly artist presentations, exhibitions, art and media produc- The project digitalizes private artist archives newspaper JAVA, the project is striving to create tions, publications from the 1950s onwards, curates exhibitions A project by the Institute of Theater Studies of an alternative public sphere, actively campaign- Project leadership Dunja Blaževi ´c, www.scca.ba held during the International Film Festival “Era the University of Leipzig, initiated by “East Art ing for an open society. Team Amra Bakši´c Camo, ˇ Larisa Hasanbegovi ´c, Sanela New Horizons” in Cieszyn, fosters and supports Map” (IRWIN), Slovenia, and “relations.” Bojadži ´c, Enes Huseinˇcehaji ´c art projects in public spaces, and publishes art- Formats Seminars (without fees) given by artists for Advisory board Marina Gržini ´c (artist, curator and ist monographs. Under the leadership of Marina Gržini´c (Acad- students, workshops, international artist program, exhibi- art historian, Ljubljana); Jakob Finci (president of the emy of Fine Arts, Vienna), Günther Heeg and tions, publications Interrelations Council in Bosnia-Herzegovina, Sarajevo); Formats Digitalized artist and art archives, the “Local Veronika Darian (Institute of Theater Studies, Project leadership Sokol Beqiri Želimir Koš ˇcevi ´c (director of the Museum of Contem- Modernism” research project, international art exhibi- University of Leipzig) and moderated by “rela- Leadership of the art projects Erzen Shkololli porary Art, Zagreb); Shkëlzen Maliqi (philosopher and tions, art in public space, cooperation with the gallery tions,” an international group of academics and Leadership of the education projects Mehmet Behluli director of the Center for Humanistic Studies Gani Bobi, RASTER, fellowship program, publications young theoreticians from eastern and western Team Shkëlzen Maliqi, Valbona Shujaku Prishtina); Borka Pavi ˇcevi ´c (director of the Center for Project leadership Joanna Mytkowska, Andrzej Przywara Europe are exchanging ideas and concepts for Advisory board Ilir Bajri (composer, Prishtina), Wolf- Cultural Decontamination, Belgrade) www.fgf.com.pl an “East Art Map,” an art map of eastern Eu- gang Klotz (director of the Central and Eastern European Partners Urban Movement, Mostar; Center for Informa- Archive project leadership Piotr Rypson, www.baza.art.pl rope originally stemming from the Slovenian Online Library, Frankfurt/Main, www.ceeol.com), Astrit tive Decontamination, Banja Luka; The Children’s Move- Team Joanna Diem artist collective IRWIN. “East Art Map” is an Salihu (philosopher, Prishtina), Jeta Xhara (dramaturge, ment for Creative Education, New York Fellows Cezary Bodzianowski; Michał Budny; attempt to identify and develop previously ig- Prishtina), Linda Gusia (sociologist, Prishtina) Other supporters Open Society Fund Bosnia-Herze- Sebastian Cichocki; Agata Jakubowska; Wojtek Kuchar­ nored areas of postwar art in eastern Europe govina czyk; Robert Ku´smirowski; Dorota Monkiewicz; Artur and make them accessible to the public. The ul- . Zmijewski; Jakub Ziółkowski; Magdalena Ziółkowska timate goal is to install a system of coordinates Partners Gallery RASTER, Warsaw; that reveals transnational connections and ena- ACADEMY REMIX Film Festival “Era New Horizons,” Cieszyn bles comparative study. “Mind the Map! – History Is Not Given” is a Städelschule, Frankfurt displaced, Berlin platform for art and culture production posi- meets Missing Identity, tioned at the interface between the different A project of the Neuer Berliner Kunstverein in realities facing artists in eastern and western Prishtina cooperation with “De/construction of Monu- ALTE ARTE, Moldova Europe, taking up the accents set by the “East ment,” Bosnia-Herzegovina, and “relations.” Art Map.” “Mind the Map!” is striving to open A project of the Staatliche Hochschule für A project of the Center for Contemporary Art up a space of exchange between different forms Bildende Künste - Städelschule, Frankfurt/ In Germany, the “De/construction of Monu- Chisinau (ksa:k). of artistic praxis, initiate concrete research Main, in cooperation with “Missing Identity,” ment” team is working with the NBK (Neuer projects and theoretical reflection, provide Kosovo, and “relations.” Berliner Kunstverein). Inspired by “De/con- Artist Pavel Braila, working together with a young researchers and academics with a forum, struction of Monument,” Kathrin Becker (cura- homegrown team and “relations,” has devel- and stimulate debate in broader academic cir- Nikola Dietrich (Portikus, Frankfurt/Main) and tor, NBK) has developed the project “displaced” oped the TV art and culture magazine “ALTE cles and the critical public. The new network Dirk Fleischmann (Städelschule, Frankfurt/ for Berlin in cooperation with “relations.” ARTE.” Launched in January 2005, the program devotes its attention to the cultural, political, Main) have worked with the “Missing Identity” “displaced” translates the themes addressed is broadcast fortnightly on the national station and social backgrounds of artistic praxis. What team and “relations” to formulate an exchange in “De/construction of Monument” into the lo- TV Moldova. Besides reporting on artists and shall emerge from this focus is an interven- program for young artists of both locations. The cal German context. After the breakup of the current cultural events (regional and interna- tionist theoretical approach, fusing together program will be phased in over a year. former Yugoslavia, new national elites are re- tional), the program also features artistic works in a triangular cooperation the arts, scholarly Picking up on the themes addressed in “Missing writing the history of their respective countries. specially produced for the program. The goal of research, and social initiatives. The ideas of Identity,” which has been running for the last Memory is under fire, with historical mark- “ALTE ARTE” is to stimulate discussion on con- the young theoreticians and artists will be dis- two years in the framework of “relations,” the ers being erased, places being renamed, books temporary art forms across a broad cross-sec- cussed at an international symposium to be program asks to what extent artistic production being corrected, and new hymns, icons, and tion of society. held in Leipzig in October 2005; the results, a can reflect the mechanisms employed to form symbols being propagated. “De/construction of series of other relevant texts, and artistic works identity, a recurring element of the cooperation Monument” counters this manipulation with Format TV art and culture magazine (30 min) will then be published in the spring of 2006. up until now. Students from the “Missing Iden- deconstructive strategies. In response to these Project leadership Pavel Braila tity” alternative art academy, the Contemporary themes and inspired by stays in Sarajevo, six Team Lilia Braila (production coordinator), Veaceslav Formats Seminars, exchange between the participating Art Institute EXIT in Prishtina, and the Frankfurt artists are currently developing works for dis- Cebotari (technical director), Lilia Dragneva (project university partners, international symposium, publica- Städelschule are to come together to develop play in public spaces in Berlin. These works curator) tion of research results individual art projects, which will be then be relate the state of postwar society in Sarajevo Contributors/ editorial staff/ reporters Project leadership and coordination Prof. Dr. Marina realized in Prishtina and Frankfurt. Joint theory and the function of public memory to the Ger- Ruben Agadjeanean, Larisa Barsa, Denis Bartenev, Igor Gržini´c, Academy of Fine Arts, Vienna; workshops will accompany these activities. The man capital and the “economy of attracting at- Bodeanu, Dorina Bohantov, Victor Diaconu (design & Prof. Dr. Günther Heeg, Dr. Veronika Darian, Institute for project will be presented in the Museum of Ko­ tention,” the dominant western mode of media web support), Tatiana Fiodorova, Alexandru Fulea, Theater Studies of the University of Leipzig sovo, Prishtina, and in Portikus, Frankfurt, in representation. The art projects will be realized Ksenia Gazibar, Vadim Hancu, Ion Nita, Iulian Robu, Participating academics and institutions fall 2005. in a ten-day period in Berlin in the fall of 2005 Stefan Rusu, Igor Scerbina, Serghei Turcanu, Marin Turea, Prof. Dr. Beatrice von Bismarck (Academy of Visual Arts, and presented to the public. Ana-Maria Vasilache, Kirill Zaremba Leipzig); Prof. Dr. Ekaterina Degot (Institute of Contem- Formats Artist projects, theory workshops, exhibition Advisors Thorsten Essig (picture editor, Berlin); Martin porary Art, Moscow); Prof. Dr. Grzegorz Dziamski tours, excursions, exhibitions, website Formats Artist interventions / interactions in public Fritz (director of the Festival of the Regions, Ottensheim/ (Adam Mickiewicz University, Pozna´n); Dr. Michael Fehr, Project leadership Nikola Dietrich, Dirk Fleischmann space in Berlin, discussion forum Vienna); Razvan Georgescu (freelance television journal- Karin Schad (Karl Ernst Osthaus-Museum, Hagen); www.portikus.de, www.staedelschule.de Project leadership /curator Kathrin Becker ist); Martin Pieper (chief editor for culture at ZDF/arte, Dr. Werner Fenz (Karl Franzens University, Graz); Prof. Mehmet Behluli www.nbk.org Mainz); Hans Zimmermann (cameraman, Frankfurt/Main) Dr. Miško Šuvakovi´c (University of Fine Arts, Belgrade); Team Stefan Unterburger, Valbona Shujaku Team Maryam Mameghanian-Prenzlow Other supporters ifa – Institut für Auslandsbeziehungen; Team Antje Dietze, Carsten Göring, Hilke Werner, Kindly supported by DAAD (German Academic Artists Maria Thereza Alves, Edgar Arceneaux, Danica Soros Foundation Moldova Sophie Witt, Christiane Richter (University of Leipzig) Exchange Service) Daki´c, Šejla Kameri´c, Stih & Schnock Website www.altearte.md

read relations no. 3 08/2005 23/24 read relations << no. 3 08/2005 Agenda Imprint

Publisher relations e.V. Blücherstraße 37 A D-10961 Berlin Germany Telephone: +49 (0)30-61 65 72-40 Fax: +49 (0)30-61 65 72-50 displaced November 15 – 22, 2005 Participants: Marta de Menezes, Marnix de Nijs, Oliver [email protected] Exhibition and final presentation Kunkel, Tissue Culture & Art, Radical Software Group, www.projekt-relations.de A project of the Neuer Berliner Kunstverein in coop- Portikus im Leinwandhaus, Frankfurt/Main Siniša Labrovi´c, Zoran Todorovi´c, Ivan Maruši´c Klif, eration with “De/construction of Monument,” Bosnia- Final presentation of the year-long exchange project be- Eugene Thacker, Marie-Luise Angerer, Matthew Fuller, Herzegovina, and “relations.” Team tween students from the Staaliche Hochschule für Bildende Polona Tratnik, Natalie Jeremijenko and Olivier Razac. Katrin Klingan Künste – Städelschule, Frankfurt/Main, and the independ- (Artistic Director) ent Contemporary Art Institute EXIT, Prishtina; curated September 8 – 17, 2005 Samo Darian Opening: October 20, 2005, at 6:30 p.m. by Nikola Dietrich (Portikus) and Dirk Fleischmann Time’s Up! – Sensory Circus (Managing Director) Artistic interventions/interactions in public space, (Städelschule). Interactive installation Patricia Maurer discussion forum Badel – Gorica Factory, Zagreb (Program contributor and Various locations in Berlin November 19 – 20, 2005 OutInOpen presents a large-scale installation, which coordinator) In response to the project “De/construction of Monu- International symposium functions as an interactive, architectural system offering Franziska Sauerbrey ment” in Bosnia-Herzegovina and inspired by stays in Staatliche Hochschule für Bildende Künste – Städel­ the viewer an active role. (Project coordinator) Sarajevo, six artists are currently developing works for schule, Frankfurt/Main Ines Kappert display in public spaces in Berlin. These works relate the This symposium will discuss the historical and current September 15 – 20, 2005 (Publication co-editor) state of postwar society in Sarajevo and the function of concepts and profiles of art academies, thus debating TelestreetZG Peter Wellach public memory to the German capital and the “economy the key question broached by the “ACADEMY REMIX” DIY TV workshop and street TV programs (Communications and PR) of attracting attention,” the dominant western mode of project: what can and what should an art academy ac- Badel – Gorica Factory, Zagreb media representation. The fleeting quality of the selected complish? What models can be deployed to convey the The pirate broadcasting groups Candida TV and Insu TV Interns art forms contrasts with the sheer materiality of classical spectrum of artistic creativity and production? (Italy) and Kein TV (Germany) will convey their know­ Yvonne Meyer, Lydia Schytke monuments and their susceptibility to ideological abuse. ledge and experience, as well as present current artistic Curator: Kathrin Becker, Neuer Berliner Kunstverein activities through a pirate broadcast to a large public Idea/editors (NBK). from the Badel – Gorica Factory. Katrin Klingan, Ines Kappert, Artists: Maria Thereza Alves, Edgar Arceneaux, Danica WILD CAPITAL / WILDES Peter Wellach, Patricia Maurer Daki´c, Šejla Kameri´c, Stih & Schnock. October 21 – 23, 2005 KAPITAL Hybridization of Public Institutions in Culture Associate editor A project of the Kunsthaus Dresden in cooperation Performances, discussions, artistic interventions Christiane Kühl with “Visual Seminar,” Sofia, and “relations.” Various locations in Zagreb Mind the Map! – History The possibilities presented by hybrid cultural production Graphic design and the potential of small, dynamic cultural initiatives Is Not Given Boris Ondreicka will be discussed. Participants include artists, producers, A project by the Institute of Theater Studies of the August 25 – 30, 2005 as well as representatives of city and state institutions. University of Leipzig, initiated by “East Art Map” International symposium/workshops at the Layout (IRWIN), Slovenia, and “relations.” World Trade Center, Dresden November / December 2005 Julika Matthess, Oliver Sperl, Peter Wellach Final Exhibition December 2005 – January 2006 Exhibition, theater, discussions and installations International group exhibition, lectures and October 13 – 16, 2005 Galerija Nova and other venues in Zagreb Translation artistic interventions Paul Bowman International symposium The Final Exhibition will feature all organizations Various locations in Dresden Allison Brown, John Bergeron Schaubühne Lindenfels, Leipzig participating in the “Zagreb – Cultural Kapital of Europe “Wild Capital / Wildes Kapital” examines the images and The “East Art Map” of the Slovenian artist group IRWIN 3000” project. The aim of the interdisciplinary event is to manifestations of urban spaces in the transition from is the impulse behind the project’s attempt to reflect focus public awareness on “cultural capital.” Copy editor socialism to capitalism. The potential posed by informal April Lamm on the (inter-)relationships between contemporary economies and artistic interventions is explored from the art in eastern and western Europe. With an eye on the perspective of contemporary art. The first phase of the transnational aspects of such relations, the symposium Circulation project begins in August with city tours, presentations of will debate the (re-)construction of art history and the 7.500 artistic strategies, lectures, and discussions. The results The EAST ART MUSEUM exhibition can be seen at politics of representation. The interdisciplinary sympo- of this examination will be summed up at the end of the the Karl Ernst Osthaus-Museum in Hagen from By-lined contributions do not sium is designed to provide the platform for productive year. September 11 to November 13, 2005. On display is necessarily reflect the opinion of exchange between academics, artists, and the public. In the East Art Map – a (re-)construction of the history the editors. this way, the symposium will function as a launch pad Artistic director: Christiane Mennicke, Kunsthaus of contemporary art (1945-1985) in Eastern Europe. for a permanent “triangular” cooperation model between Dresden. Curators: Dr. Michael Fehr and IRWIN (Miran Mohar, these three groupings. Co-curators: Sophie Goltz, Torsten Birne. Andrej Savski, Borut Vogelnik). Further information Project leadership and coordination: Prof. Dr. Marina Participants: ALTE ARTE, Regina Bittner, Iara Boubnova, under www.keom.de. Gržini´c, Ljubljana/Wien, Prof. Dr. Günther Heeg and Dr. Luchezar Boyadjiev, Margit Czenki & Christoph Schäfer, Veronika Darian, Leipzig. Fucking Good Art, Observatorium, Eva Hertzsch & Adam The film “Lost and Found,” a co-production of “rela- Page, Svetla Kazalarska, Alexander Kiossev, Anne König tions” and ICON FILM, is running throughout 2005 at & Jan Wenzel, Pop 8, Reinigungsgesellschaft, Andreas numerous international festivals, including those in © relations – relations is a project initiated by ACADEMY REMIX Siekmann, STAFETA, Krassimir Terziev, Maria Vassileva, Sarajevo, Warsaw, Barcelona, and Edinburgh. A com- Ingo Vetter, and others. plete list of all the film festivals can be found under Städelschule, Frankfurt meets Missing Identity, www.projekt-relations.de. Prishtina A project of the Staatliche Hochschule für Bildende Künste - Städelschule, Frankfurt/Main, in cooperation All rights reserved. Zagreb – Cultural Kapital Reproduction in part or whole with “Missing Identity,” Kosovo, and “relations.” of Europe 3000 without prior written consent from relations is strictly prohibited. A project of the Center for Drama Art (CDU), Multi- media Institute (mi2), Platforma 9,81 and What, How September 23 – 27, 2005 and for Whom (WHW), Croatia. Exhibition and project presentation Various locations in Prishtina 25 students from the Städelschule and the Contemporary Art Institute EXIT, Prishtina, present the current state September 8 – 17, 2005 of their works which they have been developing in the abuse of/abusive intelligence framework of the exchange project “ACADEMY REMIX” Exhibition, symposium since January 2005. The students will present, perform, Badel – Gorica Factory, Zagreb and intervene in exhibition rooms and in public spaces Explores the role of information technology in the organi- Further information can be found under: throughout Prishtina. zation of social and biological production. www.projekt-relations.de

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