sixtiessixties

20 — 21 April 2013 ­ Sweet Sixties Avant-Gardes in the Shadows of the Cold War. Lectures & Conference.

Speakers FRANCO BERARDI »BIFO« — Bologna Olga BrYukhovetska — Kiev Boris Chukhovich — Montreal Clare Davies — Cairo Ekaterina Degot —

sixties Yasmina Dekkar — London BranISLAV DimitrijeviĆ — Belgrade Ali Essafi — Casablanca Ljiljana KoleŠnik — Zagreb PORTER MCCRAY — Josip Rastko Močnik — Ljubljana YEHUDA SAFRAN — New York Catarina Simão — Lisbon Rayyane Tabet — Beirut

mumok Museum moderner Kunst Stiftung Ludwig Wien, Museumsquartier —

Sat, 20 April 2013, 11:00 am — 6:15 pm Sun, 21 April 2013, 11:00 am — 6:15 pm

H osted by tranzit.at

MF sweetsixties.org 1 tranzit.at sixties

be env nutA! ласкаво просимо! Welcome! ! بح رن Приветствие! добродошао! Dobro Došao! dobrodošel! Willkommen! bem-vindo! sweet

Misn s io Statement Sweet Sixties is a long-term trans-regional research initiative working between art, research, media and educational contexts in Europe, the Middle East, West and Central Asia and Northern Africa. Involving a particular group of experimentally-orientated arts and research groups as well as particular artists, researchers and media, Sweet 60s investigates hidden histories or underex- posed cultural junctions and exchange channels in the revolution- ary period of the 1960s.

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Forword

Mdn o er ities transmogrified. A Sweet Sixties Conference and Lecture Series

In the 1960s, the landscapes and cities of protectorates and for- mer colonies from India to the Maghreb, from the Soviet Republics to the new states in the Southern hemisphere were replete with the spirit and forms of modernity; forms that transmogrify and then dissolve into the thin air of the vernacular. The star-maps that are used to survey these artificial worlds often serve to navigate the boundaries between private and public domains. The world is full of eerie displacements, gestures of the uncanny, and the constellation of the real exists in a plethora of doubled forms. Question marks, meanderings, rows of numbers, and persons of the line belong to the inventory at hand. Communi-

sweet cation machines emerge and shut themselves up before they have the chance to become immaterial, disappear, and corrode in postmodernity. The air of the 60s echoes a spirit of emancipation. And the newly arising art-scapes are interspersed with double agents: diasporas bring their academies; the streams between Soviet, North and South American, Western European, Non-Aligned etc. are full of interlocutions, hidden pathways, and narratives of trade routes beyond the seemingly stable hegemonies of the blocks. The stories and spirits of a parallel avant-garde, whose silhouettes have yet to be found on the walls of the western canon, are the theme of this conference.

Georg Schöllhammer

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Sat, 20/04/2013 Lecture Series

11:00 am 11:30 am Welcome Josip Rastko Močnik KLEMENS GRUBER Before the Coulours Exploded: 11:15 am Degree Zero of Symbolisation Introduction: Sweet Sixties GEORG SCHÖLLHAMMER I n 1966, Michel Foucault publis- artistic programme retroactively hed Les mots et les choses, proved to be the point of »Words and Things«; in his title, divergence: 1. Visual arts affir- »and« is meant as a disjunction: med the purity of the line and something is either a »thing« the drawing – engaging in what or it is a »word«. A year or two critics called »conceptualism«.

sweet earlier, an artistic and intellec- 2. Poetry renounced rhetoric tual current in Slovenia-Yugos- and »secondary systems of sig- lavia proposed to read the nification«, favouring simple expression as a conjunction: constructions or, more radically, »words are things«. This simple stepping over into typographic programme triggered complex poetry. 3. Theory soon engaged effects. It broke with the in the elaboration of the »mate- humanism of the fifties; lay off riality of the signifier«. Historical temptations of anthropocen- destiny of the divergent varie- trism: Proclaiming that humans ties has been uneven: concep- are »things among other tualism was canonised; poetic things«, it practically resolved »reism« has been reduced to a the contradiction of hedonism historical digression; theory by identifying discipline with re-focused its »artistic« interest pleasure. However, recognising towards cultural forms of po- that »the world as the world pular resistance (punk-rock of things« has its own »orders«, etc.), and lived its short-termed proponents of »reism« were feast of a recontre manquée soon led to admit that those with the »masses«. things which are words have an order of their own, a linguistic order they started to grasp in the spirit of the epoch, i.e., in Saussurean-Jakobsonian terms and within semiotic horizon. This minimal theorisation of an

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Closing Conference

12:00 pm 2:00 pm FRANCO BERARDI »BIFO« YEHUDA SAFRAN

Three possible points of view on the ‘60s. The Architectural Consequences of Political Thinking

Culmination. The culmination belonging blocked the possibili- point of the modern experience ty of deploying the immanent I t is not often that we reflect on among us) as a way of compari- and of Futurism. possibility. And the world the great formal contributions son in an urban environment. Immanence. The develop- entered the convulsive phase of made by architects who have The optimism of those years can ment of the general intellect collapse and de-civilization we undertaken a political position. clearly be seen in their designs, as possibility for full emancipa- are now immersed in. For some reason, those on in their under takings, and tion from capitalist constraints the right have attracted a great in the quality of their thinking.

sweet and exploitation. deal of interest, while the left End. The beginning of was – and is – unsung. Yehuda the end of the future, which sur- Safran focuses on several faced in the following decade. architects who were engaged The process of scholariza- with and shaped the communal tion – the deployment of the typology of the architecture of mass educational system – the communes in Israel in the is the most important marker of Sixties and earlier. Most of the full development of modern them were educated in Vienna civilization. It is also the imma- and Berlin and arrived in nence of the possibility of the Palestine with little experience. full deployment of the tendency Their names are less known towards the liberation of human than Eric Mendelsohn but life from the capitalist form of their contribution was no less the economy. important. The alliance between Yehuda Safran elaborates workers and students. on the relationship between The relation between forms of life and architecture as artists and engineers. the key insight concerning The starting of experimen- innovation in the aftermath of tation on the Net, and the WWII, against indifferent pro- infinite possibilities generated duction on a very large scale. 20/04/ 2013 — Lecture Series 12:30 pm by the meeting of psychedelic Discussion with Panellists He will introduce three Brazilian imagination and technology. architects: Villa Nouva Artigas, The paranoid legacy of 1:00 Lina Bobardi, and Paulo the century of revolution and Lunch Break Mendes da Rocha (who is still

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2:30 pm 3:00 pm Pontecorvo) passed through CLARE DAVIES YASMINA DEKKAR this institution, which at the time was deemed second most Wonderful Things: Early Algerian Cinema important of its kind. Why has The Labor of Art Work. as a Site of International official historiography neglected Solidarity this intense moment of exchange between different In the mid-1920s, the institu- voices and filmic languages? tionalization of a state arts sec- Yasmina Dekkar explores the tor in Egypt began in earnest. constitution of Algerian cinema The same period was marked in 1957 and the inauguration by a turn towards the of the Cinemathèque d’Algiers »Egyptianization« of art and, in 1964 as a site of international ultimately, a backlash against solidarity. Algerian cinema is the dominance of cultural literally a ›cinéma de combat‹, policy-making and the new arts as it was born in 1957 during administration by foreign the struggle for independence nationals. In this context, the in the maquis. One of the

sweet control of arts bureaucracy, founding figures acting as a and, specifically, Egyptian art- transmission agent was the ists’s rights to it, was under- French communist docu- stood as a political issue. Clare mentary filmmaker René Vaut- Davies argues that definitions ier, who had joined the of the artist’s role, art world liberation movement and estab- dynamics, and works of art in lished the first cinema school 20th-century Egypt benefit from for (native) Algerians by setting a consideration of the politics of up a documentary film unit in labor in the same period. She the maquis. offers a series of theses qualify- The Cinemathèque was ing the nature of an evolving founded two years after Algeria relationship between art and gained independence in 1964 labor based on a discussion of by Ahmed Hocine with the help specific developments in the of Henri Langlois, the founder state arts sector and a of the Cinemathèque of . consideration of individual For more than forty years it was Ministère de l’information et de la Culture – Alger (ed.) (1974) Cinéma: Production Cinématographique 1957—1973. works of art. a place for open debate and Alger: Ministère de l’Information. critique of aesthetic, social and political issues, and a meeting- point for national and interna- tional filmmakers.A great many 20/04/ 2013 — Closing Conference 3:30 pm important Algerian and inter- Discussion with Panellists national filmmakers (including Beloufa, Allouache, Zinet, 4:00 pm Chahine, Godard, Herzog, and Coffee Break

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4:30 pm trying to shoot films, not under 5:00 pm ALI ESSAFI his own name, but using RAYYANE TABET the approved names of his col- Portrait of the Artist in leagues and founded, along with Season’s Greetings: Dominated Country three other directors, the first An Annotated Postcard collective of independent film- makers. It was under the name Ahmed Bouanani began writing of this collective that Bouanani and drawing when he was just was able to release the 14-years-old. One of the first film masterpiece of Moroccan cine- directors to emerge from post- ma »Trace« in 1969. colonial Morocco, Bouanani In addition to being heavily graduated from L’Institut des censored, Bouanani also faced Hautes Etudes Cinéma- plagiarism. As a result of his tographiques (IDHEC) in Paris precarious position, several of in 1963 with a degree in film Bouanani’s colleagues took editing. When he returned to his credit for his films which they did home country, he felt newly not create but simply lent their

sweet independent, filled with dreams names to. It wasn’t until 1980 and brimming with ideas for new that Bouanani finally succeeded projects. At the time though, it in releasing »Mirage«, his was impossible to make a film in unique full-length film properly Morocco without approval from credited under his own name. the Moroccan Cinema Center, le This film, along with T» race«, Centre Cinématographie would go on to became some of Marocain (CCM). However, the the most iconic films of Moroc- CCM was nothing but a can contemporary cinema. Seasons Greatings. An Annotated postcard, Courtesy Rayyane Tabet propaganda arm of the National Delving further into Boua- Security Department. nani’s films, writing and works of From the beginning, the research, it is easy to see why bohemian and free-spirited the Moroccan government Bouanani frequently clashed wanted to keep Bouanani silent. with the many forms of censor- The government wanted to alter ship and repression he encoun- the memories of native The Trans-Arabian Pipeline tered as an artist and filmmaker Moroccans and Bouanani’s tire- Company built the world’s lon- in Morocco. Every attempted less attempts to present an gest pipeline linking Saudi production was a battle from authentic and accurate view of Arabia to Lebanon. By exami- which neither the director nor the Moroccan people before and ning a greeting card, circulated the film emerged untarnished, during the French colonization by the company to its emplo- and for years, the CCM contin- yees in the early 60s, this talk 20/04/ 2013 — Closing Conference of Morocco, was considered ued to prevent him from direct- a crime equitable to heresy by a will uncover the elements ing movies. censorship-friendly Moroccan that make up this image and But the young artist perse- government. They declared discuss the creation of an 5:30 pm vered! He continued working, their version of history the only American corporate identity. Discussion with Panellists version.

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Sun, 21/ 04 / 2013 Lecture Series

11:00 am EKATERINA DEGOT

Arkadi and Boris Strugatzky’s Monday Begins on Saturday (1961) and Soviet Everyday Dialectics

T he Strugatsky Brothers’s an ever-growing bureaucracy, Monday Begins on Saturday and protected from the demands (1961) tells the story of a of the market. programmer who after a set of coincidences begins working at

sweet the Research Institute for Wizardry and Sorcery, which is organized into sections such as the Department of Prophe- cies and Predictions or the Department of Linear Happi- ness. The institute’s main philosophy is dialectical: positi- vism and vulgar materialism must be fought off at all costs and opposed with the weapons of magic and the imagination. Its ethic of incessant research – alluded to in the title of the novel – is similarly dialectical: an ideal life of perpetual inquiry and thinking, opposed to the quick fixes of consumerism and immediate satisfaction. Here even knowledge of the future should not be »consumed« – it must remain an open horizon. But this utopian atmosphere is secured by almost inexhaustible state support, propped up by

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12:00 pm tectural practices. Three Closing Conference BORIS CHUKHOVICH particular topics will be specifi- cally discussed: the socialistic Behind the Veil of melting pot in Central-Asian Orientalism: European urbanism, the use of water in 11:30 am which was typical for the Thaw. Utopias in Central Asia public spaces, and the OLGA BRYUKHOVETSKA Shot at the Ukrainian part of »Petersburgization« of the his- the Carpathian Mountains toric heritage in old cities. Revolutionary by Shadows features the hutsuls, Form, National by Content: an ethnic group with their Shadows of Forgotten distinctive traditional culture, Ancestors as a and does it in a strikingly Text of Resistance. authentic way. Not only the film reanimates their language, material culture, and rituals, but the very real living hutsuls themselves enter the screen. In this respect the film follows

sweet another major imperative of the Thaw – to be true to reality. On the other side, Shadows radically rejects realism and revolutionizes cinematic form. It is a self-reflective, fragmentary modernist text, which is not centered on the dominant point of view. A contemporary audi- ence saw the film as hallu- cinatory, intoxicating and deliri- ous. In this respect Shadows Larysa Kadochnykova in the film Shadows of is close to politicized formalism Forgotten Ancestors (Dovzhenko Film Studios, 1965) of 60s cinema, which departs from the classical narrative B. Mezentsev, B. Zaritzkiy, E. Rozanov, V. Shestopalov Lenin Square (Tashkent), 1965 3D visualization — (c) B. Chukhovich, 2013 The Film Shadows of Forgotten conventions to be true to what Ancestors (Dovzhenko Film Pasolini called an ›original, Studios, 1965) is one of the oneiric, barbaric, irregular, Boris Chukhovich focuses on most important visual manifes- aggressive, and visionary‹ qual- different European utopias tos of the Soviet 60s, probably ity of cinema. Shadows is a text that are rooted in the modern its most radical version. On the of resistance because it rejects architecture of Central Asia. one side, Shadows moves the point of view of the domi- Their expressions during the 12:30 pm away from the center geograph- nant subject, and does it both in 1960s will be examined through Discussion with Panellists ically. It realizes an interest to terms of a nation and a form, two teleological perspectives: the periphery, the margins, the thus performing a double the colonial past of the region 1:00 pm regions of underdevelopment, decentralization. and its contemporary archi- Lunch Break

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2:30 pm crisis of trauma of modernity 3:00 pm BRANISLAV DIMITRIJEVIĆ itself, the crisis of a historical LJILJANA KOLEŠNIK event that shakes the foun- Style and its Political dations of the great truths of Yugoslav Cultural Transfer in Yugoslav Culture collective identity and historical Diplomacy and of the 1960s continuity. The 1960s marked the Non-Aligned Movement the culmination of the notion of the »modern style« in the The analysis of style is mostly midst of the gradual demise of The presentation is focused on regarded as a retrograde aspect modernity and its »nervous the character, modalities, and of art historical studies, espe- breakdown« happening with the intensity of Yugoslav cultural cially in comparison to a focus events of 1968 and conceptual exchange with the non-aligned on the social and political art’s iconoclasm. The relation of countries through the course role of art developed in social style and counter-style, as a of the 1960s and 1970s. Based art history and later within the relation of commercial culture on the ongoing research in the scope of »new art history«. and non-conformist counter-cul- archives of the former socialist However, style can be treated ture, marks the operational state’s institutions, it will also as a political and historical mise-en-scene of political pro- describe the format and content

sweet site, »a site that marks the cesses and social changes. of the cultural programs imple- changing historical conditions Branislav Dimitrijević will mented in numerous African, for the very formation of social focus on the issue of a transfer Asian, and the Latin American identities«, as the theoretician of desired lifestyles from the countries and explain the Ina Blom has put it. The culture West to the East in relation to a strategic utilisation of interna- of the 60s is an important gradually abandoned ideologi- tional organisations (UNESCO, case for the analysis of the rela- cal kernel of socialist societies, UNICEF) in fostering interna- tion between style and changing especially within the liberal tional visibility of »Yugoslav- social conditions, as these economic climate of Yugoslavia, brand socialism«. We shall also years are remembered both for following the process of reforms discuss the range of art and their »hyper-stylish« aestheti- commenced in 1958 and documentary exhibitions used zation and for their »revolution- culminated in 1965. Through to bring the cultures of the ary« political discourse. This selected examples of design, non-aligned countries to the decade is singled out as the film, theatre, and art from close attention of Yugoslav citi- period of the dissemination of Yugoslavia, we shall look into zens, as well as a few unique new »media« culture, domi- models of cultural translation, »institutional« traces that cul- nated primarily by the emerging repetition, and reproduction of tural exchange programs have role of television, but also certain visual modes of left within the Southeast though the widespread develop- establishing social identities and European geo-political space. ment of graphic and industrial new structural fragmentations design, fashion and, in general, and polari-zations in relation to

21/04/ 2013 — Closing Conference of lifestyles constructed through a homo-genous collective 3:30 pm consumerism, popular culture, identity as stipulated by the Discussion with Panellists and rock music. socialist ideology. As Walter Benjamin 4:00 pm pointed out, style represses the Coffee Break

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4:30 pm Party and the State, and 5:00 pm ocean bringing hope and opti- CATARINA SIMÃO thousands of Mozambicans PORTER MCCRAY mism to devastated lands. One who were committed to repres- day an exhibition of the cultural Staging a sive colonial-fascist organi- American Tutti-Frutti achievements of the New Decolonization Process: zations. Concrete reasons and World arrived to the Old World. A Work of Several Parts. actions led to the accomplish- It opened first in the City of ment of this meeting, but when Lights that once was the metro- polis of modernity. Although the public was not very pleased, the exhibition continued trave- ling to other cities on the continent. At the end of a year- long journey it arrived to its farthest stop in the East, the White City. Here again the exhi- bition was met with hesitation and suspicion, even named the American Tutti-Frutti by a local

sweet government servant. Never- theless it finally opened in the Palace of Art within the old city »Modern Art in the USA« fortress known as Kale-Meydan. Collection of the Museum of American Art The opening was attended by Still taken from »Os Comprometidos — Actas de um processo de descolonização«, A long time ago in a land that numerous dignitaries and Mozambique INC 1983 was great but without a tradition educated public. The exhibition in art, an art museum was seemed to have been a suc- Mozambique President and human and historical confron- opened. This museum was so cess, and was written about in Head of the Frelimo Party, tations are shaped through this adventurous and innovative all the important newspapers Samora Machel, stretches his kind of »meeting practice«, that it succeeded in reinventing of the land. hands out towards the crowd: many of the other relations in- modern art. Encouraged by However, after the exhi- »We shall not forget!!!« he volved are indeterminate. this achievement, it began bition closed and left the city, it would shout and sing. Mozam- Simão’s ongoing Off screen sending exhibitions across the was quickly forgotten and bique’s colonial past needed project raises questions about vast land, spreading the idea erased from the memory of its to be constantly remembered the operative topology of of modernism, and soon after it inhabitants as if it had never so as to give meaning to the images and their use as instru- became widely known as happened. Although the winds present of revolution. In her ments of governance. Along- The Modern. of modernism eventually swept talk, Simão will show her cur- side this approach, Simão will But then a long and terrible even those remote corners of rent work on the reconstitution also present excerpts of a war between the nations of the Old World, memories of the of a series of forty-four recently produced film piece, the Old World erupted, destroy- Tutti-Frutti show never came episodes of archival footage, These are the Weapons, ing most of the culture including

21/04/ 2013 — Closing Conference back ... until today. (From the revealing a highly intense that was named after the 1978 memories on modern art. Not Tales of the Artisans) four-day political meeting in Mozambican filmE stas são too long after a peace was Maputo in 1982. The meeting as armas. established, The Modern began 5:30 pm was held between the Frelimo sending exhibitions across the Discussion with Panellists

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Franco Berardi »Bifo« Lingua Franca – Frank Tili (Venice Biennale, — Bologna 2011). Boris Chukhovich is also the author of Panellists Born in Bologna, Italy in 1949, Franco many virtual museum and university pro- Berardi Bifo is a writer, media theorist, and jects. He works as an artist in digital media. media activist. As a young militant he took Boris lives and works in Montreal. part in the experience of Potere Operaio in the years 1967-1973, then founded the Clare Davies magazine A/traverso (1975–81), and was — Cairo part of the staff of Radio Alice, the first free Clare Davies is a doctoral candidate and pirate radio station in Italy (1976–78). Erwin Panofsky Fellow at the Institute of Involved in the political movement Fine Arts, New York University. Her disserta- of Autonomia in Italy during the 1970s, tion explores how both the ontological and he fled to Paris, where he worked with Félix the epistemological statuses of the work Guattari in the field of schizoanalysis. of art in early twentieth-century Egypt were He has been involved in transformed within expanding cosmopolitan many media projects, like Telestreet, and and colonial currents of exchange and Recombinant.org. coercion. She lives in Cairo. Bifo published the books Poetry and Finance (1912), After the Future (2011), Ekaterina Degot The Soul at Work (2010), Felix (2001), — Moscow Cibernauti (1994), Mutazione e Cyberpunk Ekaterina Degot was born 1958, is an art (1993), and contributed to the magazines historian, art writer, and curator whose work Semiotext(e), Chimères, Metropoli, and focuses on aesthetic and sociopolitical Musica 80. issues in , predominantly in the post- He is currently collaborating with Soviet era. She recently co-edited Post- e-flux journal. Post-Soviet?: Art, Politics and Society in sweet Coordinator of the European Russia at the Turn of the Decade (with Marta School for Social Imagination (SCEPSI), he Dziewanska, et al., 2013), and convenes the has been teaching at Ashkal Alwan in Beirut, Bergen Assembly, Bergen, 2013, with 23 PEI-Macba in Barcelona, Accademia di David Riff. Degot lives and works in Moscow. Brera in Milano, and has lectured in social centers and universities worldwide. Yasmina Dekkar — London Olga Bryukhovetska Yasmina Dekkar is a researcher and cultural — Kiev theorist based in Berlin and London. She Olga Bryukhovetska is an associate Profes- was educated in film theory, islamic studies sor of Cultural Studies at National University and art history in Berlin, Cairo and Paris and of Kyiv-Mohyla Academy and co-founder holds an MA in Postcolonial Studies from of the Visual Culture Research Center. She Goldsmiths College, London. She is a specializes in cinema and visual culture, and PhD candidate in the department of Visual her current research focuses on the Soviet Cultures at Goldsmiths College. Her imagination. research project attemps an enquiry into the memory politics and archival conflicts of the Boris Chukhovich Algerian national state as it constituted — Montreal itself through the armed struggle of the FLN Boris Chukhovich is an independent cu- with the French state and through civil war. rator, art historian and specialist of modern Her aspiration is to reconstruct the complex and contemporary arts of Central Asia. He political agencies exercised by cinema, by has been collaborating with scientific institu- firstly examining the cine-political role played tions and universities in Canada and by the only recently reopened Ciné- France including Maison des Sciences de mathèque in Algiers, and secondly through a l’Homme (Paris), Université du Québec series of readings of the archives around à Montréal, Université Laval (Quebec) and the banned compilation film Insurréctionnel / York University (Toronto). His curatorial Insurrectionary (1973) by the Algerian film works include projects such as Museum maker Farouk Beloufa. of Central Asian Arts (Exhibition Center at She has co-organized a number of Université de Montréal), New Orientalism events including a ten day film programme in Quebec (Montreal, 2004), After titled OTHER CINEMAS at Arsenal Catastrophe (Ottawa, 2004), Return of the Cinema, Berlin (2004) curated by Mark Nash Metaphor (Montreal Biennale, 2007), as part of the 3. berlin biennial for contem-

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porary art, a three day conference with Homi ual culture of socialist Yugoslavia, cultural of the 9H Gallery, a founding member of the Public presentations of Off screen Bhabha as part of the festival RE-IMAGINIG transfers and artistic migrations, historiogra- Architecture Foundation in London, and a project are modeled along the idea of a ASIA (2008) at House of World Cultures, phy and methodology of art history. member of the College International de Phi- »documentation room« as a reflection of Berlin. She worked as assistant for Hito losophie, Paris. Currently he lives and works its cumulative and dialogical character. Steyerl, for the video installation Porter Mccray in New York, where he directs the Potlatch It proposes to reveal documents, images, EUROSCAPES as part of the hub MIGRA- — Berlin journal and the Research Lab for Art and testimonies, texts, and films as narratives of TION of the 3. berlin biennial for contem- Porter Mccray was the Director of the MoMA Architecture, and teaches at Columbia Uni- different forms of a post-colonial condition: porary art (2004) and as assistant for International Program during the 1950s. versity Graduate School of Architecture, from the context of the liberation move- Steyerl’s film NOVEMBER (2004). She is In recent years, he has been associated with Planning and Preservation. In addition, he is ments that produced a revolutionary film col- involved in the long term research project the Museum of American Art in Berlin. His a consultant to Steven Holl Architects. lection in Mozambique, to global capitalism MATTERS OF COLLABORATION. latest public appearance was the lecture that is now prospecting for its preservation, Politics of History and the relation between »MoMA and the International Program« at Georg Schöllhammer to the present moment where it appears as Europe and Africa (2011 ongoing), the James Gallery (CUNY Graduate Center, — Vienna fragments of personal research. A mon- curated by Anselm Franke at House of New York 2011). Georg Schöllhammer is a cultural theorist, tage-like effect allows viewers to read a spe- World Cultures, Berlin. editor and curator. He is editor-in-chief of the cific work methodology, where the task of Josip Rastko Močnik journal Springerin – Hefte für Gegenwarts- reassembling an archive genealogy weaves Ali Essafi — Ljubljana kunst, Vienna, which he founded in 1995. itself as an experience in relation to history — Casablanca Josip Rastko Močnik, sociologist, teaches From 2004 to 2007 he was editor-in-chief of and Western epistemology – and not neces- Ali Essafi was born in Morocco in 1963. He theory of ideology, discourse analysis Documenta 12 and conceived and directed sarily in relation to the past. studied psychology in France, then entered and epistemology of the humanities and the Documenta 12 magazines. He is head This ongoing project has been the world of filmmaking. His works as a social sciences at the University of Ljubljana, of tranzit.at, leads the international research presented in its different stages in art con- director include Général, nous voilà! (Gen- Slovenia. Co-chair of the International groups »Local Modernities – Architecture texts in Lisbon, Porto, Maputo, Vienna, eral, Here We Come!, 1997), a documentary Board of Directors of the Institute for Critical at the Margins of the Soviet Empire« (Frank- London, Paris, Barcelona, Amsterdam, and about Moroccan veterans of the French Social Studies, Sofia andP lovdiv. Member furt/Vienna) and »Sweet Sixties?« (Istanbul/ Seville. It was also part of the Manifesta army. It was awarded the Special Jury Award of the international advisory board of the Yerevan/ Zagreb) and is chair of »the július Biennial 8 in Murcia in 2010, and the Africa. at the Namur Film Festival in Belgium, and journal Eszmélet, Budapest. Member of the koller society«. (Bratislava). Schöllham- cont art program in 2011, in Lisbon. Off sweet shown in Carthage and at the Paris Biennale international board of the journal Sociolog- mer works as a researcher in the context screen project has developed connections of Arab Cinema. Le Silence des champs icheski problemi, Sofia. Member of the edito- of »Former West« and as a board member with radios, libraries, university and historical de betteraves (The Silence of the Root rial board of the publishing house Založba of ERSTE Foundation and »Kontakt. The archives. During 2012, the project collabo- Fields, 1998), was awarded the Grand Prix /*cf., Ljubljana. Member of the editorial Art Collection of Erste« (Vienna), as well as rated in Berlin with the Centre of Modern at the International Festival of Environmental board of the on-line journal Transeuropée- being on the artistic board of the steirischer Oriental Studies and the Living Archive Film & Video in Paris, and was also nnes, Paris. Doctor honoris causa at herbst festival in Graz. He is a corres- program of Arsenal Cinema. Recently, the included in the Cinéma du Réel documen- the Plovdiv University »Paisiy Hilendarski«. ponding member of the Vienna Secession. project was presented at the Sweet Six- tary festival. In 2001, his Ouarzazat Movie Georg Schöllhammer is currently ties Conference in cooperation with Ashkal was awarded Best Mediterranean Docu- Yehuda Safran based in Vienna. Alwan, in Beirut. Simão is co-founder of mentary at the CMCA, and praised on the — New York the PIE group – Performance & Image Ex- international circuit. In 2002, Ali Essafi Yehuda E. Safran studied at Saint Martin’s Catarina Simão ploration (2011) and was part of the curators’ returned to Morocco where he made other School of Art, the Royal College of Art, and — Lisbon board for GHOST art residencies, at Atelier documentaries and became involved in University College, London. He has taught Off screen project – Mozambique Film Real, Lisbon, in 2011. public television for two years as an Art at the Architectural Association, Goldsmith’s Archive is an ongoing art project, initiated by Director Adviser. He recently finished his lat- College, London University, the Royal Catarina Simão in Maputo, Mozambique, Rayyane Tabet est film, Wanted!, which was commissioned College of Art, London, and the Jan van in 2009. Simão is a Lisbon-based artist — Beirut by the 10th Sharjah Biennial and selected Eyck Academy, Maastricht. and independent researcher. Her practice Rayyane Tabet is an artist living and working by the MoMA’s program on experimental He was a fellow of the Chicago Insti- is built upon research and collaboration. in Beirut. He earned a Bachelor’s degree Arab film, »Mapping Subjectivity«. Currently tute of Architecture and Urbanism and It encompasses art installation, video, film in Architecture (BArch) from The Cooper based in Casablanca, he lives between Visiting Professor at the School of Architec- screening, radio shows, and participatory Union, New York before receiving a Masters Morocco and Brazil. ture, University of Illinois, as well as at workshops. She has authored essays in Fine Arts (MFA) at the University of Rhode Island School of Design and Harvard associated with the subject of her project, California, San Diego. His work is concerned Ljiljana Kolešnik Graduate School of Design. He has pub- on such topics as political theory, propa- with researching hidden histories that are — Zagreb lished in Domus, Sight and Sound, Paris ganda images, archives, and artwork based transformed and retold through objects and Ljiljana Kolešnik is the senior research advi- Match, Lotus, A+U, AA Files, Proto-typo, on primacy of process. installations. His work was included in sor at the Institute of Art History in Zagreb, Metalocus, Abitare, The Plan, and with OFF SCREEN PROJECT the Sharjah Biennial X in 2011 and The Un- Croatia. She studied art history and compar- Springer and Artpress. With Steven Holl and Since 2009, Catarina Simão has de- governables: The New Museum Triennial ative literature at the University of Zagreb, others, he was editor of 32 Beijing/New York veloped an »in flux« format project to work in 2012. He received the Abraaj Capital Art on the nature of perception and of encoded Prize 2013 and was a Special Prize Winner Panellists where she received her PhD in 2000 on and among the editors of Springer-Verlag, the subject of Croatian Art and Art Criticism Vienna. He is the author of Mies van der memory build up through images, docu- of the Future Generation Art Prize 2012. of the 1950s. She is the founder of the Rohe (2000). He curated, inter alia, the Arts ments, and archives. The project centers Regional Centre for Art, Culture and New Council of Great Britain’s touring exhibition around an ongoing dialogue with a Media, recently established by the Zagreb and publication The Architecture of Adolf specific archive, the Frelimo’s film Institute of Art History. Main fields of her Loos and the Frederick Kiesler show at the collection, housed in a state archive in research are post-war modernist art and vis- Architectural Association. He was a trustee Maputo, Mozambique.

24 25 sixties

Colophon

Conference & Lecture Series Sweet Sixties

Curator Curators Georg Schöllhammer Ruben Arevshatyan, Georg Schöllhammer

Klemens Gruber (Lecture Series) Project partners tfm, Institut für Theater-, Film- und Medienwissenschaft What, How & for Whom/ WHW — Zagreb Universität Wien Anadolu Kültür — Istanbul Architekturzentrum Wien. Project Co-ordinators Felix Gaudlitz, Ines Gebetsroither Project Co-ordinators Michaela Geboltsberger Mirjam Paninski, Marlies Pillhofer

Project Co-workers

sweet Angela Bedekovic, Ulrike Kuner

Art-Direction & Graphic-Design Atelier Liska Wesle, Wien / Berlin

Sweet Sixties was tranzit.at was founded in 2004. Its aim is initiated by tranzit.at to challenge the post-Fordist idea of tranzit.at is the Vienna hub of tranzit.org, cultural production and of the cultural a network of independent initiatives in institution in the categories of efficiency Austria, Czech Republic, Hungary, and relevance. tranzit.at is dedicated to the Romania and Slovak Republic. tranzit.org research of long-term counter canonical operates as a collective of these autono- artistic practices and engaging in trans- mous local units, cooperating across vari- local collaborations beyond the event and ous borders – between nations, languages, across disciplines. media, mentalities and histories. http://at.tranzit.at

Supported by:

W ith the support of the Culture Programme of the European Union

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