… von Brot, Wein, Autos, Sicherheit und Frieden … of bread, wine, cars, security and peace … o kruhu, vinu, autima, sigurnosti i miru … ekmek, • marwa arsanios • zach blas • sonia boyce • banu cennetoğlu • alejandro cesarco • saddie choua • phil collins • alice creischer • adji dieye … of bread, • ines doujak • melanie ebenhoch wine, • tim etchells cars, • kevin jerome everson • forensic architecture security • giorgi gago gagoshidze, hito steyerl & miloš trakilović and • monika grabuschnigg • vlatka horvat e peac • anne marie jehle • gülsün karamustafa • jessika khazrik for the society of false witnesses • victoria lomasko • hana miletić & globe aroma • marina naprushkina • tuan andrew nguyen • wendelien van oldenborgh • sylvia palacios whitman • dan perjovschi • pirate care • hc playner • oliver ressler • school of contradiction • selma selman • andreas siekmann • daniel spoerri • mladen stilinović • marlene streeruwitz • milica tomić kunsthalle wien to come to PHOTO: Boris Cvjetanović, Stipančić, Courtesy of Zagreb Branka Mladen Stilinović, For Marie Antoinette ’68, 2008,Operation City, Zagreb, signals of things ofsignals things

2 “12-hours workday” The curatorial The members of the The new legislation, ofCommunist the dedicated to the of TransientEvents, 152nd anniversary 60-Stunden-Woche). Zagreb. / WHW started its Globalization and Ana Dević, Nataša entitled What, collective What, on anexhibition 2003. and NEOS in2018 collective Ivet Ćurlin, or“60-hours week” the Manufacture votes of ÖVP, FPÖ, Manifesto (2000). How &for Whom, passed bypassed the work inZagreb to worktogether on WHW’s programs in How &for Whom Ilić, andSabina Beirut: Ashkal Alwan, Bilal Khbeiz, 01 (12-Stunden-Tag; 02 03 is known as the Sabolović continue

3 “well-being.” Having moved here, we also see the ruptures ruptures the see also we here, moved Having “well-being.” is the first exhibi first the is peace and security cars wine, bread, ... of The exhibition is shaped by the shift that our collective collective our that shift by the shaped is exhibition The Bilal Khbeiz Bilal quotes title The and there. The political complexity in Austria is in some some in is Austria in complexity political The there. and inspired have who artists many of the some present to and and to envision a future that refuses to be complicit with with complicit be to refuses that afuture envision to and on earth underon question; earth ecological gathers destruction over some of the things that made the difference between between difference the made that things ofthe some over and life” good of “the idea the from inseparable is that city that here concerns public and issues common towards care an as serves also It years. the over work collective our in present especially is feel we that something peace pace; faith in the benevolence of capitalism was broken broken was of capitalism benevolence the in faith pace; taken once were they where places in living people more years of working together from our home city. That move move That city. home our from together of working years ment and trickle-down benefits is steadily evaporating. steadily is benefits trickle-down and ment the 12-hour workday). 12-hour the that we will develop over the first year of our directorship. our of year first the over develop will we that to give visitors an idea of our artistic and political interests, interests, political and artistic of our idea an visitors give to of directorship the over taking since curated have we tion tainable for much of the world. Almost two decades later, decades two Almost world. of the much for tainable West. the and South Global the in of people dreams the years thirty last the over values these diminished have that is responsibility of shared sense This home. back miss we and of responsibility asense exists there familiar, yet ways the conditions that created the present. the created that conditions the today, life everyday and culture society, for are values these precious how indicate to want therefore we exhibition, the bythe instance, for represented, (recently for granted: climate change puts the continuation of life of life continuation the puts change climate granted: for For For has made in moving from Zagreb to Vienna after twenty twenty after Vienna to Zagreb from moving in made has by the 2008 crash, and its horizon of slow global improve global of slow horizon its and crash, 2008 by the it seems that these basics begin to escape more and and more escape to begin basics these that seems it inevitably asks us to reflect on the differences between here here between differences the on reflect to us asks inevitably program of the orientation general the to introduction kunst Khbeiz h – defined an idea of “the good life” that was unat was that life” good “the of idea an – defined alle alle wi bread, wine, cars, security and and security cars, wine, bread, list – very , the en . 01 This international group show is intended intended is show group international This 02 Through the title and subject of of subject and title the Through , a Lebanese author who mused mused who author , aLebanese legalization of Vienna, a Vienna, 03 - - -

“good life,” both as a collective and individual experience. experience. individual and acollective as both life,” “good also looks for tangible ways to celebrate the richness of of richness the celebrate to ways tangible for looks also ecologically an for stand aprincipled only not is example, one as Degrowth, realizable. increasingly becoming are argu scientific and ecological, moral, many already are There it. beyond think capitalism – and of modern dialectic fatal the abandoning imagine can one where aplace as subjectivity artistic posits exhibition The life. into emerging already are that those or come to of things signals faint as act voices imaginative and constructive Critical, us. around artists the dialogue, in times and generations different Instead, world. the with wrong is that of all critique a dark more. no is that aworld to attachment” ous economic violence and monstrous social forms we see see we forms social monstrous and violence economic ous perceived the war, while low-level aconstant is offer on For environment. the on effects terrible had has culture climate destroyers and trophy possessions that damage damage that possessions trophy and destroyers climate As a start, one might conclude that each element in the the in element each that conclude might one astart, As sustainable world economy governed by human needs. It It needs. byhuman governed economy world sustainable ruin of the perpetuation the to alternatives real suggest most the turn consumption reckless and self-optimization political world, as well as to reflect, motivate, and assist assist and motivate, reflect, to as well as world, political management and algorithmic data analysis, policing, ments for organizing our economies more fairly and they they and fairly more economies our organizing for ments the struggles to change it. Presenting works by artists of of byartists works Presenting it. change to struggles the the planet and all of its life forms. life of its all and planet the the rethink to seek show on artworks and artists the “cruel as persisting afantasy is life” of a“good idea the To simply: it put globe. the around leaders populist toward politics democratic drives escalation further ofever threat spaces. urban our up block and environment whole the for drive obsessive The shame. and of guilt cause the often are wine and bread enough, have still who those agri industrial and scarce is sour. Food turned has title It represents a collaborative effort to understand today’s today’s understand to effort acollaborative represents It Nevertheless, this exhibition is not a counsel of despair or or of despair acounsel not is exhibition this Nevertheless, Security has been militarized hasbeen into state,” a “surveillance Security looms over everything. Finally, the best form of peace of peace form best the Finally, everything. over looms basic human desires into marketized products. Cars are are Cars products. marketized into desires human basic in which a dystopian, posthuman landscape of predictive of predictive landscape posthuman a dystopian, which in

4 04 04 - - - University Press, 2011. Durham, N.C.: Duke Cruel Optimism, Laurent Berlant, 04 2019 Adji Dieye, Maggic Cube, 16–25. found on the pages collaboration can be eventsthis within the participants and More information on 05

5 ... of bread, wine, cars, security and peace opens on the peace and security cars, wine, bread, ... of The exhibition had an early start. A series of events at at of events A series start. early an had exhibition The Vienna • February 2020 •February Vienna and a serious reckoning with the ways in which the work work the which in ways the with reckoning aserious and at the heart of its vision of the future. It celebrates sustain celebrates It future. of the vision ofits heart the at Space the includes exhibition The work. their on elaborate of kunst department educational the with engage to and exhibition the during afraid being not while space, public the towards exhibition communal luxury and collective leisure, where the “good “good the where leisure, collective and luxury communal are race and bygender shaped been has others of serving read, to visitors to invitation asimple as serve and of events of working with all of the contradictions this might rev might this contradictions of the all with of working of Questions of species who share our world. It proposes a daily life that is is that life adaily proposes It world. our share who species Vienna in stay to artists for program aresidency started stake in the show, and gave our local audience a chance achance audience local our gave show, and the in stake spaces of spaces flourishing of all. of flourishing metaphorically and literally, pushing the threshold of the of the threshold the pushing literally, and metaphorically think, leave comments and rest during the visit. the during rest and comments leave think, tion with Burgtheater with tion tions. The exhibition itself takes place in all the venues and and venues the all in place takes itself exhibition The tions. proposi curatorial our on perspective own their find to feminist Social and perspective. ecological reproduction, ) sabolović •sabina ilić •nataša ćurlin ( ivet In collaboration with studio das weisse haus March 8, International 8, March Women’s Day / whom &for how what, Kasino am Schwarzenbergplatz life” is ecologically supportive and oriented toward the the toward oriented and supportive ecologically is life” of abundance an with pleasurable, more and arduous less ing and improving human life, as well as the lives of other of other lives the as well as life, human improving and ing kunst , an educational space that will host a series aseries host will that space educational , an h

alle alle ● wi h introduced some of the issues at at issues of the some introduced alle alle en whw whw . It wants to open up the house house the up open to wants . It wi en discuss, mediate, and and mediate, discuss, to 05 produced in coopera , to emphasize its its emphasize , to we have have we eal. eal. - - - Americans? Mostprobably, and ifthe following A Palestiniancannot imagine the futurewithout (sovereign) nation states that came beforeit. Tanzanian woman who walksformore than Third World areleftto cars, dreamofbread,wine, Unable to change itscourse, we all – nations, politics, and asovereignty wrestedoutofthe people and terrorists to alike – try gainthe honor imagine anend hisfuturewithout to unjust felt and lived. Sowhat aboutthe dreamsofthe historical comparison isallowed, there isa thirty kilometersthirty day every insearchforwood to diplomaciesofconfessionaltaxes, the arbitrary us alsosay, forthe sake ofclarification, that a brandished two weapons: anabilityforcontempt Globalization is anentityasarmed asthe gas stoves and aconstant supplyofelectricity. The classist segregation ofdreams.Science isa fiction dreams ofthe Third World tangible, arevisible, cook meal, herdreamsofafuturewith family’s contiguity surrounding neighbors. with Let of joiningit.Since its inception, globalization has a fairpoliticalagreement, asaLebanese cannot and apower fortemptation. security and peace.security specialty ofdeveloped societies,whilewe inthe

6 virtual economy.virtual The immigration laws in Western nations are In allthat, we arenot citizens,humans,oreven

in one’s own place. We to canapplyasindividuals like those given to Westerners. With globalization, intelligent inthe practiceofthisexorbitantand no choice butto at strainand being struggle take usallthe way to financial speculationina to become intelligent creatures. And that, we this openuniversity and spend ourtime earning From domesticated animals. We onlymanage will coffee at Starbucks,and by hidingbadhabitssuch one degreeafter another. Bylearningto savor rights ashumansdo – with can spend alifeliving as smoking, skillfulness inusingthe Internet will and not beseen.” thatanxious living may, above all, allow us“to see are told, should bemore thanenough. We have such anentrance canat times begained whilestill similar to academicentrance exams.Ifpassed,one

Beir Bilal Khbeiz,

7 2003 AshkalAlwan, ut: Globalization andtheManufacture of Transient Events, victim pollutes dead the spilled blood to the role of the user: the role of the viewer the itinerary from bilal khbeiz bilal Everything’s Falling Apart: Limity Jsme My, 2019, filmstill Oliver Ressler, Everything’sComing Together While 8 “be seen”“be becausewe no longer had We have beentirelesslydeclaringthat With ourtumultuousdemonstrations, visible. Mostlikelyvisible. we were forced to vast world to open itsdoorsto us. We cells, we wanted to abandon the places over the decadewere like clear very of globalization. Our demonstrations either the energy orthe resources to give upthe privilegeto “see”and not Over the past decade,these coun- we want to stay inthese countries; that where we time hadbeenforashort in were promised we could belong.But wanted, after many disappointments, want to repairtheir conditions so want to live in these countries. We East, aswell assome in Asia, America For a decade long, we, in the Middle and Europe,haveto be beentrying all the exiles are struggling toall the return exilesarestruggling theand bloodthat with wasshed on allow us to settle in the vast homeland the wider world,the wider in contrast to what tendency towards immigration into tries have not experienced acultural world.the in hopewider ofliving the sidewalks ofcities and in prison the world hasnot kept itspromise. they were moving rapidlyoutofthe to resideinthese countries even if them. Somehow we didnot wantthe that we can hang in and withstand tumultuous announcement that we throughout the lastdecadewere a messages to the world to whichwe picture. picture. The images we produced livable conditions. keep possible in the our living least back; and that allwe aspireto isto

9 Although the tragedies of these quickly closed its eyes to what had developed world cannot accommodate of itslaws. inrefugee living campsthat of Syrians did not migrate unless they realized countries that demonstrate fortheir were no better thantheir campsin who donot have the rightto enjoy any world’s itstragedies solidaritywith Bill ofHumanRights – becausethey them. Inplace ofemigration, the his thata country no longer hasroomfor and surrounded them, the world authority. refugeeThe Syrian camps all thoseto who wish enter under its are not where citizens of a country any form. To thisday, there aremillions and bring about an im demands will they canstay the boundaries within ofthisregionhassucceededtory most that wasno longer living possiblein they arereallysick. As forthose who to keep those countries alive, though those elites no longer hope that the tries have tried to show us. Moreover, the globalizedelites inthose coun migrated from these countries, they feelings and emotions that enveloped Turkey, Jordan,Lebanon, and Iraq. The horrors ofthe pastdecadehave survival. Rather, survival. they were just trying prefer these campsover returningto people were than morethe difficult provement in the conditions of the in Greece, France, and Eastern Europe ofrefugees.in the production Refugees lack minimumviability. Butthey all happened – and isstill happeningto undoubtedly demonstrated that the - - - Yemen, and Iran, made the world As forthe promiseofdemocratization victims. victims. concern ofmost American analysts in elites inthe regionhave abandoned watching these televised massacres while watching amovie aboutaperson inthe 2009uprising – weCorps have It canbesaidthat the globalized Equality among states, nations, races the bulletsofthe Revolutionary Guard and solidarity with those and peoplewhose solidaritywith and the right of free expression, it and peoplesisarguablyat itslowest all the peopleofthe region,isthat the the sadness that overwhelms anyone the promisesitmadeat itslaunch. the illusionsofglobalization and them. The most that those afflicted reluctant toreluctant communicate their with realized that the world iswatching future will bringjusticefuture will to them. The world did not show solidarity; The bloodthat wasshed inthisregion succeeded only in polluting its people. Iraq,Egypt,Lebanon, screens inSyria, sentenced to death. Moreover, the real and nothingspectacle more. Sadness, sidewalk of globalization – in Tehran by particular, and particular, Westerners ingeneral. point ever today. Indeed, inequality Syrians canhope fortoday,Syrians alongwith live broadcasts ofbloodshed asa in developed countries hasbecome a has beendealtasevere blow. Since unjust authorities, wasno greater than blood flowinginfrontofthe phone blood wasshed by the hands oftheir Neda Agha-Soltanwaskilledonthe

10 Are we facing the same situation that values mustwaitonthe stage untilthis 1940s? Mostlikely the situation today only then, canthey accept of the fact developing around the planet, and the comprehensive. The hate discourse condemn them and express concern, only after that could trying they start entire population of the world entered expanding world graves hasreserved outlandish and emptyofmeaning. world isinvolved inthisdisaster. It soonerwho orlater will besubjected Europe experienced inthe 1930sand Europe. Today, this typeofdiscourse is their crimes. accountable after they have finished and make promisesto hold the killers theand leastamount with ofnoise. to record the incidents inUNreports, to genocide. The world merely offers to Inthisway, remedy itseffects. the this disaster and itsconsequences, and to end thismassacreassoonpossible that spread among Europeanpeople massacre canreachanend. Then, and for millionswho are“stillalive” but The ways usedto implore victims Those who still hope to revive ethical solidarity, even after their death, somehow became anappealwithout slides toward hatred ofthe other and some way, apublicaffair. What isreally production ofkillershas become,production in in that era wasrelatively confined to is similar, butsomehow itismore into anundeclared collusion inorder It is likely or affect. thatimpact the instead, solidarityitselfbecame happening today is that the whole And with eachnewAnd suicidebomber, with a What canwe hope for? very limitedvery time available forusto of the Amazon jungle,the arrestand continuously inorderto remainvisible. cameras. The catastrophic dilemma of their childreninfrontoftheir of the world. In order to attract the of the world have beenshouting within dayswithin by Iranian Revolutionary Guard and corpsesarecorpses, and what dies appropriate than the spectacle one a prohibitive cost:they stood before attention of viewers in the world’s against highfuelprices. that preceded it.Butdeath isdeath the death of one would produce amore the killingand wounding ofthousands never been. Their gambling came with role ofviewerto the developed part role ofauser, whileabandoning the forced to produce suicide bombers families onthe US-Mexico border, and former user is buried and their short There areno exceptions to these Throughout this decade, the outskirts Throughout thisdecade,the outskirts shows indifference to their destinies. shot at their heads. wereThe outskirts separation ofchildrenfromtheir protesters’ shouts from the bullets play the roleofusers. This wasonly in those moments separating the in whichwe putourselves wasthe loud that they wantto acquire the hate events: the deliberate burning heart, theyheart, showed them the blood bullets and bombsinthe hope that biography away withers asifithad just because they demonstrated

11 Washington, D.C.•February 2020 other than large, well-guarded hotels, on themselves, and there isno place only humansbutalsothe place. On while the streets belowwith are filled where different people can gather age ofglobalization contributed to those who have lostallhope. the untouchables, the tortured,and ofthethe world. outskirts The West that the Western on citizencanvisit the one hand, acuteconflictsinthe making the world muchnarrower than small, isolated islands and fortified in those regionsofthe world arenot is madeupofsmallgroups,closedin it was. There areno more than a few

● marlene streeruwitz marlene of novel the theory normal activity. Stay astep ahead ofnormalcy. Revolt isstrenuous.Strenuousness canalsobecome a before self-destruction. Avoid it. literature. Then the you revolt crush yourself. That is inherent language. Ifyou callitstyle. Or work. Or Each revolt hasto becommunicated inone’s own beno thererevolt. will Learnit. otherwise Revolt doesnot belongto you only. You have to share, acceptance to and thecontinue. devil When you revolt, your acceptance berevoked. will Send but not wantto. Endure it. readyou.will When you revolt, you mustbeeveryone hearNo oneyou. will see you. Noone will Hardlyanyone Revolt and endure it. Forget provocation and revolution. Revolt. Revolt. 12. 13. 6. 7. 8. 9. 10. 11. 12 appearedin the articulate theirown asked writersto quarterly German on the writer'son vol 2.,2011. Street (1928), Walter Neue Rundschau Neue Rundschau, a magazine. Marlene published by theses on writing theses title "Post No Bills." undertechnique the for eachissueof the book One-WayIn the Benjamin published S. FischerS. Verlag, literary magazine Starting in2007, the Streeruwitz's theses his thirteen theses

13 Endure it. Revolt takes place inyour texts. The fight over itin you. would wantto have wanted to write entertainment. otherEverything thanrevolt iscapitulation. And who Revolt. as weapons. Make yourself vulnerable. The splinters offreedomhave edges sharp and areused you. rage and your allow sadness will revolt to speakfrom theft. Take the sadness aboutthe travails offinding. Your could have related itto yourself. Take the rage aboutthis the splinters offreedomisthe language inwhichyou The personisnot splintered. Itisfreedom.Dispersedin must never tireofthis. up differentlyeachtime and yet always entirely. You an orbitand thuskeep offreedom the reflections toflare splinters offreedom.Keepingthe splinters offreedomin Revolt means nothingthe other thanjugglingwith you have arrived at sports. Revolt isanachievement. Ifthisachievement islegible, Practice it. texts at thisplace. This ishow solitudedescribes itself. the fightbetween your ego and your yourself. Construct Revolt happens somewhere. You find the place foritin 0. 0. 0. 1. 2. 3. 4. 5.

● opening program march 8,2020 arlsplatz 5 pm 4 pm Burgtheater, 2019, PHOTO:David Avazzadeh Introductioncooperationto with Opening program starts at5 pmkunsth Manifesto and Testimony, aspeechby the writerMarlene Streeruwitz Veronica Kaup-Hasler, WHW, Directors Hor 29. Novembar

museumsquartier k

14 kunsth alle wien City Councillor for Cultural Affairs and Science theaters. galleries, museums,city halls,or on the streets, in the metro, inbars, make themselves heard everywhere: morelanguages, they thantwelve and other songsof resistance in anti-fascist,revolutionary, workers’ both international andlocal. Singing current socialandpolitical fights, reflecting andinsolidarity with is dedicated to amusical repertoire polyglot andradically amateur choir ofofRepublic the Yugoslavia, this collective. Named after the Day 2009 asanopensingingactivist Hor 29. Novembar exists since your Write down your ideasandnotes in do the participating artistshave? glue, draw, or sketch! What dreams wishes anddreams. You may cut, A book in which you can collect your Let’s create a very specialbook! families. 6–7 pmour, workshop Join alle wien DreamTravelBook DreamTravelBook. museumsquartier: for kidsand at 4–5 pm and

Tim Etchells, SongsaboutBeing Free, vibration, texture andrhythm. its ephemeral materiality assound caught between itssemantics and creating, testing andshiftingspace, political instrument – a meansof serves asaperformative, socialand In between different spoken materials. loops, andunexpected connections in progress, creating collisions, from performance texts and works his notebooks as well asonexcerpts Work Filesdraw onfragments from half musical compositions, Etchells’ language. Half textual collages and and unstable landscape of spoken artist groupedunder thetitle In hisimprovised performances, 6:15 pm Let’s celebrate International Women’s Daytogether! preparatory drawing, 2020 Etchells’ solo work, language Tim Etchells creates adynamic

entrance area Performance inEnglish, Work Files Tim Et

15 chells ( Vienna )

Work Files,

so? society feels threatened. Rightfully appear ingroups (and dare to write), women get together, assoon they country. Soonecould well say: when internetand trolls throughout the patriarchy, right-wing agitators, great resentment by the cultural presence is thus always met with nature.about poets whowrite Their neither modestnor well-behaved These young female authors are Kronen Zeitung, right-wing populistmediasuchas scandal by the public,especially by Grippe / KW77 were perceived as Evenfirstof trips the the specializing in travel literature. forces.is to writeaim together, The such agroup of female authors join literature!first timethat is the It This isanovelty in the history of Viennese fluisgoingaround. KW77! A gustof new wind in Vienna. A 7 pm

● R Wiener HC Playner’s work presented in front of Stefanie Sargnagel ) Kornberger •Maria Muhar • ( Lydia Haider •Mercedes eading in German, eading inGerman, Grippe / KW77 Unzensuriert, etc. Wiener

— Burgtheater collaboration with Europ

16 e M achin e Burgtheater atKasino. and discursive events aspart of this program, which took place in perspectives. kunsthalle wienco-organized three performative continent’s violent history, disturbing present, as well asits positive and activistSrećko Horvat. EUROPE MACHINEexamines the program created by the director Oliver Frljić and the philosopher opened, aspartof EUROPE MACHINE –aninterdisciplinary collaborationThe with

17 Burgtheater beganbefore the exhibition 18 Tomić, who hasbecome known for publicperformances in 2/2 2020 Avazzadeh 2020, Photos: David with Burgtheater, in cooperation kunsthalle wien Love Afterwards, Milica Tomić, On addresses the role of women inpubliclife. and the limitsof civildisobedience in the city, her work also Artist state of political imagination.Interested in the possibilities various cities,provides the framework for adialogue with photographic and video material drawn from publicspace, the audience. format: a“public montage” on the history andpresent public montage by & with milica tomić on love afterwards. Milica Tomic

19 ́ presented an open, unconventional The program included historical photographs by Stevan Jelena Petrovi Tomi and was guided through the montage by the voices of Milica Labudovi Budour Khalil , Marko Stavri ć ’s guests – Zaid Alsalme, ć and theoretical contributions by Pavle Levi, ć , Amir Kozman, Sami Khatib ć .

●

By assembling , andAnaBezi L aura Baumel, Lung Peng, 134 – 143. exhibition, seepages contribution to the ForMilica Tomić’s ć Philipp Sattler, . The audience . The Gregor Berger , ́ Feb 8,2020. Photos: Niko Havranek /Burgtheater School of Contradiction, workshop presentation,

20

21 “exercise of reflexivity,” inorder to better The 2 – 8/2 2020 school of contradiction dominant modesof cultural produc and financial capital required in this and became the material for the film and cept of self-analysis, participants and context. Like inPierre Bourdieu’s con of cultural hegemony, anditsmostly one-week workshop led by As “field work,” participants and teachers spectatorship – how the actof watch- field with which and against which one one againstwhich and field withwhich visited two institutions – Burgtheatervisited two visits was to rehearse performative poem point of departure was Bertolt Brecht’s Reads (1935), which served as an ana- understand isfirst to understand the understand structural exclusion hidden which explores essential contradictions two cultural institutions were recorded what was “behind the stage” of the tions. Those performative walks into tion – because, in Bourdieu’s words: “to the (non)existence of one’s cultural teachers subjectedteachers themselves to the o Horvat, andAnna Manzano . Its Sre lytic lensfor reading different forms has beenformed.” “universalsof beneath the values” the in the institutional field. invisible forms of exclusion basedon ing can change the behavior of institu ć k kunsth School of Contradictiona was Questions fromQuestions A Worker Who alle wien. The goal of those

● Oliver Frlji ć - - - ,

114 – 115. exhibition, seepages contribution to the Contradiction ’s Schoolof For 22 Triple left executionphoto inSétif, Algeria,

“Are we the Gestapo in Algeria?” 27 May 1900, Le Petit Parisien, May 27, 1900. On M was celebrated inEurope, French police massacred hundreds of towns leading French editor ClaudeBourdetask: to Authoritarian Personality by 13/2 &14/22020 automating apartheid conference: the white west III contributors: by kader attia&anateixeiraconceptualized pinto seshadri lebovic marina gržini nialism depoliticizes both. dominant today, this tendencypsy to continuities between fascism and the chologize fascism fails to incorporate Adorno et al.Publishedin1950, the same yearas notion that fascism was apersonality post-war consensus to settle on the predisposition for fascism among unheeded. Moreunheeded. widelyread was trait, resulting from the devolution of the colonial dimension,obscuring the the individuated liberal subject. Still the democratic citizenry, leaving the that what iscalled “fascism” inEurope In hisfamous essay Discourse onColo- biopolitics of empire, and,ultimately, back home.Buthis warnings went in order to gauge the psychological it developed the F scale (F for fascist) is justcolonial violence findingits way ay 8,1945, the sameday the armistice , the poet , the • olivier marboeuf • • 23 felix stalder Discourse onColonialism, ć

florian cramer • Aimé Césaire argued • rose-anne gush• people inSé ­ Theodor ciraj rassool • The The radhika desai• tif, - zakiyyah imanjackson • PHOTOs: MaximilianPRAMATAROV The White WestIII, conference day one,

dorcy rugamba• davidgolumbia• nitzan kalpana 24

25 kunsthalle wien , Burgtheater, BrunnenpassageBurgtheaterstudio. in the framework of EUROPE MACHINE festival, collaboration between and National Socialism. This edition was organized by kunsthalle wien and the poorly understood relation of settler colonialism to fascism fascism” (thecarceral state, ethnonationalisms, andimperial warfare) different facets of what NikhilPal Singh termed “theafterlife of Zapperi atLa Colonie conferences initiated by Kader Attia, AnaTeixeiraPinto, andGiovanna WhiteThe West III: Automating Apartheid Pramatarov PHOTOs: Maximilian conferenceday two, The White WestIII, in Paris that areParisdevoted that in to theorizingthe The WhiteThe West III: Automating Apart differentials, the questionof the good or the tech industry’s cargo cult,prom confront the role of race in the produc cles – make apparent the structuring settler frontier. production andreproduction of anew nization involving the subjugationof up anambiguousspace in which acri under the guiseof welfare chauvinism used for mobile devices or electric vehi the role of the digital economy in the tique or disruption of capitalism can be whose structural inconsistencies open tion andreproduction of global wealth contendsheid that without the will to tion has been renewed with increased white people, the process of recoloniza force of race ingeopolitics,as well as ferocity. Recent events inBolivia,driven Seventy-five later, years the while West life can only beraised indistorted form, by the hunger for lithium – commonly be suppliedmagically – weak utopias inflected in thedirection of fascism. ising that acornucopia of goods will indulges infantasies of reverse colo kader attia&anateixeirapinto is the third inaseriesof

● ------photo: tim etchells & Benjamin Boar Tim Etchells, Mirror Pieces, 2014,installation view, Argos, Brussels, 26

27 Courtesy of the artist & mor charpentier, Paris charpentier, &mor artist the of Courtesy marwa arsanios Who Is Afraid of Ideology , 2017‒2019 Born in1978,lives and works inBeirut. gies andideologieshave arisenfrom, ent ecofeminist groups whose strate- ent form of knowledge production. The economic struggle – creating adiffer and are practiced through, war and contested. First, in the mountains of clusive use.Finally, the movie looks at volve around questions of ecology, movie was shot in three different places (parts IandII),Arsanios looks atdiffer where landhasbeenmarginalized and feminism, social organization, nation- tonomous Women’sMovement . Then, In her movie WhoIs Afraid of Ideology Kurdistan, where itfocuses on the Au Marwa Arsanios’ recent projects re building, war, andeconomic struggle. has beenbuiltby women for their ex in the Jinwar village in Rojava, which 28

- - - - -

film stills Ideology?, 2019, Who is Afraid of Marwa Arsanios, The choice of these specificgeogra- democracy,” based on local self-gover declared the autonomy of Rojava. This amidst the civil war inSyria, Kurdish ocratic Self-Administration of Rojava, a cooperative in the Bekaa valley near Arab, andother peoplesof the region, resulted in the foundation of the Dem- revolutionaries,together with Assyrian, phies isnot without significance: in2012, which practices aform of “stateless with alarge refugee community. the Syrian border inLebanon, anarea

29 - ginalized lands. economy to care for their lands, and groups hasdeveloped analternative nal economy. Each of these ecofeminist nance, gender equality, and a commu women have re-appropriated mar for themselves. Through actsof caring, healing, andself-governance, these

● - - Commissioned London, by Gasworks, Art in General, New York, &MU, York, New General, in Art zach blas zach queer punk filmJubilee governmentality andnetwork hege of the Federal Reserve, and whose poli At the center of the installation Contra- Zach Blasisanartistand writer whose film follows best-selling novelist and Eindhoven philosopher mony. ness to emerging science and new practice relates feminism and queer members of her Collective – including Internet is the shortfilmJubilee 2033, Contra-Internet, 2018 span, who went on to become Chair then young economistthen young tation of the neoliberal project ona technologies. Hislatest works exam journey into the future. Together with London. Born in1981,lives and works in lying technological control, biometric ine the philosophies and politics under ings were highly influential in theges inspired by filmmaker Derek Jarman’s

30 Ayn Rand, whose teach from 1978. Alan Green The The ------­ Zach Blas,Contra-Internet:2033, Jubilee 2017 – 2018, filmstills accelerated capitalism. Amidst the re- an instrument for state oppression and acid trip in1955. Azuma, anartificial gage crisis – Ayn Rand embarks onan cies are considered, inpart, to have pian future, where Silicon Valley’s Apple, that allowed the internet to become tues of selfishnessand rogue individual writings – and her ideasaround the vir Facebook, andGooglecampuses are led to the dotcom bubbleandmort being burnt, revealing that Ayn Rand ’s ism – have come to shape the ideology intelligence, guides them to a dysto

31 - - - - queer andfeminist methods to specu - as we know it.In Jubilee 2033, ecuted, they encounter Nootropix, a contra-sexual, contra-internet prophet, vokes apractice of utopian plagiarism network alternatives. volt, who lectures on the endof the internet techies beingcaptured andCEO’s ex late on the future of the internet and in which Rand and The Collective observe Contra-Internet appropriates

● Blas in- - The Circle, 2016 sonia boyce sonia anotherfive words: paper, tiger, whis documents this exercise, which con expressfreely themselves throughim- days theyencouraged students to the actions by her collaborators. art asasocialpractice. With anem circle andinviting them to pass to one As part of a three-month residency at Astronautalis and dancer/choreog sisted of gatheringeveryone into a signment endeduplending itsname shop togethergrunge-rapper with the since 1990, often involving improvisa rapher movements, andsocialinteractions provised performances,ânia Gala. During games, dance the next phasis oncollaborative work, Boyce Soap Theatre ( to this installation: to this with the aimof achieving bodily and the Villa Arson inNice inOctober 2015, tion and spontaneous performative London. Born in1962,lives and works in Sonia Boyce ledanimprovisation work Sonia Boyce Dada MigrantDada Wallpaper, 2016 – 2019 linguistic emancipation. The first as key, soap, and theatre. These words been working closely with other artists V installationview, 2016 Villa Arson, ’s research interests explore 32 Sonia Boyce, Paper TigerWhisky ). The video Dada Nice). The Soap Theatre Paper TigerWhisky (Dada Nice), has has

------

33 The initial whispers transformed into Wallpaper, 2016– 2019 Sonia Boyce, DadaMigrant as astarting point for aplatform com a strange landscape, combining ab dency andresulted in the hand-drawn and create communion. This work and and scat singing, the artistpushed the dom andintimacy. Inspired by Dada experience became aDadaistperfor a joyous cacophony and the whole afterparticipants translated which the of the wallpaper’s pattern becomes conducted duringandafter her resi situations. All of these exercises serve surdism with intimate anddomestic severalother experiments, which were participants to shift the group dynamic meaning andengender feelings of free mance where wordstheirlose to began wallpaper on display. The repetition the rest of the workshops prompted to translate. to passon to the next person for them these wordsinto their mother tongue were repeated over andover again, bining research and collective work.

● - - - - - The work Courtesy of the artist & Rodeo gallery, London / Piraeus gallery, &Rodeo artist the of Courtesy 05. 02. 2020, 2020 Born in1970, lives and works inIstanbul. banu cennetoğlu and circulate information. Shepays artist’s fascination with books, ar chives, andcollections: their form, their symbols andsigns. regional, andlocal newspapers pub- mission of ideas and beliefs through particularattention to the written word and printed image, toprintedword thetrans and function, andhow they hold,preserve, Banu Cennetoğlu’s workreflects the library anduniqueobject. The ongo- lished in Austria on February 5, 2020, ing project – previously beenunder indexed and bound as a reference 05.02.2020 compiles national, 34 - - - 14, 2011), 20 Arabic-speaking countries a “sculptural portrait” of Austria to a long table. Hardbound inblack, are laidoutinneatrows, covering 2014), Germany (August11,2015) and 2012), United Kingdom (September 4, of different geographies at this par nation while generating aportrait politics and hierarchy of news dissemi- the open volumes reflect uponhow ticular point in time. The newspapers taken in Turkey (August28,2010and (November 2, 2011), Cyprus (June 29, Norway (June 7, 2019) – deals with the May 14, 2019), Switzerland (January information ismediated and allow Photo:Simon Vogel (hardcover), 2015, 70 volumes Bonner Kunstverein, installation view, 11.08.2015, 2015, Banu Cennetoğlu, K21, Kunstsammlung (hardcover), Photo: Banu Cennetoğlu, installation view, NRW, Düsseldorf, 2019,70 volumes 11.08.2015, 2015 Achim Kukulies - artist enablesus to pauseandface emerge. Information is transformed confront adazzlingamount of both neutralized by forcing us to physically this overload, yet the realization of the banal andmonumental events. The impossibility of reading itallpoints us into apolitical gesture that can be

35 do know itall – before or after the in- the ideological distortion andcircu the finelinebetween beingaware of ternet. In this way, sheinterrogates towards the fact that we never really to remain indifferent to it. lation of information, and the choice

● - Courtesy of the artist & Tanya Leighton Gallery, berlin Shortly After Breakfast SheReceived the News , 2013 Born in1975, lives and works inNew York. alejandro cesarco attention that theydemand. reveals how the works’ poetics liein the “muted melodrama.” By doingso, he aesthetic that hehaselsewhere called and sequentially introduces us to an desire and memory. into asurface andanabstract site for is anever-ending loop, transformed pension in time emanates. The image that aform of melancholiaandsus imagination. It is from this absence that fragments andstimulates our screen event andpoint to anabsence and the newspaper suggest an off- have shifted from this setting. The title news.” Time ispassing,but the events presumably, after “she” received “the crumbs andnewspaper, abandoned, still image of a white tablecloth with News (2012) is a video consisting of one Shortly After Breakfast She Received the surgences andcombinations. ing languagelike aset of motifs, re - linkby throughimage-building treat meaning isfelt.” He investigates this ing, or asCesarco informed by how affect renders mean ismon and literary. practice His translation of languages,both com searches narrative structures and his work, In

36 Alejandro Cesarco re puts it,“the way Cesarco gently

● - - - - -

37 2013, filmstill Breakfast SheReceived the News, Alejandro Cesarco, Shortly After Courtesy of the artists, Kanal-Centre Pompidou &Kadist Pompidou Kanal-Centre artists, the of Courtesy Am I The Only One Who IsLike Me?, 2017 Born in1972,lives and works inBrussels. choua saddie photo:Callemin Tom and I Will Tell You Who isinPower,” Kiosk,Ghent, 2017, installation view, “Show Me Your Archive Saddie Choua,AmI The Only One Who IsLike Me, 38 This mélangeexposes racist practic Temple, reading fromToni Morrison environment, es common to Hollywood, birthcon ages and sound. Overlaying rap songs as ineveryday life andconversations. also reveal the tricky mechanisms at sual racist comments from her own such as her immigrant background, spatial situations that tell stories but sual or textual nature. She layers fic nist writer non-white women, suchas the femi populations, racially targeted police novel play infilmandentertainment, as well I The Only One Who IsLike Me?, Choua addresses racism, discrimina taposing them to portraits of strong trol asameans to exterminate black weaves new connections between im- to aperformance of childstar Shirley tion against women, andcolonialism. tion, literature, music,and theater into from documentary material of a vi In the six-channel video installation Am Integrating elements of her own life Saddie Choua’s works usually depart Beyoncé, painterFrida Kahlo, author brutality andmurder, tolerated rac ist cultural symbols, all the while jux into anintricate audiovisual collage. bell hooks, or rapperMissy Elliott . The The Bluest Eye , or quoting ca-

39 Nawal ElSaadawi,singer leads the viewerleads Choua Choua ’s ’s ------

Kiosk, Ghent, photo:Callemin Tom Archive andI Will Tell You Who isinPower,” Me, Saddie Choua,AmI The Only One Who IsLike erment, and imposed self-conscious ages collectively internalized that help one that points outstereotypical im ness work in very casual, quotidian portrait of how exclusion, disempow maintain dominant and discriminatory peal to decolonize feminism, butalso ways – much in the same way asona work thus becomes not only anap In doingso, Chouaconstructs ajarring large andstructural scale. ideas ongender andethnicity. 2017, installation view, “Show Me Your

● - - - - StefanEngelkamp / Thanks: Concept AV,Berlin mix: Juliana Sokolová •Barbora Tóthová market • Alexander Lev Berberich• L. Pasteur University Hospital •Blšák the MusicandDrama Conservatory • Adam • the Choir andOrchestra of Horváth •Marek Gaži•Dr. Gejza and the residents of Lunik IX• Jozef / Andor / producers: Producer: Krok Horváth •DarinaBerkyová •Marek Horváth •MilanHorváth •David Makulová • Tímea Makulová •Erik Featuring with Productions,Berlin / Bon /Le by Directed BerlinProductions, Lane &Shady artist the of Courtesy to YouHome , 2019 and Cologne. Born in1970, lives and works inBerlin phil collins Editor: Jochen Jezussek/ KinoÚsmev, Košice

Cinematography: Produced by Shady Lane Produced Lunik IXcommunity centre AndreasDalström / Julka Doležalová • Vanessa Siniša MitrovićSiniša / Music by PhilCollinsCate / Music 40 LukášBerberich, Jakub Postproduction: Postproduction: In collaboration Colour grade: Colour Alex Large Alex Line Line Sound

Slovakia. steel manufacturing center inEastern IX neighbourhoodin Košice, a former collaboration with residents of Lunik sician directed for asong by Welsh popmu - to YouHome isa video which Collins communities. engagement with places and their istic of the artist’s approach isaclose through the camera’s lens.Character participate inandunderstand culture age-making, often examining how we practice hasaddressed the actof im- Since the late 1990s, PhilCollins’ diverse there in2013, when hefirst visited the Cate Le Bon.It was filmed in Collins had previously worked - nates with the artist’s images: wordsofoptions. The employment prospects and healthcare such aselectricity and water, to poor of housing and access to basic services, systemic neglect ranging from a lack is today – a target of persecution and nity that hasbeenhistorically – and still tion andsolidarity toward acommu- is horizontal and bears aform of affec systematically marginalized. The gaze life inaspace that isstructurally and lins filmshisprotagonists leading their to live on the periphery of the city. Col Roma population who are often forced equalities experienced by Košice’s large area and encountered the social in

41 Cate Le Bon reso- - - - dream loving. I’m across hair, stubborn, Hometo you Is animpasseunder hallway ceilings Hometo you atrocityIs in thetown Hometo you Is aneighborhoodin the night kitchen Hometo you

● film still HomeTo You, Phil Collins,

2019,

The installation In the Stomach of The central theme of Alice Creischer’s courtesy of the artist &KOW, Berlin artist the of courtesy In the Stomach of the Predators , 2012 – 2014 Born in1960, lives and works inBerlin. grotesque is neutralized by the grav at times almost grotesque. But the artistic and theoretical work isrevealing opaque, butclarified through index cards that provide in-depth informa - symbolically charged predator figure: stilts who are also the maincharac reference point andembedsitina privatization of the commons. neoliberal working conditions and the political backgrounds. The predators nificance of each emblemisatfirst new, freely chosennarrative. processes andmachinationspresent the Predators presents aset of four usually selects afactual historical travel from Spitsbergen to Beninand ter situations that seemabsurd, and tion aboutcorporate networks and the wolf,bear,hyena, the the and the ters inher video. Each sculpture isa whimsical sculptures placed on tall forms of privatization andmonopo jackal. They are emblemsof different Istanbul, during which they encoun alice creischer lization of common goods. The sig in neoliberalism. To this end, Creischer ity of the exposed facts, which relate to

42 - - - - -

the Predators, 2013, filmstill Alice Creischer, In the Stomach of artist reflects on gentrification and destruction. cious greed paired with injustice and creatures are personifications of rapa sue of monopolization of seedbanks On the islandof Spitsbergen, the is the liquidationof public life. The four through the privatization of landfor farming andbuilding. In Istanbul, the In Benin,colonial divisionscontinue is raised.

● - - ofpredators the stomach in the alice creischer Hyena: Wolf: as auniversal formofexpression. to perpetuate their own phenomenon Now thecompanies are usingthisvault by undertakingtheirappropriation. that destroy theseseeds It wasputthere by thesame companies alloverfor allseedsfrom theworld. There isavaultinSpitsbergen inthesideofmountain 43

Do n from th Collec must n An ev m Y an in Ma only b From th Of beech Of th Of th Of som Of ric Of pota Of manioc,ofcaza Of bread,ofmaize. ou should scraperesinfromtrees ore than4feettall ery 2years. ery d inthe allocated areas. d the cuts thatd the cuts you inflict ot breakitfrom the branches. e nature ofthat soiland how toallthese riches. extract e excess gold and pearlsinlasIndias. y and inJune e. y hand t brush forbrooms t brush ot exceed 2inches. e treesmadecompletely offlowers. e ground. toes. e beeches shallyou stripthe freshleaves es. vi.

on thepermanence ofthevacancy rates. They lookinto thecrater andbet theoutskirtsoftown,from onbleachers ofrubble. The population can watch theseinvestments The investors invest inorder to make investments. It wasbankrolled by investors allover from theworld. of 34.6billion$. In Istanbulthere isaconstruction volume Hyena: Bear: Its data goesto Wall Street at adiscount. into auniversal formofexpression. The cadaster helpsto turnthesaleofland of thehumanrightto ofsale. thefreedom which dedicates itsefforts to theadvancement It wasimplemented by the Millennium Challenge Program the samesizeasentire country. There isacadaster inBenin Wolf:

because b An a univ tha So grea Taking th Because w a can be1an 4 m 1 glo in th th If 1w Tha w of th Or ser Failure t Failure t t the same moment. ith 1workday =2days injail. en 1isequaland unequal d everything partakesinit inthissamed everything moment

44 t itcannow perpetrate itsown equations as t’s how harditisto the serve proprietor. orgen, 3acres,10hectares ve, 1collar, 1stick e proprietor, e same moment oftime. ork day =2days injail, vice inthe woods ersal formofexpression. t isthe beautyofthe proprietor’shand o pay no lessthan48hours ispunishablewith injail. o complyafine of5thalers. ispunishablewith y partaking in it everything becomes initeverything y partaking 1. em into ourown hands. e have removed these equations outoftime d nothing and why you aren’t amazedat your own beauty. and not to know why you arestaring And to see why peoplestareat openmouths uswith the cattleitslegsinthe sky. with theirthe crowns treeswith upsidedown And to seewhat no one wantsto see, bad magic,card-tricks,and bullshit. for the fearofsinkinginto the abyss ofappearances, as they fall This iswhy wenever will lookat these things as they fallthroughourfingers. could name themselves asequations flies,peanuts,hair,fruit and dust that some thingslike Sometimes itunsettlesusto know Predators, This text waswrittenforthe filmIntheStomach ofthe Alice Creischer, In the Stomach of the Predators, 2012-2014, installation detail 2013. 45

translated by david riff, 2013 david by riff, translated

● (Bucharest, 1987). stea luiHarap-Alb], White Moor [Pove Fairy-taleof the Ion Creangă, The (Stuttgart, 1977). Parmenides (ed.), Platon: Ekkehard Martens Zeitung-Berichte. Düsseldorfer parliamentarians, vely drafted for Booklet exclusi- Diet (Coblenz, 1841). Rhenish Provincial Minutes of the 6th (London, 1604). Edward Grimston Indies, translatedby Moral History of the The Natural and De Acosta,Joseph Sources - the boundariesof photography inan Adji Dieye ’s artisticpractice pushes Maggic Cube,2019 Born in1991,lives and works inMilanandDakar. dieye adji contemporary art, image manipula knowledge of traditional photography, practice isinformed by anin-depth constitute African visual cultures. Her attemptinvestigatearchetypes to that Adji Dieye, Maggic 2019 Cube, 46 - In her installation ties. broader socialandgeopolitical reali - towards further investigation into itself. It always represents a bridge African is never considered an end in tion, andinstallation. In her research, surreal. which becomes almostfantastic and bright, colorful, saturated environment upon it by creating a disturbingly perception of ourselves andreflects public imaginationandour general Dieye asks how advertising informs the of popular cooking products. into the economic andcolonial history the project diverts the artist’s inquiry particular, West African women. In fact, ate andconstruct subjectivity for, in to analyze visual archetypes that medi She uses Maggic asan Cube instrument norms andstereotyped gender roles. of identity likewise critiquescultural representation andcommodification alone. The way sheaddresses visual annually in West andCentral Africa 36 billionMaggi bouilloncubesare sold aggressive marketing of this product, manufacturer “Maggi.” As aresult of the ing those of the Swiss bouilloncube tising tropes, while specifically parody artist takes her visual cues from adver

● Maggic Cube, the - - -

47 The character with the dressing gown d’état that got rid of the president The Devil TravelsThe , 2020 Born in1958, lives and works in Vienna andLondon. ines doujak doctor who hasbeenexperimenting areas of Bolivia,using the cover of a devil himself who has taken the per and the globalcocaine market is the economic andspirituallife. This leaf countryfollowinggripped the the a complex world economy. exploitation against the backdrop of gender stereotypes and neocolonial graphy, collages, and texts investigate sona of SigmundFreud. He decided made from acloth of penisesis Tío patients. The character with asuit made out of a luxurious black fabric radic andintense demonstrations have nomic reality of Boliviaandits“devils.” the Lord of the Underworld, and spirit with “the benefits” of cocaine onhis to go on a trip to the coca growing ters in this contemporary fable. threadconnects thethree that charac twined figures reflecting or confront the coca leaf isanimportant partof fringed with pewter piranhas is the fantasy fictionbasedon thesocio-eco In this installation, we see three inter In fact, itallhappens there, where spo Ines Doujak’s installations, photo Morales. Boliviaisalsoaplace where ing oneanother. The soundpiece isa inscribed with acollection of vulvas

48 coup coup Evo Evo ­ ------, and the long shifts that theylong work.and the The erected penises on the suit resemble emblems of greed, privatization, and coca leaves to numb the painof hunger of ordermines to thedistribute the to of the mines.Bolivianminers seek his American, who will helpget ridof the such ascigarettes andcoca leaves. The made of military patterns, isanopera protection by bringinghimofferings private international market. These under terrible conditions – they chew tional lieutenant or colonel, probably third character, wearing acostume tin, lithium …). The miners live and work with astrong history of mining(silver, the region. Boliviaisindeedacountry the onesdisplayed by representations the capitalist machine. three carnivalesque characters are Bolivian president, Evo Morales, in Tío that exist in the minesaround

● - doujak & barker & doujak the devil and the uncle costumes, what arethey, athreesome, as they came together inBolivia. One, an eternal triangleoranassemblage of the Devil andthe Devil Uncle, orthe Tíoas two, three, figures yes, but just the two those who eat and those to beeaten? Their isdramatic, story theatrical even, The three figures you see here in their he iscalledinthose realmswhichare his domain,avastunderground that beings, spiritsorwhatever they are, Ines Doujak, Sketch for amovie,2020 49 dists – he’s anidentitythief,ashape written off him by peoplethe devil where butashe said,the miners who the everywhereto besomewhere, and this underground world he- wasevery The devil should The need devil no introduction, self callsEnlightenment propagan so madeicons ofhim. lived and worked down there, needed is allthe mines ofthe Andes region.In - - cocaine in its early days. To triple the can. Inthishe isnot alone. Sometimes gown acol fromaclothinscribedwith - On the other two figures,the suit you wrapped in cunts with teeth? with incunts Could wrapped was suchanEnlightenment fellow, es was irresistiblehe saidwhen Freud Irresistible too when Freudhadalso thatBolivia hadfromhispointofview anything match that?! too he isnot secular enough ofaceleb a naggingfeelingthatthe world with and his pleasure is shit-stirring, mak the miners in his domains along with the miners inhisdomains alongwith to neuroses repair could it: be cured. the coca-growing a areasofBolivia, this too ischanging,that he isneeded. today. Heisfond ofajoke and hisaim more, and inwhichhe hadconsidera- rity these days, butagood feelingthat regular supplyof coca leaves, burning seen, he says inthe state ofthe world shifter, who isalive and well ascanbe see made from a cloth of penises was see madefromaclothofpenises was produced forthe Tío,agiftforhimfrom piranhas. To enter hissubconscious pecially one who spenthislifetrying persona ofDoctorSigmund Freud. It pleasant foritspeopleover adecadeor joke he had,the castration complex Not long ago he decided on a trip to ing the gentleman’s ghost, taken the lection of vulvas and fringed ofvulvas bylection pewter in mind, madeforhimselfadressing wherevering troubleand misery he holiday he had,forthe sake ofannoy- been apropagandist, apaidagent, for ble financial interests. Forthisbusiness been fartoo peaceful and increasingly

50 - - -

Well Iassureyou that when they were 24/7. He had heard it was the silver that ous userofpersonaasand when they concerned theexistence. other’s with designed and the Devil Tíowere not cigarettes, hard liquor and garlands chorus ofthe onechorus word. Lithium,lithi dynamite and the cracksinthe geo, the dreds ofyears the Spanishhadcome geological politicalworld, he’d been good which ishow ithadto bewhen Oh, he heard things, the pickaxes, the the mine where he mighteasilyhave at thistime onPotosí, he wasfocused and taken out silver. Day and night. the silver hadbeentaken his without the interest ofshit-stirring. the Devil isaregularandthe promiscu Devil they provide him with. they providehimwith. You think this the cracks, that had recently become a mine shaftwhere the Tíostood ona ment on at this stage, save to repeat, ready forwhen itmightbeneeded as fitted bothhispersonalinterests, and The penissuitonahanger insidethe The thirdcostume make Iwill no com The mines were his,allofthem, but sures, repairsand blasts …whispersin permission. But his strength, no, thatpermission. Buthisstrength, in the one cloth,penisesinthe other? is too symmetrical, too neat – vaginas lost all his strength overlost all his strength those hun suchatime mightarise. if expecting ledge, anofferingfromthe miners he hadnot lost. hearing them forhundreds ofyears, fis had changed the world and not for the *** - - - - - and Taboo. dictable. “What an ugly runt you are” “Whatanugly runt dictable. entrance. Hewasinhis element mov- down the mine and into the subcon owns the mines. He’sthe one calling calls himself Uncle, the Tío.Believes he complaining about too much coca be dellin days; miners aproblemwith out by machines madeforsuckingout. was no reply, the thingwasafor worship some doll there, motherfucker Barely touched to date inthe watery Dressed in his pussy suit he set off Hyper-suckers working 24/7. an unlitcigarette inhismouth and a across bleakrocksurfaces to the mine thearmed goodTotem with doctor’s the shots, the palsaid. A smallirritant that palofPablofromthe golden Me rate, amigo, infact you donot count. so.” There wasno reply, ofcourse there scious, and asforthe Tío,he would go small irritant,butcould he dealwith No peace forthe wicked,acall;from Strikes? Miners’ rights,Idon’t think it upinPotosí? Intelligence says they its mobile phones lithium foritsheadlights, itstrucks, ludicrously large phallus. All rather pre ledge in the rock,adistorted thingwith ing easilyinthe totem, wassat ona ing exported,astrike onthe cards,a ing to bemauled,hissurrounds sucked he said. “Noteven asatotem doyou he foresaw his life, his presence was go um. The world wanted lithium,needed underground of hisdomains but now but rightupdoctorSigmund’s street,

51 *** , its own whispers. - - - - - “I know your game, you bogeyman of gave“Who you permission to enter my “You,” the figureshouted, and itwas you came, them without and their bi- yet, and yet the silence irritated him, coming forward hisvoicecoming forward like thunder. disorder, you hysteric.” The figure kept out ofhisstatuesque confinement. of hisexistence. Hepicked apiece of gullible people,no more orless. And Castration forreal,he shouted. At the world?” theworld?” Tíoroaredso that the very intent. violent itwith was swinging Freud would not beintimidated. Ah the thought forthe figure,the Tíocharac the missionaries,go backto whence thorization fromyou?!” Freudshouted ter hadpicked up the severed penisand then noticeable that he waswearing a to the ground. Helaughed out loud. rocks seemed to tremble.“Ineed au he sneered,resurrection, what acliché! rock and threwitat the idol.Bullseye demanded acknowledgementrespect steal the coca, and steal my lithium.” suit of phallusesasif DoctorFreud had same moment the sound ofcracksand it struck the phallusthatit struck felloffon ble you’re nothing. You come here to back, “youneurotic, you personality but there wasno time to pursuethis been expected,anunwelcome thought, breaks filledthe cavern asthe Tíoburst

● - - Courtesy of Private Collection High Rise,2018 Vienna Janda, &Martin artist the of Courtesy InterludeSunset, 2017 with InterludeSunrise, 2018 with So I told him that Inever really dream of anything, 2018 see to doanything elsebutrest, 2018 I mean,usemy brains somuch in the day time, that atnight they donot Hotel Born in1985, lives and works in Vienna. melanie ebenhoch sional Lady by author Anita Loos : “So not see to doanything elsebutrest are and the sunin the other poster occu- quotes from the novel and the moonsuggestsamysterious ofact exposing the vaginasun to the at the viewer,dy disrupting thusthe and on recurring questionsof agency and sensual rite. The two posters contain film industry andartingeneral. va. A landscape with the mooninone much that atnight they don’t seem to namics of voyeurism established by the py the background. Both the sunand that Inever really dream of anything Blondes: The Intimate Diary of aProfes the moon have aface andlook back in the day time, that at night they daydo at in the time, that the representation of women in the framed by a woman’s thighs and vul- thing” and“Imean, Iusemy brains so In herIn work, I told himInever really dream of any 's two posters,Ebenhoch's two look through a woman’s legs. The very I mean, Iusemy brains so much , 2019

52 Melanie Ebenhochreflects

Gentlemen Prefer So I told him

- - - The motif of frames isalsopresent in as much today, as they didback then. do anything else but rest.” The movie and sub-spaces. The protagonists are ceptions of insideandoutside. Aqua-Resin cast forming the windows self-portraits of Ebenhoch , nudein the scales andframes complicating per Gentlemen Prefer Blondesbasedon vase containing symbolically charged red carnations. Ebenhoch never really dream of anything” points Shining to impotency of dreaming those “Hol- tion of women inHollywood movies work implicitly deals with representa- tured the architectural gridscarved into the ture housemade outof ceramic and Next to the posters there isaminia Ebenhoch’spaintings where see we Loos’ book appeared in1953 andfea- lywood lives” that people dream of large in the filmis transformed intoa in the 1940s and1950s. “SoI told himI inspired by the hotel in the movie The ’s Marilyn Monroe, andEbenhoch’s (1980). The hotel that looms plays with - - and realistically rendered grid. a selfie whilelyinginbed. There isa feel yet the protagonist manages to defy the viewer’s gaze by claimingagency behind the linesof the clearly outlined bathtub, casually drivingacar, or taking ing of solitude,intimacy, andsensuality

53

● - Photo: Dotgain Melanie Ebenhoch,HighRise,2018, Theyaddress the viewer directly, vividly, The messagehere, “Songsaboutpeople whose only chances are the Berlin / Salzburg York & Ebensperger-Rhomberg, Francisco / New San Gallery, London /Basel; Jenkins Johnson Courtesy of the artist, Vitrine, Mirror Pieces, 2014 A Message, 2014 Chances, 2020 Being Free, 2020 Sheffield and London. Born in1962,lives and works in etchells tim destiny while subjectsof asystem of privileges andinequalitiesof etically-political imagination. The sen ed thought-experiments. and boldly, creating thereby open-end- draw onhisbroader fascinations with chances.Message A exhibition. Behind the reception desk the work Chances are present; the piece questionsitsown existence andmeaning, As aperformance artistand writer, Tim ones they make for themselves” ismore of anhomage than aprom- Being Free produces animmediate, po trance, whereby this gesture becomes the tence “Songs about being free” replaces the contradictory aspectsof language. that from the past, when you believed indifferent things.” It creates an Etchells’ neonandLEDpieces often both astatement andapromise. What are these songsof beingfree becomes acall for imagination that sets the tone for the rest of the known variables and this void isasimportant as the elements that imagined dialogue with one’s pastself. It opens the ideaof the layer ise. In fact, Etchells addresses those who became agents of their own kunsth Etchells isreferring to? The work becomes an equation with un -

54 wien signat the en alle spells outinneonframes: “Messages to yourself - - - is displayed. - The poetic politicsof words isliterally expressed inMirror a richfield of uncertainty andambiguity. of their semantic and visual content. Difference andrela confusions” written inneon,are placed inmismatched mir roring pairs. This arrangement of letters and words gives a . On the way floor,Piecesfirst . to the staircase, atthe the tional shifts dart across the work in all directions creating lines “optical illusions,” “political delusions,” and “poetical left openfor apersonal andintimate response. hallucinatory space to the contradictions andconnections ing of different temporalities ineach person. The content is

55

● - - Glendinning Etchells & Hugo London, Photo: Tim Southbank Centre, Hayward Gallery, A Message, 2014, Tim Etchells, Often focusing on the ordinary, everyday life of working-class York New Pictures, Palace & Picture Courtesy of the artist & Trilobite-Arts DAC, Charlottesville, Virginia IFO Born in1965,lives and works inCharlottesville, Virginia. kevin jerome everson African Americans. ing usof the continuous, extreme police violence against Everything points to agap within American society, remind - desynchronized audio track create aneeriedisplacement. flares of light, thehandheldshots, and theintentionally of the filmmaker. Thisalmostchoreographed gesture, the this mysterious movement we perceive the poetic approach raised in the air. Through the emphasisand repetition of latter isspontaneous, accompanied by agesture of hands reminiscent of aconstant, strong military presence. The and visual information. The tone ismechanic,robotic, and is precise, verbose, and contains an overload of spatial other casually recounted by African Americans. The former reported ingreat detail by afemale army officer and the The descriptions juxtapose two contrasting versions: one accounts of UFO sightings inhisbirthplace Mansfield, Ohio. “Identified Flying Object,” KevinEverson Jerome compiles studies of movement. In the movie IFO, and documentary footage appear in works alongsideother together poetic andcomplex imagery. Archival, scripted, African Americans, , 2017

56

● KevinEverson Jerome’s films weave which stands for IFO Kevin JeromeEverson, , 2017, production still

57 The video investigation The video Courtesy of Forensic Architecture & Praxis Films &Praxis Architecture Forensic of Courtesy Triple-Chaser , 2019 Founded in2010, basedinLondon. architecture forensic https://forensic-architecture.org/investigation/triple-chaser against humanrights. When the Whitney Museumfailed environments, they created fake imagery to provide the ma grenades, known as the Triple Chaser, among the millions destruction caused by state or corporate violence. Often of images shared online. Constructing a digital model of chine with asynthetic learning data set. Trained to detect chine learning image classifier to detect Safariland tear gas conducted asaresponse to the controversy surrounding or cultural institutions. ofboard. the serves asameansof evidence production incases where Goldsmiths University of London andleadby architect Eyal missioned by the Whitney Biennialitself, FA manufacturer Safariland – with the Whitney Museum.Com using open-source data andadvanced digital technology, to takeaction, the grenade, locating it within thousands of photorealistic the associationof Warren B.Kandersof – CEO weapon the state fails to adequately address or control violations to the resignation of Warren B.Kanders as vice chairman Weizman. They undertake spatialandmediainvestigations juridical processes, citizen’s tribunals, truth commissions, Biennial alongsideseven other artists,eventually leading Safariland munitionsusedagainstcivilians, the software Forensic Architecture FA in a variety of publicforums, such asparliamentary and into cases of humanrights violations andenvironmental reconstructs violent events andpresents these findings

58 ● Forensic Architecture withdrewfrom the ( Triple-Chaser describes the research FA ) isaresearch agency basedat trained ama- - - sun position,camera Forensic Architecture, dirt on the grenade. 2: The Unreal Game where in the image classifier, bounding Engine allows us to a "computera vision" set parameters for processof training boxes and“masks” Triple-Chaser, 2019, variables suchas focal length,and the Triple-Chaser tell the classifiertell the grenade exists. 1: During the 1: video stills

59 Courtesy of the artists & Andrew Kreps Gallery, New York York New Gallery, Kreps &Andrew artists the of Courtesy & Esther Schipper, Berlin Schipper, & Esther hito steyerl trakilović &miloš giorgi gago gagoshidze GG bornin1983, lives and works inBerlin.HSborn1966,lives and works in Berlin. MT bornin1989, lives and works inBerlinandRotterdam. , 2019 Mission Accomplished:Belanciege, 2019 York & Esther Schipper, Berlin, © VG Bild-Kunst, Bonn, 2020 Bonn, Bild-Kunst, ©VG Berlin, Schipper, &Esther York Courtesy of the artists & Andrew Kreps Gallery, New New Gallery, Kreps &Andrew artists the of Belanciege, 2019, filmstill,Courtesy Giorgi GagoGagoshidze, Hito Steyerl &Miloš Trakilović, MissionAccomplished: 60

, The point of departure for this three- channel video installation is the fall of Artistically and socially, Hito Steyerl reflects onour world in the times of privatization. The video installation privatization.video The the way for commodification and the Wall in 1989 and the way it paved balization, andgrowing political crises. hypercapitalism, digital lifestyles, glo-

61 The ciaga isjustamodel,starting point ciaga parliament or assembly,” which ciaga’s 2020 spring/summer catwalk aga’s famous bluebag,inspired by a simpleIkea shoppingbag.Balen differentiationbetween and thetop appropriated andbranded precisely explains mechanismsfor “branding owned by those who work for it: the of the callyexplains the civil war. AtGeorgianclothes this time, call second-hand items in odd sizes and Georgia in2000during the country’s proletariat. real version, because itis worn and pairs that didnot match. Gvasalia mechanisms. Balenciagaisaluxury was primarily alecture presented on- the bottom. twisting the logicof luxury with irony. this aesthetic, privatizing poverty and were mostly humanitarian donations: to talk about privatization and its the unbrandable.” In this work, Balen - liner Kunstverein). Using what the artists from the side we can see the different from above, everything looks equal, but fashion designer DemnaGvasalia , fled Steyerl cites the example of Balenci line on the website of n.b.k. (Neuer Ber levels, highlighting andclarifying the both architecturally andmetaphori- brand whose artistic director, Georgian by identity. Balenciegeisnolonger an itself hasbeencalled a“faux Balen imitation. It is, as the artists state, the in ashopSarajevo, acity besieged The BalenciagaMethod, the trio Balenciege sneaker, animitation Balenciaga sneaker, was found

● Balenciaga Method: - - - -

Courtesy of the artist & Carbon 12, Dubai 12, &Carbon artist the of Courtesy Crash (Simulation), 2019 – 2020 Born in1987, lives and works inBerlin. monika grabuschnigg analog and virtual realities. The or and inher treatment of the material often plays with adialecticbetween clay – a natural material which iseco- chnigg departsalmostexclusively from In her artistic practice, Monika Grabus likesits variousexhaust tactilities to logical andrecyclable. Grabuschnigg

62 - - etal anesthetic. Sheintuitively picks up age, wheredigitaldiction to the the ganic material isseemingly incontra- on physical desires andmetaphysical suspiciously all-knowing algorithms smooth andperfect actsasasoci tated, or at the very leastdirected, by beliefs that are now all too often dic - - exponentially increasing accelera gesting the aftermath of a world on on the floor, or are leaningagainst source material isdeceptively trans fire. reassembling them into spatial and ply that our desire for speed and an path – and one that could lead to dis tactile narratives. tion are leadingusonto adangerous walls, paint anapocalyptic scene, sug wheel rims that have come to ahalt In In lated into metallic objects.Deformed Crash (Simulation)malleable , the Grabuschnigg’s sculptures im excess of speed,physical and virtual, isable to astrous consequences. De a total system overload. Grabuschnigg’s of prideandstatus – tell a pre-dated and will longoutlive humanity. ring to elements andprinciples that have long rials also contain a soothing silver lining refer perhaps the fractal shapes and organic mate milliseconds. This existence functionsasa24-hour travel across continents, from night to day, in tale of a society that in an the hubcaps – once asource formed by heatandmelted ( less opportunities,itisultimately confronted by high, butinstead of the aspired freedom andend ing beenengulfed by flames, into uselessrelics 63 Simulation) may well beacautionary tale, but ­aft er hav - - - - - ­ - Crash

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David Schönen 2019–2020, photos: Crash ( Simulation ), Grabuschnigg, Monika Balance Beam#0616, 2016 Up andOver, 2020 On the Losing Side,2020 No Head for Heights, 2020 Above Us Only the Sky,2020 London andNew York. Born in1974, lives and works in vlatka horvat

64 and collage, Vlatka Horvat explores as photography, video, installation, Coming from abackground inperfor mance but working with mediasuch the humanbody’s relationship to its built environment. - The desire to challengegravity is very Trapped in all kinds of frameworks and structures (social, institutional,…), a present inAbove Us Only the Sky. The though it is too high one might still frail ladder hanging on the impossibly Evenaspire though we skies to the high glassceiling aimsat the sky. Even breakout is present yet out of reach. be tempted to reach out and escape.

65 These riddlesmight beunsolvable yet 2015 Balance Beam#0715, Vlatka Horvat, are allliterally on the edge, and yet are partof this precarious system and at any moment. We are aware that we desperation andhopeasmethods to go over things. They are philosophical and choreographing movement tra- and assert themselves in the room asob- al walls or physics experiments. They are oddobstacles, evoking provision- ously. This isreminiscent of the current of goingupas well. These structures state ofstate constantlythe world, wob stacles or asriddlesof sorts,directing precariously ona wooden beam point to our ability of “going on” in life. models of hope.Horvat evokes both presence andagency. remembering andunderstanding our No Head for Heights, On the Losing Side, they stillbalance themselves precari- we approach itcarefully, slowly. Things two chairs. Everything can go wrong which isitself perched on the back of we will try over andover again. we are grounded beings; this isnot jectories. Weexercise through themto just aconstraint butalsoa way of Inthe work lation of found objectsare balanced bling on the verge of catastrophe. Up andOver allplay with the idea Balance Beam,aconstel-

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The WholeWorld’s Armies, 1974 Courtesy of Anne Marie Jehle Jehle Marie Anne of Courtesy Courtesy of Kontakt Collection, Collection, Kontakt of Courtesy Courtesy of Kunstmuseum Vienna anne marie jehle Airmail, n.d. Foundation Liechtenstein Oh Yes, 1977 Born in1937, diedin2000, lived and worked inFeldkirch and Vaduz. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Untitled, n.d. Ich bindaheim,n.d. Ich bindaheim,n.d. Hitler IsNot Dead , n.d. Flittersternchen, 1977 Pariser Gipfel mit Bankiers, 1973 Rosenkranz für Schweizer

66 Anne Marie Jehle, Anne tive function. and objects that suggestaperforma press principlesrelated to the body words are crucialfor Jehle – they ex sentiment, languageandplaying with Situated inapoetic andmelancholic obsessive, playful, and sharp-tongued. feminist position. Her work is often triotism from a decidedly political and chal symbols of everyday life andpa- and eighties, Jehle mannic environment of the seventies of women inastrictly catholic Ale operates. Addressingexpectations a structural context within which she Marie Jehle’s practice – they provide sense, homelandare central to Anne Ideas of homeand,inanextended Ich bin daheim,n.d. criticizes patriar - - - - lows itsbearer only animpaired vision, Dollar-bills are cutinto amask that al a somewhat violently appliedink stain. onto akitchen towel are disturbedby outdated form of German handwriting lic words “Iamathome,” written inan money and care. The suggestively idyl cal role distributions with regards to both merging and delineating classi- banknote isneatly crocheted around, is open to many aprojection. A Swiss its obvious wearer – the housewife – it pended ona wooden board; free of bols inJehle’s œuvre. An apron issus a range of recurring topics andsym- The twenty-two works ondisplay show Marie Jehle, Anne

67 Untitled, n.d. - - - than 1,600 works. than fresh and trenchant legacy of more noticed, leavingbehindaremarkably lifetime, ended her practice in1989. During her werk (total work of art).Sheabruptly into asortof inhabited Gesamtkunst home, subsequently transforming it but increasingly retreated into her own eries of Vorarlberg andLiechtenstein, ment, Initially connected to the Fluxusmove and religious forces. gests the unholy alliance of economic and arosary madeoutof coins sug- Jehle worked from the periph - Jehle remained largely un-

● - - Courtesy of the artist & BüroSarigedik, Istanbul Motorcycle , 1986 Born in1946, lives and works in Ankara. gülsün karamustafa Gülsün Karamustafa, Motorcycle, Bar 1986,photo: 68

ı ş Ö zçetin

69 The work’s kitschy andironic styleserves asa 1984 and1986,asaresponse to the socialchanges a result of the clash between rural and urban dition andcontemporaneity. This period was expressed through the rich pop-culture imagi a young woman leaningagainstamotorcycle broughtdimension city to the through Arabesque cities andby “hybrid” cultures that emerged as commentary on Turkey’s visual culture in the time composed of a variety of found materials that came vital cultural expressions. complicated project of Turkey’s “modernization,” Anatolia came to Istanbul to seek work andpos sibilities for a future beyond rural life. The artist flects auniversal desire for abetter, different life values, traditions, andcustoms. marked by waves of migration from villages to nation that was prominent during that period. music and the “kitsch” representations which be nessed animportant rural exodus: peoplefrom military coups and a traumatic process of nation narratives of Turkey andintertwines them with Motorcycle (1986) ispartof aseriesof tapestry Gülsün Karamustafa explores the historical when the country was suspended between tra- was created with colorful fabrics originating that were taking place in Turkey. Motorcycle is works created by Karamustafabetween the years was interested in the way they lived and the new the political turbulence that engendered several throughher work from marketplaces inIstanbul. The collage re bear the cultural traces of the day. The imageof building. In the sameperiod, the country wit her own personal history. In the 1970sand 1980s, Karamustafaaddressed the

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“small” account holders and restricted The October 17Revolution incited doz , 2020VRLAMXXAB8ND Born in1991,lives and works between BeirutandBerlin. witnesses of false society forjessika the khazrik denied access to her own fundsalready at the expense of the rest of the popu- government which has enriched a few collectivityexposingbehind the vio the and savings. While the protests endure, ens of protests aday, more than two on January 10, 2020 to withdraw cash crisis. This crisis has grown as banks corruption, andagrowing economic system ruling callsdown to the topple she wentbank to the VRLAMXXAB8ND sectarian oligarchy, deeply entrenched financial industry andits symbiotic re- people’s rage against the country’s the police. These violations, which are walled office rooms, anddetained by the presence of security forces hasbeen weeks of consecutive publicstrikes and their access to their income, pensions, for three months, she got assaulted, from her account, after having been lation andpoisoned the land. When lationship with Lebanon’s kleptocratic lence by VRLAMXXAB8ND that shehas been through, held captive in one of the bank’s glass- abuse theirbankspower. that Through have imposed illegal capital control on increasedprotect to those very same in Lebanon. It arose as the result of

70 denounces the Khazrik - - Jessika Khazrik,VRLAMXXAB8ND, 2020

71 – literal and very real –risks. The five-channel sound installation assault of the artisthappenedmerely exhibition.realizedecision to The this ables, and the modesof attestation and fal- and parcel of the carceral continuum. darity. Throughinvestigating thetie economy and ecology, and presents a dance floor, andanunfinished maze. enter a strange atmosphere, mixing a of courage that doesnot come without of both the economy and the state, confiscation politicsandglobalsoli specific work requires a certain amount sification that thelegalapparatus en- veillance campaign that the bank has permeates allaspectsof her life. The reflections onliquidity, flood, scarcity, revisitscorrelations the between the two months prior to the opening of this that the failed yet insidiouscryptography tween banks and the surveillance state. testify to the deepconnection be further developed through anew sur forher casepublic, takingto the While ruminatingon the two lawsuits In In Khazrik’s work takes anexperiential look at the bankingsystem aspart launched inretaliation againstKhazrik between capitalism, securocracy and hall of abank with anopen-air prison, institution of accounting accountable Khazrik’s immersive installation, we Khazrik hasfiledagainsther bank Khazrik shows how holding the

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“independently” investigate the crimes AB8ND HeadquartersinLebanon was for of the society false witnesses khazrik jessika of a banking prison PART I: professional the establishment VRLAMXXAB8ND My bankaccount at the VRLAMXX my my thoughts with colleagues and institution wascaughtinapattern lease ofpoliticalprisoners. When it ginning of October 2019. That bank ganization that advocates forthe re they, themselves, perpetrate, Ishared the auspices ofinternational law, the technologist at aninternational or 01 became clearto very me that, under outbreak ofthe October 17Revolution of demanding state-level criminalsto opened by dintofmy postas previous at the Republiche Libanes 2019, account remained inuse.Since the submitted my resignation at the be

“Republica Libanesa” in the stamp of Construed b was first divulged whenlanguage was order to openacase, and thus its toxicity Libanes 1987” was written instead of from Italy to Lebanon in1987, “Republiche the republic isanother question. The theyneeded to translateof name the travel. Why the company authors felt to officially legitimize thehazardous the nonexistent corporation created the very purposeof shipping toxic waste the fake company that was created for posited asafalse witness. imaginarycausedtongue the was what

72 y the fictitious trashy lingo of 01 the the - - - - With “capital control” beingperformed went and banks outbegan of service visited the bank, VRLAMXXAB8ND’s without evenwithout attempting to resort At the outsetofthe revolution, ATMs Members of the Security ForcesMembers of the Security were ly close down my account if I were to medical bill,anddailycosts, inevitable imposed. they soviolently restrictions literally took hold ofpeople’smoney limitations onwithdrawals. Banks austereimposing very and random ly rejecting their refusal toly rejecting grant me moved inshiftsto the banks’entranc the economy and law” and discursive the name ofthe crisisthey have facil- out the income ofaccount holders in continue “speaking about collectivity, of my work, and threaten to forceful- creditors list, scorn the politicalnature employees would scroll through my es. Who issuedthe orders? Whenever I capitalism was,finally, illegal. on workers’ monthly wages, pensions, correlation between the banksand the access to my funds. When banks eke any legal-basedjustification forthe and visibly, very fortified. security statesecurity hadbeen,increasingly - - VRLAMXXAB8ND shut itsdoors fur you can doalot.” sentenc Infour short To great, yet no, when surprise, I went 8ND to withdraw cashfrommy ac Before long,peoplegathered around prisons take? ployees took outthe remainingoffice phones. Inside the bank, employees people’s bagsand triedto seizetheir right, I am with you,right, Iamwith butcannot do itated through their financial archi life. More security forceslife. Moresecurity came in.Em in disbeliefand asked ifIsupported clothes forcefullyin civilian searched girl inthe office is tobe heldrespon officeglass-walled Iwasushered into herself to beat me up,bleating that the kleptocratic state, what formswill tecture and their co-operation with the revolutionaries arethe rootcause the glass and smiled. The client hurled the revolution. Inodded frombehind they needed to closeearly, “and the ther. Guardians ofthe bankdressed the bankinsolidarity. chairs andwith their began filming me of the crisis,and her we areruining ordered all “clients” to leave through es, Iposted online what washappening. forcesof the security came to me and captive inthe circatwo-by-two meter count, Iwasphysically assaulted, held 10,2020to on January VRLAMXXAB- a previously unusedexit. a previously They claimed anything.” Itold not him,“That’s true; and detained by the police. While in sible.” An irate client shouted at me side the officecumprison, one member said in a very hushedsaid inavery voice, “You are

73 ------walls and the room’s contested door. the bank’s with while they wrangled A [secret]guard dressed bank security The colossal logo faced me, and itwas LAMXXAB8ND employees walked prison guardandcameras the security private guards. security They would phones. Ilooked awry, took notes, and maybe no one heard me. Iturned to the mounted onawhite-painted steel meter billboardofthe bank’slogo reopen, move, forcefully close,call, clothes –amonochromein civilian glassed space Iwasheld inorkeep it front end. Ilaughed and hailedthe bill holding acircatwo-and-a-half-by-two towards the space that confined me then repeatedly fight about wheth tried to beat me up. Members of the by the bank? The employees returned being forced to participate in a new ad boards’ carriers.Noone responded, or board sothe logo wasnow facing out. er to block one of the two transparent cover. Soonenough, ahandful of VR open. Slam, guard, change positions, er they should closethe doorofthe confiscate my phone to no avail, so he called alawyer. open, shut,enclose in,enclose out, and asked them ifthiswasthe new de all that I could see from the prison’s ashen button and wide very up shirt coatargyle, burgundy sport an with shortly andshortly rotated the mounted bill- sign of the bank’s prison, or was I now stand. They usedthe billboard asacov forcessecurity swarmed around me shoulders –repeatedly attempted to - - - - - – except, ofcourse, those who canac wish Icouldwish beat her up.” Despite hav- walls ofthe office/prison wereshield- All throughout, beforethe translucent They then came back carrying aniden They then came backcarrying born into to seeks hold us captive. ridden capitalist economy Iwas collectively experienced how pervasive,crisis- the as no surpriseextent, since Ihave long far from corporeal, daily and reactive I have been living through comes, to a I can only say that the banking violence

LAMXXAB8ND employees swarming finement was, at that time, closed.I posts onthe revolution. As shown in ing beenrobbed,assaulted, surveilled, image wasthe basisofthe allegation my and onlinesocialmedia writings my phone. That image was offour VR longer seewhat washappeningoutside threatened physical with violence and tor ofhumanresources, exclaiming,“I the image, the doorofmy official con- the office of mycaptivity, and no one tical billboardand useditto cover the used to detainme. deprived ofmy and privacy, liberty that overheard one ofthe employees, who, ed, I had taken only one photo with cess the bank’ssurveillance cameras. outside was able to see me or the guard as Ilater learned, wasthe bank’sdirec around inacircle,readingoutloud second wall.see-through I could no

74 - - - - “You are right, but they say you have when capitalismisbeinganoutright, you, butIdon’t wantto, yet Ihave to.” the hushedwith voice comes back to ways, not to mention allthe violence After spending around threehours in Three policemen detained me. I was I wassubjectedto. Heanswers again, He explains that the bank is suing me I burstoutlaughingand askhimwhy. predatory thief inour face without me saying, “Ihave anorderto detain ing photos, and Ihave to detainyou.” ing secrecyand privacyinamyriad of ing force and make itselffamiliarto lations, itcannot subsume itsalienat for “breaching their bankingsecrecy.”for “breaching I taken forinterrogation and putincus thought. Itold himthat accusingme to masquerade its shackling re trying the ad-blocked lock-up, the SFmember breached their bankingsecrecyby tak ond, the bankhasbreached my bank one ofthe bank’semployees, and, sec even since, legally viable, first, I am not of breaching banking secrecy is not couldn’t stoppain.Even laughingwith ------What banking secrecydidIbreach?Is yers allthe protests they “see”me at; AB8ND without knowingAB8ND without it? I have throughcomes, beenliving to I can only say that the banking violence Beirut Bar Association hasthankfully Beirut photographers to chaseand encapsu- my case,yet the battle ofthe banksis long experienced how the pervasive, me in ways of which I am still unaware. late my movements; listed to my law- retaliation. They have sentprivate long and multifarious.Since the in in the police carand then inthe in ries that I share in the ensuing parts, have stayed inthere muchlonger. The held my funds and launched anew happened duringmy and handcuffed two lawsuits against VRLAMXXAB tive extent, since asno surprise Ihave theirthe surveillance bank’s“secrecy” tody forthreeand ahalfhours. What tion with their bodies, chants, drums their bodies,chants,drums tion with terrogation room areinvaluable sto bank whose legal department is made bank whose is made legal department but had it not been for the protesters up ofover offices forty is monitoring captive. While Ihave, asaresult,filed collectively borninto seeksto hold us capitalisteconomycrisis-ridden Iwas de-cuffed exitfromthe bank,the time de-cuffed er done nor said.Iamcertainthat the cident, VRLAMXXAB8ND haswith a farfromcorporeal,dailyand reac assigned three lawyers to take care of and most precioussolidarities,Imight and lawyers surging into the police sta and fabricated thingsthat Ihave nev - state, oramIworking for VRLAMXX surveillance campaign against me in

75 ------what forces we indisciplinary will need yet insidiouscryptography ofboththe Through investigating the tie between 8ND, ofholding the act account perientially looksat the bankingsys permeate intoofmy allaspects life. Greece and other plurinominal places, ity of a whatever singularity. ing institution accountable needs to from Iraqto Argentina, Sudan,Iceland, to decipher the state-bound, devalue tering that it continuously attempts to tem and parcel aspart ofthe carceral eversingularity, whichwantsto 02 universalisms that make ourworld on encrypt usawayencrypt fromthe burgeoning continuum. Global capitalismissofet economy and the state, thiswork ex capitalism, securocracy, and the failed all currencies, andall currencies, dance outloud? are being,collectively lived through, and economic collapse have been,and similar situations of environmental strike coalesce inthe uttermost solidar

Agamben, TheComingCommunity. Vol. 1. “What demonstrate their beingincommon appropriate belongingitself, itsown or later, the tanks will appear.” Giorgio Wherever these singularitiespeacefully Press, 1993. Minneapolis: University of Minnesota there will bea Tiananmen, and,sooner being-in-language, and thus rejects all is the principalenemy of the State. identity andevery condition of belonging, 02 While While

● - - - - - portages andmurals, Victoria Lomas In her work, includingher graphic re- Under Water, 2020 Moscow. Born in1978,lives and works in lomaskovictoria heart of Russia and witnesses of the waters, we are at the same time in the with her own psychology. Under these etal problems andintertwines these cally illustrates the spectrumof soci post-Soviet Eastern world. Shepoeti - structs the orientalist perspective of the on contemporary Russia which decon Lomasko offers anew and fresh view become apparent. things are inconstant transition soon possibilities of suchaplace in which seems gloomy, yet the mysteries and surface. At first glance, thisunderworld transforming swimming to the bodies, another underwater, fullof fishand worlds: one visible andscattered, and The new mural by Lomasko reveals two and English, amongother languages. has beenpublishedinGerman,French, lected in her publication LGBTQI activists.Her graphic work, col tutes, enslaved migrant workers, and day Russia, including teenage prosti- the silenced communities of present- comic books to show andgive voice to and directness of the graphic styleof and invisible. Sheuses the immediacy from the point of view of the voiceless ko tells the story of post-Soviet Russia

76 Other Russias - - - - , cy of these deep waters: shenot only vites the viewersenter to intima- the fantasy,journalism with her native country. By mixing graphic artist’s inner world uponher return to present andfelt therein. draws events butalso the emotions

Lomasko in- ● for the mural, 2020 Under Water, Victoria Lomasko, of Edel Assanti, Amlot, Courtesy 2019, murals, London Will Studio photo: Separated World, Victoria Lomasko, installation view,

77 sketch — Victoria Lomasko Whenever Ireturn to Russia,Ifeelmyself slowly sinking dry land, butwasnonethelessdry bornto live underwater. other inconspicuous fish. There’s nobody to compete overcome itsresistancestep. every with gleaming vitrines ofthegleaming vitrines world. gutted dummies – international who stand artists in the On the other hand, inthe underwater world, you can with and nothingwith to compete for, nowhere to shine, no It seemsasthough Moscow, poplarslike with kelp, lies From time to time, daringnew creatures arebornin the their land fin-legsand with jointhe ranksofthe the underground worlds inorderto climboutonto around providesmany fordrawing. subjects major commercial temptations, whilethe chaoticlifeall hidden beneath thicklayers ofsteely water: you must back to the bottom, like acreature who’d come outonto bury yourself inthebury siltand become one ofthe many Courtesy of the artists & languages, with orpapers.languages, with without a safe space for women of allagesand feltingsessions wereorganized within erscity. to the and Alternating writing open to a diverse range of newcom a community artscenter inBrussels collaborationin with ized with agroup of fifteen women, realartist series workshops- thatthe FeltI-X workshops are the result of a The ten textileconstitute works that ministrations and ideologies. damages, or obstacles caused by ad- and inventive approaches to scarcities, ing to bring attention to resourceful political and economic practices, aim tually translateconsequencesof the tapestries that visually andconcep evolved around textile materials and recentIn years centre for newcomers, founded in LambdaLambdaLambda, Prishtina Globe Aroma isacommunity arts and Playground Festival, M-MuseumLeuven works inZagreb andBrussels. Brussels in2001. Hana Miletić, bornin1982,lives and globe aromaglobe Globe Aroma atGlobe Aroma, Brussels(2018); Collaboratively produced duringpublic Felt WorkshopsI – X, 2018 – 2020 workshops facilitated by Hana Miletić and Kunstenfestivaldesarts, WIELS, Brussels(2018) (2019) hana miletić & miletić hana

78 Hana Mileti Globe Aroma, ć ’s work has

- - - duced piece of felt – where wool strands social implications of acollectively pro hermetaphoricalengage with the to nealogy. Ona larger scale itprovoked embedded inher family’s female ge- means to connect to acrafts-tradition in parallel. For Mileti tory, producing poetry andfelt works cussing suchissuesasrace and terri- processes andcolors applied, to dis went from reflecting on the manual During these workshopsthe women ć , this was also a - - tegration, Amerlinghaus). Women’s Integration ( co-facilitated by women from the Association for offer felting workshops for adults and children, wine, cars, security andpeace, As part of the public program during at work. hands man exchange, andamultiplicity of voices and each other – evoking notions of community, hu- are distinguishable but blend seamlessly into

79 Vereinigung für Frauenin

● Mileti … of bread, ć will also will - Brussels, photo: Anna Van Waeg Kunstenfestivaldesarts, WIELS, Aroma, Felt Workshop, Hana Miletić &Globe 2018, “For an open and free society – Solidarity The redThe wallpapertitled arbeit, keine arbeit,2018 red moabit,2013 – 2019 fürJetzt! Alles Alle!,2019 Born in1981,lives and works inBerlin. marina naprushkina // Moabit community. They were made ers displayed in the exhibition are bor and deconstructs power structures in demonstration claiming that “Every and neighborhoodproject inBerlin. The eration with communities andactivist community of refugees, migrants and organizations. Shefounded the Office outside institutional spaces, in coop collectively andbrandished during the rowedfrom the material isproduced by women from place in Berlin in 2018 under the slogan mechanisms. nation-states by revealing their hidden to to the artist’s personal archives related thing belongs to everyone.” that kindinBerlinandbuiltupastrong bar (“indivisible” inEnglish) which took the anti-fascist demonstration Unteil- for Anti-Propagandacriticizes , which In 2013, Naprushkina initiated Neue Nachbarschaft //Moabit mostlyMarina Naprushkina works locals. They were actively engagedin instead of exclusion.” In fact, the post initiative became oneof the largest of is basedonimagesand texts from Neue Nachbarschaft. Most of the

80 Neue Nachbarschaft asa refugee red moabit - - - -

This senseof community andsocialcon defy our collective notion of productivi eo shows many images that seem to as from the meansof production they anti-production video. operate. cern isalsopresent inNaprushkina’s of production that creates the sepa of whatwork – literally – meanstoday. short videotitled ration of direct producers both from nant belly, a woman waiting … Taken that arose between them and the art their struggle,butalso the intimacy the community andhighlights not only ty: ahomelessperson sleeping,apreg - work andsocialdisobedience. The vid the object they manufacture as well together, these imagescompose an ( Naprushkina both artistically and visually. ist. This workexpresses strong these ties in fact, criticizes the capitalist mode work, no work). work, The video is a critique

● van denBerg, Cara Jordan, and Philipp Kleinmichel.Reprint with kind permissionof the authors and publisher Sternberg Press. Beyond, 2019, edited by Karen published inThe Art of Direct calls for the refusal of The interview was originally Action. SocialSculpture and arbeit, keine arbeit Naprushkina, - - - - -

artistic tools artistic with community shaping // new neighborhood by karen van den berg interviewed naprushkina marina arbeit, keine arbeit, group cooking, etc. What play role did art in the beginning? workshops,gram, art concerts, chess tournaments, lectures, German governmental offices, and youoffer an eventpro 2018, video stills 2018, video Karen van Berg: den Karen neighborhood and refugee NeueNachbarschaft project, // Moabit, whichhassince become one ofthe largest refugee ple fromthe neighborhood to get to know each other and inBerlin. projects You organizeregulars’tablesforthe peo learn languages, acaf you run Marina Naprushkina,

81 // Moabit emerged from of work. my artistic previous Around 2010, I turned away that from producing objects could be exhibited and startedto lookforother spaces and environ- on socialand politicalmatters. of the whiteItwasdesigned to cube. have impact adirect Neue Nachbarschaft // Moabit,meanwhile, hasbecome anau Propaganda andRefugees’ Library , have beenshown inart and doesnot necessarily fromestablished relyonsupport tonomous space that generates itsown content and formats tion apparatus, my work hasalways outside beenfocused no longer appearedappropriate Ihad forthe activities ments formy work. institutionsand theTraditional art another level to the work ofthe initiative. tion. Sofar, Ihaven’t found asuitableformat forrepresent Marina Naprushkina: Marina spaces and were preparedforpresentation inthe exhibi in mind. While my long-term the forAnti- projects, Office institutions, be it from the art worldinstitutions, beitfromthe art orpublicadministra- ing the initiative in anexhibitionspace, whichwould add usual exhibition formats seemed too narrow for me. They

Sev eral years ago, you starteda e /bar, youto/bar, organizevisits

Th e initiative NeueNachbarschaft moabit: - - - - - works under the headline “We don’t help, we learnfromeachother.” ou workamany with people.NeueNachbarschaft // Moabit KvdB: How doyou relate to the peopleyou workand how with fardoyou assume aspecificaudience and publicityfor certain your project? became aregistered association in2013and, since itsbeginning,

Y 82 We designourevents insuchaway that they have low- cooperation and participation,butwe still strive forthat. come aproblemifwe didn’t addressithead-on. ers simplyfloatwithout being along aware ofthe concept. ercise for professional artists toercise for professional artists work a low with threshold. of conventions. This fear is always present when one is not embarrass themselves publiclydueto their unawareness Of course, we don’t manage to bringeveryone into active work those who with come throughthe door. Often, they But the fearofembarrassing oneself asone steps outofthe to conveyI try ourattitude:everyone comes to learnand they come to usfromoutsideofBerlin,like fromBranden- are peoplewho live inthe neighborhood, butsometimes to change quite deliberately. Moreover, Iseeitasagood ex a language caf and are interested in what we do. Often, they are simply to designthe environment and socialrelations and not to them to everyone to participate being afraid to without threshold access. We thinkthisisthe onlyway to open to work here iswhen peoplearenew to the neighborhood take applications. The best and most common precondition rooted in the context ofrefugeeand itcould projects, be nized. Then, we usuallyhave to get ridofallthe usualas means to them – how necessarythe initiative is – and oth- familiar with certain cultural codes. certaincultural Ithinkthatfamiliar with many art MN: spaces have adeterrent onalotofpeople. effect They’ve sumptions: previous knowledgeprevious about the initiative or how it’s orga Some understand and realize quite clearly what this space introduce the newcomers every Tuesday. Duringthistime, help others. Unfortunately, the attitude “wehelp” isdeeply become elitist. very That’s a bad development that I want brought alongby friends orflatmates and don’t have any burg, forinstance. Idon’t and conduct don’t jobinterviews

In thisprojec Neue Nachbarschaft isnot a language school, not e , not astate-sponsored socialproject. We t, Ican’t pickthe peopleIwork with.

- - - - Anti-Propaganda) (2007) at the 7thBerlinBiennale(2012), 11th IstanbulBiennial(2009),areinvolved inthe ongoing yond what extent isaresponseto world yourinthe art project KvdB: ou are an internationally renowned have artist, KvdB: KvdB: shown yourBürofür project Anti- Propagnda (Office for switch to alarger venue. How didyou manage that? presented your ThePresident’s project Platform (2007) at the influx fromthebeginning,and influx very you had to quickly important toimportant you? international Refugees’Library and project have writtena highly acclaimed bookaboutyour workrefugees. with To Neue Nachbarschaft // Moabit ?

Y I Do y know that NeueNachbarschaft had an enormous

83 ou have time be to projects realizeother art Artists do not haveArtists to be convinced of the meaningfulness vertisements around the city. We concentrate onworking quite anobstacle. other institution. of our work. They immediately see what is happening in conditions, and demands that I don’t want to represent. don’t meet the usual funding criteria and can seldom apply or mustforgo thingssuchasactivepublicrelations orad- dred peoplecome day. inevery In2015–16,there were up day becausetheday. roomisopenevery Up to two hun world. Nevertheless, Iwasableto bringmany peoplefrom the here. people who with are actually This is our public an exhibition opening – but every day.an exhibitionopening – butevery Therefore, we can the art worldthe art into the initiative. Many and curators artists this space and know that it would not be possible in any to three hundred people per evening. It was like having reasons, becausethe money istiedto certainframeworks, for “project money.”for “project Often it’snot possible for ideological his initiative is the most time-consuming work I have MN: e initiative the without art would surelysurvive MN: support usfinancially.support That’s essential forus,because we MN: sphere, and thishasabsolute priorityforus. protection of the intellectual superstructure seemsto be protection ofthe intellectualsuperstructure

T W Th e workmany with people. They come to usevery - - 2019 construction sketch, fürJetzt! Alles Alle!, Marina Naprushkina,

84 ever done. Even thoughwasn’t the project designed foran I no longer participate inexhibitionsthat don’t providea and the conditions under whichIwantto work. Forinstance, art space,art Iunderstandwork. itasanartistic the art world’sthe urge art inflationary to travel and to discover.I need time to develop works and my works need site speci- ficity. For this to succeed, I need to feel and understand the fee and Ireduced the amount Itravel forexhibitionsand art specific social context, which is not possibleinshort-term production. production. At some point,Ibecame increasingly criticalof Meanwhile, my become exhibitionlisthasactually shorter, because I’ve reconsidered my approachtoproduction artistic of social sculpture go? of socialsculpture objects playobjects inyour projects? of sociallyengaged art? Isthe termim- “socialsculpture” were on display inyour rooms. What roledomaterials and KvdB: our project canbeseeninthe contextour project ofother social KvdB: KvdB: results ofalinoleum printworkshop that you hadconducted projects, but are there also referencesprojects, to the long tradition portant toportant you? How doyou relate itto your own practice?

Y An Wh d in which direction should sucharedefinition d inwhichdirection 85 visiteden Ifirst you at NeueNachbarschaft, the “How doIit?” Materials, all that the searchforobjects, cation in Belarus. cation inBelarus. While paintingstilllifes, ourteacher al- comes edu- I went afterwards. classical art through a very questions. To me, material issecondary. Rather, by Istart equipped or trained with artistic “tools.” artistic equipped ortrained with Through thisac also supports the developmentalso supports ofmy approachto art. asking myself “What do I want to do and why?” and then a strong effect on both art institutionsand politics.Ithink onbothart a strongeffect Butweand current. certainlyhave to translate the concept through law and order. tive shapeand participation, theychange will society. This that socialdesignmustalsobeapproached by society(and new formation ofsociety, and insodoing, they have to be not bydiscourse),many art with actorscoming fromdif me that Ineeded to change my nomadic existence, which ferent habitats and cultures. They allhave to work on this e concept hasindeed expanded, ofart but at the MN: think the concept relevant is very of social sculpture MN: MN: shift to itsproposalto the right,with solve socialproblems same time astrongreformation ofinstitutionshastaken started teaching the *foundationClass at the Art Academy stays. After Ifounded the initiative, itbecameclearto very place that hasn’t led to more inclusion. This, again, has had in Berlin/ Weissensee. This isanother way ofworking that is exactly the wayis exactly that we mustuseto opposethe current into apresent-day term. That’s the challenge. had beenconditioned by system. the art Two years ago, I

I Th I ha ve never beeninterested inexclusively aesthetic - - 2013–2019 red moabit, Marina Naprushkina, KvdB: art workshopsart forchildren. What roledoespedagogy play for you?

I kn

86 ow that your workrefugees with began of the teachers and professorsthat Ihad, especiallythose whole stilllife.” ForNeueNachbarschaft , thismeans that I ways said:“Paintthe appleexactly, butkeep aneye onthe MN: initiative asawhole, asasocialorganism. have to lookat and eachindividual at the same time seethe

For th e most part I worke most part intuitively. ButIoften think your projects? others on this project, but thatothers on this project, you are still the face of the extent doyou consider theasauthors? other participants within the project NeueNachbarschaft the // project within what Moabit?To would therefore beinterested to know what authorship world like standards setstheforprojects yours. wrong I w doyou balance idealism and pragmatism in KvdB: ou saidthat you’ve worked together many with KvdB: as asocialworker. Inresponse,you’ve writtenthat the art means to you. How fardoyou consider yourself anauthor mention that other artist-colleagues have writtenyou off initiative – you arethe one who appearsinpublic.Inthe book you wroteaboutyour work onthe initiative, you

Y Ho 87 And italways needs to change and renewof the direction dience would help you to succeed (at leastthat’s how itwas concept, atheoretical examination. one then has to fill physically, mentally, artistically, and our thinking,whichisdamnhardbecausewe don’t have what doesn’t work. who Sometimes didsomething wrong. ithelps to know But ourinitiative isnot aschool, where discipline and obe But this is only half of the truth, because the- otherBut this isonly half of the partici truth, and doesn’t have much financial leeway. Ioften feel that my author. Without allthe others, itwould onlybeanabstract at my school). needs alotoffreedomandOur project energy. there’s no budget available forit,not to mention that the then eventually they canalsochange the given frame. That an energy-saving routine. means that everyone isalsoan of the who project isapart MN: MN: people fromthe initiative to abiennial,Iget the answer that pants aren’tworld. inthe art visible businessThe istough art logue, someone usuallysays that there’s not enough room. if you want to name the in the participants exhibition cata initiative and think a lot ahead. I give it a frame that some hands aretied. When Isay that Iwould like to bringafew budget often barelycovers my own travel expenses.Even

Tha I ac tually thinkthat to thisday Istilldetermine the t’s agood question!Maybe fifty-fifty.

● - - - cal resistance enacted through counter-memory and post- Tuan AndrewNguyen’s practice explores strategies of politi York New Cohan, &James artist the of Courtesy My Ailing Beliefs CanCure Your Wretched Desires, 2017 Born in1976, lives and works inHo ChiMinhCity. tuan andrew nguyen erasure andproposes instead a shift towards other beliefs. contrastingindicates viewpoint reincarnation andkarma can functionasasolution. This times of colonialism and war, andreflects upon the fact that sustained the Vietnamese through suffering, theirin own with empathetic references to the ways that culture has is the mostextreme violence. The turtle CụRùa interjects human refusal to learnand to consider other alternatives and obsessive patterns of consumption. He states that the ing paradoxes inhumanity’s belief systems, mythologies, animals have beenexposed to andunravels the disturb- The spiritof the Javan rhinoceros raises the atrocities that acters debate over the liberation of animalsfrom mankind. and the Brazilian movie director Glauberchar Rocha, the Employing revolutionary language,quoting Fidel Castro rhinoceros and the Hoàn Kiếm turtle CụRùa. a Socratic dialogue between the spirits of the last Javan sized andcarried by astrong audiopiece that unfolds as and mesmerizingshots of animalsare powerfully empha- eries andanimalcarcasses, acanopy of sprawling forests, Cure YourWretched Desires, imagery of nauseatingbutch- installation film In thetwo-channel held accountable. video works andsculptures where fact andfiction are both and supernaturalism(s) is an essential part of memory. Extracting and re-working narratives via history

88 Tuan AndrewNguyen, Can Cure Your Wretched Desires, 2017, Nguyen’s refusal of cultural My Ailing Beliefs Can My Ailing BeliefsMy Ailing ’s Nguyen’s video stills

● - -

89 Footnote to Après lareprise, laprise,2016 Produced by If ICant Dance, IDon’t Want To BePart Of Your Revolution, Amsterdam Bete &Deise,2012 Born in1962,lives and works inBerlin. wendelien van oldenborgh also in theiralso translationexhibiinto the elements – not only duringfilming,but emerge, which, in turn, reveals a layered allow for acollaborative script to an equally important role asdoes the culture. Architecture andsetting play often explore amultiplicity of voices sitively engineered situationsalways tion context. thoughtful useof arange of cinematic WendelienOldenborgh van’s films historical account of contemporary keeping anopenstructure, the sen in carefully staged encounters. While WendelienOldenborgh, van 90

Bete &Deise,2012,filmstills - - alongside as muchaboutsolidarity asaboutdif conversation of two women, both sixties, achieved fame through her roles politically active. It soonbecomes clear Bete &Deise follows the fragmented that this tense doubleportrait isjust with her political activism:fighting ference. later become president only to be her to beingjailedand tortured during iconic Brazilian entertainers who are imprisoned for corruption in2018)led in telenovelas, a fact slightly atodds Bete Mendes, an actress in her Lula(who daSilva would - 1960s. While carioca, differentways – used their public voice a feminist position, have experienced as political beings, they both articulate expressive lyrics. The socialchasm, the and became aprominent figure infunk of ninechildren, shegrew upin the of afamous actress andmember of very different background. The oldest risk, andboth have – though in very neighborhood of CidadedeDeusin tion between the two women isevident: wariness, butalso the mutualadmira the elite, DeiseTigrona comes from a the military dictatorship in the late for apolitical cause. Rio de Janeiro.Rio breakthrough while working as a maid, ing transgressive as well assexually defying conventions and writ

91 Bete Deise had her musical has the confidencehas the - - 1990s and the subsequent collabora ematic footnote by creating alayered and discuss the relation between film, actresses and young students from a experiences into aplay. In 2009, Olden a work related to the strikes of female other filmic works andactingasacin - change iscaptured in this lenticular sequence of images that alternate viewer’s body. print, amediumregularly employed production and resistance. Their ex Footnote to Apès lareprise, lapriseis technical school to enter into dialogue tion of the strikers with dramatist workers of French Levi’s factories in the Bruno Lajara thattransformed their by by in responsein movement toof the the borgh Oldenborgh, usually accompanying invitedtwo workers-turned-

● - - ­ whole series1960-ongoing The Tsunami and the Cows The Slapin the Face The NunandI The Earthquake Theatricals Riding Paulito, My Mother’s Beloved Dog My Sister’s Friend’s Father My Father and the Monkey Making Jokes Gym Class Flying Chepa, My Mother’s Pig Born in1941, lives and works inNew York. sylvia palacios whitman of illustrative drawings. Sketches had man’s childhood in Chile the form exerciseremember to hood Stories beganasapersonal Visit to the Monkey andOther Child tion at the Whitney Museumin2013. celebrate acomeback with anexhibi- from makingart in the 1980sonly to surreal visual images.She withdrew Palacios Whitman own as well asother perfomers’ bodies, oftenextensionsher working with to humorous. Using simple materials and man’s pieces are poetic yet playfuland on her own practice. Palacios Whit several years, before starting to work with the New York Experimentalism. Shedanced practice developed at the height of Palacios Whitman’sSylvia performance Trisha Brown Company for 92 creates strong and Palacios Whit

- - - unaffordable. and minimumincome, are basically where living costs, relative to pensions unequal of OECD countries; a country despite its wealth, to become the most practices that have allowed Chile, insurgences in reaction to political as well as the recent and ongoing dictatorship that would follow in1973, with life during the violent military tions. Still, these tales harshly contrast dynamics andinstitutionalpower rela its ruptures with complicated family pranks – an idyllicchildhood,despite cheeky pets and the joy of sisterly umbrella paragliding stunts, various gym-classes, cows suspendedon trees, home theater functions, motionless of humorous anecdotes describing man offers a glimpse into a world full wien andBurgtheater. of acollaboration between kunsth and was then shown in Vienna aspart imagery, which premiered in New York performance merging storytelling and eventually encouraged her to develop a with lively narrations, andafriend to peopleandaccompanying them man hadbeen showing the drawings a more central position.Palacios Whit her performances and they now take always informed andhelpeddevelop Green Hands and Other Performances,

2019, Photo: Kunsthalle Wien ● Sylvia Palacios Whitman, Sylvia Palacios Whit alle alle - - -

93 Britain inLondon. between month earlier. The performances were followed by aconversation and Other ChildhoodStories, thathaditspremiere inNew York a Hands (1977),and Tail andCup (1977), as Monkeywell as Visit to the performed three of her classic works Elephant Trunk (1975), Green Whitman onNovember 17, 2019inBurgtheater atKasino . She and peace was anevening of performances by Sylvia Palacios The first public event heldaspart of … of bread, wine, cars, security Tate Whitman andIsabellaMaidment, acurator atTate only way forme to doitisto draw it– ent. Especially the the one dev with other ones Ididinthe ‘70s,and some way. Since made Iwanteddevil “The I did these drawings at different times. I do these drawings to to remem try at differenttimes, they lookdiffer and my sister, my brother and I, look the picture. me doit,” Ihadto into putthe devil more recently. Since they were done me when Iwasakid. my head of all things that happened to The one ofmy father the monkey with This isaboutmy childhood in Chile. I spaces et cetera, when Iwas a child. The il wasdone inacompletely different ing at him, I did in the 1960s. Then the have in pictures always vivid hadvery ber exactly howber exactly itwas,the faces, the Whitman, Visitto Other Childhood the Monkey and Sylvia Palacios Stories, 1960

94

- - - - encouraged me to develop a perfor ed drawing it. Then Imadethe mon exactly whatexactly happens. Over the years, I would tell some of the Georges Seurat my with husband Bob, was lookingat abookofpaintingsby well. Lookhow tiny itis.” Ijuststart when he showed me Seurat’s monkey I recently drewthe two monkeys as Eventually agalleristwanted to show and said,“Iremember thismonkey so toan introduction the performance. I the drawings. Ihave performed thisin them alltogether. In2019,afriend monkey. mance telling the stories and showing stories and show people the drawings. New York and in Vienna. New Yorkand key above himasthe spiritofthe first in asimplechildishway. Itgoes with - - - After the earthquake, we went to the of the drawing shows what awonder clearly theofhow story allofasudden grabbed them strongly, and pushed Christmas treecows. was when Iheard that the cows upin I thinkwhat impressedme the most and threwthem upinto the trees.Half area where my parentshadalittle the trees were going, ”Moo,moo ...” them hangingoffthe treesalmost like them upinto the trees. Then we see the water came and picked upthe cows ful time the cows were having, eating find outwhat happened to the house. That wassad,and that’s why itstayed The peoplethere told usabsolutely The Tsunami and the Cows peacefully beforethe tsunamicame, in my head. house at the beachforthe summer to

95 - out and up … It’s the same thing, they can dotheanumbrel same thingwith do that.” –“Whatdoyou –“I mean?” city, Osorno. We went to amovie in end Iwasstaying at her place inthe would hold you if you jump.” And she Dora says, “Ohmy gosh, those people I probably was about eight years old, as when Iexplained, “Listen, remem- asked, would “Where we jumpfrom?” achutes.” And Isaid,“Iknow how to at that timeawarmov inthe forties - and my friend Dora also. One week the afternoon, the matinee. We saw Flying parachutes. When we left,my friend jumping fromtheusing airplanes jumping fromway par upthere with la.” She looked at me, asifIwascrazy ie, an American movie, and men were ber, you have seen how umbrellas go the Cows, 1960 The Tsunamiand Whitman, Sylvia Palacios

- - - Sylvia Palacios Whitman,Flying,n.d.Sylvia of course, allofthe clothes fell down open the window and bringme anum when Iwasakid.Soshe bringsme the I grabbedthe umbrellaand opened and Ithinkthe onlythingthat saved and Isaid,“Well, itwould have to be to work?” And Isay, “Absolutely.” So the thirdfloor, the higher the better, my lifeis that Ihit thisclothes line. And she says, “Are you surethisisgoing jumped. Down Istartedgoing, fast, very it, and itlooked pretty good to me. I into the backyard.” Isaidto her, “Just umbrella, and Iget onto the ledge, and brella.” All the umbrellas were black

96 - came to this punishsomebody with Oelrkers, heard the commotion and whipping her, and kept saying, “You was very, sad.Dora’sfather, very Mr. It’s your house! That’s my umbrella!” and Ithinkacouple ofthem got killed to the ground, and I fell on something me, he went upthe stairs. And Iheard riding crop.Since he couldn’t whip semi-soft. I realized I’d fallen onto this screams frommy friend Dora. Hewas idiot! You let her jump! It’syour fault. because they were tiny, very and that basket of puppies, tiny little puppies, of my finger.” I“Youheld on.She said, chrome. Icould smell it. We allcould ger right in my face. Icouldn’t take it. ger wascovered the Mercuro with Chile. This nuncalledMadre Clara used German nun’s school inthe southof It isaboutwhen Iwasinschool, the I grabbedher finger. And she said to mood forit. And she wasscreamingat to punishyou or talkto youher with me, “Howofyou. disrespectful Letgo me her forsomefin stupiditywith finger right next to your face. Herfin- smell it. One day Iwasjustnot inthe The Nunand I Sylvia Palacios Whitman, Sylvia 97 The NunandI, n.d. - - couldn’t. And, itgot worse and worse. devil inthe drawing.devil Finallyshe said or.” And nobody wanted to go to the with me holdingwith her finger allthe way we went walking throughthe school, away, the lessIwanted to releaseher to the Mother Superior. And that was to gome to with the Mother Superi to you me, “Then aregoing to have made me doit. That’s why Ihave the finger. –Idon’t know why, the devil The more she wanted to get her finger punishments, bigpunishments. Well, Mother Superior, becausethere were better letgo of my finger right now.”I - what I had done. They applauded me. the end ofthat. When we got to the They said,“Whatcourage!” finger. ButIwasfamous inschool for Mother Superior, Ihadto letgo ofher

98 My Father and the Monkey, 1960 Sylvia Palacios Whitman, Sylvia

“Tuno,” lookingat us,getting alittle “You stand righthere,” my father said. And fromfaraway he says, it “There We arrive there. We were so excited. closer, stretching outhisarm,“Tunito.” cause he wasgoing to go to work right lean man, in his suit, be elegant, very chain around hisneck and around the of Chile where he came fromand he didn’t know anything aboutmonkeys, cited and we went to asmall ranch near course we and allhadseenpictures of Chile I’dnever seenamonkey. Of great presentthat afternoon by taking with the monkey.”with My father, this tall, He put us in a line. “Don’t move. No and told us he was going to give us a after this, started approaching very tree; and he’stree; sittingshowing histeeth, to bequietwhen we got there –silence. told usallaboutthe monkey, whose the town of Osorno, belongingto Mr. nito wasjustsittingthere showing me. I’mgoing to show you how to deal matter what, don’t move. You watch name was Tuno. Hesaidhe realizedwe movies ofthe monkeys. We were ex slowly saying, “ Tuno … Tunito …” Tu- so we had to listen to him because he Stückart. Stückart. On the way in the carfather looking fromone place to the next. it atitimonkey, anda he’s sittingwith is.” And I expected to see King Kong, knew just what to do. He told us we had his teeth. And my father wasgoing, had seenmany monkeys inthe north us to seearealmonkey. Inthe south My father arrived forlunch one day My Father and the Monkey but we see thislittlemonkey. Ithink

99 - - “Tunitos,” Tunito jumpedfromwhere We’re stunned. We didn’t know ifthis Well, after acouple and more “Tunos” ed him very welled him very and they were ableto ofpain,and hedying went around and go of my father’s finger which was in want to hear it.” That wasthe lasttime whether something hadhappened, un at himoranything. … “Tuno Tunito ...” at the hospital. Then onthe drive back hadtoart come and force Tunito to let at thatangry point, and so my Father to shakearound off inacircletrying that anyone saidanything aboutthe the head ofthe hospital sothey treat the hospital. Luckilymy father was til my father cried out, “You idiots! Do that madeitworse. The monkey got the monkey, butthe monkey would teeth, and that wasthat. Myfather was a peep about Tunito,” he said. “I don’t monkey. nevertheless he kept thisbite from not letgo. Heshook itupand down … middle fingerwith his ofhisrighthand Tunito all hislife. We waited forhim sew itupalittleand itgot better, but something! Go get help!” We ranto the peep, not apeepaboutmonkeys, not Nothing. The monkey would not look is part of playing with the of playing monkey, with is part or ing in line in complete amazement. looked at the threeofusstillstand home, he sat us all in the back, “Not a house to callthe people,and Mr. Stück he was sitting and grabbed my father’s bad shape. They went immediately to

● - - - - 100 Dan Perjovschi, thinkingbread, 2020 Gregor Podnar Gallery, Berlin Gallery, Podnar Gregor & Abbemuseum Van artist, the of courtesy Cox, view,Van Eindhoven, Abbemuseum, Dan Perjovschi, Fake Me Hard, 2019, installation courtesy of the artist & Gregor PodnarGallery, Berlin The Start Drawing and The End Drawing, 2020 Born in1961,lives and works inSibiuandBucharest. perjovschidan space for critical thought. These simple authority and automatically creates a social diary. In doingso, heevades its transforms the institutioninto hisown dows of kunsth By drawing on the wall and the win institutions. floors, corridors or windows of theart artist expansively populates the walls, ly. With his figures and scenarios, the and issues that affect him personal ics as well asgeneral socialphenomena He addresses current globalnews top and cynicismsof our “brave new world.” with piercing irony on the absurdities few strokes, DanPerjovschi comments In hisdaily drawings, sketched with a

101 alle wien, alle photo: Peter Perjovschi - - - ing the pace of everyday life. is ready to be erased or shifted follow has alife onitsown andeachof them is not Perjovschi’s goal.Each drawing narrative by connecting them but that fairs today. Onecould try to make a create ariddlearound the state of af to affect the final result. Together they ness or the violence of everyday news events and the absurdity, the light neously, on site, allowing the flow of These drawings are made sponta ancholia. its topics with humor, gravity, andmel poverty, the rest of the exhibition and Perjovschi reflects onbread, dreams, dense andconverge complex matters. and literally economical drawings con Dan Perjovschi, what'sleft of revolution, 2020

Dan Perjovschi, peace,

● 2020 ------These initiatives are experimenting with Sick (PMS)•Zoe Romano •Ivory Tuesday • Ana Vilenica • Maddalena Fragnito •Mary Maggic •Iva Marčetić •Power Makes Us Contributors: Initiators: pirate care syllabus a disobeying laws,countering punitive approaches to social reproduction and ect connecting activists,scholars, and of crowdsourced #syllabi generated sponse to the current “crisis of care:” regimes of bureaucratization, securi risks by operating in the grey zones be practitioners working on the collec Care organized a writing retreat in uated knowledge of these practices. within socialjustice movements, Pirate tization, privatization and workfare. tween different institutionsor openly “commoning”the of tools. They take welfare cuts,austerity, andcriminal tive practices that are emerging inre- (Croatia) to create the first version of forms of self-organization, alternative Inspired by the recent phenomenon November 2019, hosted by DrugoMore Pirate Care also aims to activate col- Pirate Care lective learningprocesses from the sit ization of migration andsolidarity. Pirate Caresyllabus Syllabus. The Valeria Graziano •Marcell Mars • Tomislav Medak

102 isa transnational proj Laura Benítez Valero • Emina Bužinkić • Rasmus Fleischer ------

17–July 1) andasummer camp (Sep cars, security be andpeace. Visitorswill / link. able to copy the syllabus freely onto a activated through anexhibition (June and the maintenance of a catalog of are justabeginning. The syllabus “lives” and anti-racist organizing. These topics at two events atkunsth on an online publishing framework al- Capital of Culture 2020. In addition, the migrant solidarity, community safety, Pirate Care Syllabus will beintroduced was drafted by contributors active within the exhibition within the tember) aspartof the Rijeka European well-being, free access to knowledge, tal healthsupport, trans health and tive healthcare, autonomous men USB stick or access it via the QR code In 2020,In the learning resources. lowing collaborative writing, remixing, housing struggles,collective childcare, in feminist approaches to reproduc

● Pirate Care Syllabus …ofbread, wine, alle wien and will be be will - - - Stuart Hall — Stuart “Pirate care”isaconcept that the soci- What isthenature ofthiscrisis? It’s not tomislav medak valeria graziano •marcell mars • pirate care: against the crisis We live inaworld where captainsget conjuncture.” started to itasthe“neoliberal discuss case, itisaconstellation ofprocesses ologist care, disobey, and they arepirates. giving foodtogiving the poor, medicine to just apassingseriesofevents. What’s its history, where doesitcome from? We arrested forsaving people’slives on through the relentless enclosure of the fattest profit margins are achieved techniques; borderpolicingand vigi the state warfare ofcurrent ofthe art to the homeless. At the same time, fly- the sick,water to the thirsty, shelter them. Folksaregetting introublefor to couldn’t those who otherwise get the sea;where apersondownloading nomenon that isstillemerging. Inour flying drones bringing flying contraceptives scientific articles facesscientific articles thirty-five years publicly funded science. Our heroines ing drones to killpeopleispraisedas like they were animalsareencouraged; lantes pushingbackmigrants willfully in jail;where peopleriskcharges for have called“sensitizing,” that is,aphe- Naming the Conjuncture Naming Herbert Blumer (1954)wouldHerbert

103 - — “pirate different,they care”can bevery While the processes that we define as care workgloballyforwomenaged15 ally – three timesthesizeofworld’s and over isat least$10.8trillionannu- of the economic inequalities existing ofcapitalism, effects by levelling some of socialreproduction. The monetary valueofwomen’sThe monetary unpaid wellbeing forall. tech industry. al governance andto they arewilling are all practices developed in reaction are allpracticesdeveloped inreaction allow usto think them together: they to remedy the partially most harmful the fieldof welfare by global neoliber to the profound changes introduced in tutions, and imaginariesofthe politics that are shaking up the practices, insti nant developmental horizon of the cap torisk prosecution uphold the rightto form of indirect income.form ofindirect At the same Through the system oftaxation and The welfare state hasbecome adomi - share important commonalitiesshare important that The Plural Crisis of Care Plural Crisis The public spending, the state took charge italist countries at leastafter the WWII. between the socialclasses througha

Clare Oxfam BriefingPaper, 2020 Coffey et al., “Time Coffey etal.,to Care,” - - - visions ofcare. visions youth and leisurecenters, publiclibrar differently: instead ofhaving to guar cial wealth taken by workers and their those compo rejecting of services, around welfareof struggles rights. care homes, kindergartens and schools, civilizational progress. A vastarray of evidence of social accomplishment and education, ahome, and social bene- thatcitizens thoseareindis services communist countries too. Welfare isa core politicalhorizon ofsocialistand wages, framed the of the function state hasbeenthe welfare infrastructure Feminists, black,and disabilitymove antee welfare, the roleofthe public the taskofguaranteeing to allofits time, apubliclyfunded and organized reaction to ofso reaction the growingportion nents of the welfare system that most ments, forinstance, attacked paternal not exempt fromcriticismhowever. sociallife,suchashospitals and rary model that assigns to the public sector families through direct and indirect families throughdirect These rightshave beenframed by po fits forthose unable to get anincome. The welfare model ofgovernance was still insistingonpubliclyfunded pro public opinionasfundamental and as pensable for life, such as healthcare, Neoliberalism, arising in the 1970s as a is to institutionand reorganizeevery involved coercion and control, while istic and discriminatory arrangements ies and museums exist today as a result institutions that organize contempo litical commentators and perceived by

104 ------vision ofsocialwelfarevision too. Fortunately, confront the grave environmental ca- on thisplanet. capitalist “crisis ofcare”that impacts quite a different result. They served ever, it hascontinued to dominate the Despite that the fact theorists ofneo and publicwelfare systems, inprac the qualityoflifebillionspeople as one ofmultipledimensions of the and expanding neo-colonial extractiv ally. Duringthe pastfifty years, how and consequently the best form of pro ance ofa“market.” The beliefofthe area oflifeto make itadoptthe appear tastrophe that we arenow facing. As tice their reformshave often achieved noted, climate change canbethought many feministcommentators have not everyone agrees and neoliberalism most efficient mechanismofallocation neoliberals wasthat the market isthe selves in favor to ofextreme cuts tax political horizon, leadingto growing liberalism have often declared them ism inthe poorestregionsofthe planet. inequalities between richand poor world’s richest1%have more than 01 criticizedand opposed has beenwidely Moreover, neoliberal governance has been blamed forrepeatedly failingto by social and political movements glob

The ofDecent Work. dcomm/---publ/documents/publication/ Care Work andCare Jobs for the Future people. Source: Addati, L.et al.,2018. twice asmuch wealth as6.9 billion wcms_633135.pdf wcmsp5/groups/public/---dgreports/--- Labour Organization. https://www.ilo.org/ Geneva: International 01 ------

(and to stillserve) justifynot somuch complex,” whilethe family wasasked evaluation, madeto prove againand care (unemployed, precarious, working enough forthe markets neither as ganizations were allowed to become workforce nor asconsumers – are the In fact, these “redundant”In fact, popula the public services: awaythe publicservices: fromanide again boththeir potential value(for alism. People who areinmost need of al ofcollective wellbeing towards a the dismantlingofstate interventions, to place assume itsroleasthe primary to beknown asthe “charity-industrial to are-conservatization ofsocieties. and subjectedto endless processes of the most bureaucratic environments, tions – that is,peoplenot interesting their own the problems that were still them fornot beingableto resolve on the most weak. The responsibility was tool ofpunishment ofthe poor, and of markets) and their moral character new target groups of punitive neoliber regulation and control imposedupon The reorganization ofwelfare hasled for accessing basicrightsasrewards. The churchand other faith-basedor sick and disabled,minorities and asy structural. shifted fromthe failingsofthe capital sources forlifeareadministered asa system of workfare in which basic re providers of services inwhat hascomeproviders ofservices poor, ex-prisoners, elderlyand young, lum seekers …)aretoday immersed in ist market to the blaming individuals, but the advent ofadifferent“role”

105 ------Bruce Sterling— Bruce — David Graeber We have thussketched some ofthe While introducing punitive market Caring labourisaimedat maintain- climate change, the lives of the global colonial and socialistsocietiesacross dependence in for social reproduction of thisisthat of anincreased portion ents. The well-known consequence of careand responsibilityfordepend - criminalization ofmigrantfluxes. As gration has proven to suppressthem by The crime-wave ofbeingtooThe crime-wave nice to freedom. freedom. we approachthe conditions ofrunaway welfare states, neoliberalism collapsed ing oraugmentinganotherperson’s the wrong people. Caring asDisobedience the emergence ofpracticesthat we to understand the necessity behind that the cheapest way tomi- dealwith the world, leading agrowing global ofdevelopmentthe prospects forpost the necessaryreproductivelaboris ex to ahardeningofbordercontrols and military means. military surplus populationssurplus are so deprecated gender rolesand stiffening reactionary population to seek ways to fleemisery, pected to beperformed forfreeand in in more affluent nations. Thishasled large to part fallonwomen’s shoulders, have named “pirate care.” The term historic developments that allow us hide fromwar, and find abetter future hierarchies. - - Against the background ofinstitution Pirate Care, 2019, Graphicdesign:Maddalena Fragnito condenses two processes that are par care can be witnessed addressingacare canbewitnessed of sociallifearenow beingpushed to geopolitical reorderingand the market wards illegality, asaconsequence of alized negligence, agrowingwave of and marginalization. time new, often technologically-ena at visible present. ticularly On the one mobilizations and resistance around position to thisdrive toward illegality consideredpreviously cornerstones ization of social services. ization of social services. At the same hand, basiccareprovisionsthat were bled carenetworks are emerging inop

106 ------volunteers arrested in2017). decrees criminalizinghelping outin defiance of legislation making home defy the criminalization ofNGOs ac as those operated by appropriation ofhouses leftemptyby tive in the Mediterranean; the growing doctorsrefusing tothe UK,with car resistance to homelessness the re via checks outdocuments onmigrant ry recent number of fundamental needs: the form of October 2018), or municipal speculators (like the PAH patients; migrant-rescueboats (such public space (e.g.FoodNotBombs ’ lessness illegal (such as Hungary’s re lessness illegal(suchasHungary’s Docs Not Copscampaignin Docs Sea-Watch) that in Spain); the inSpain);the - - - - - We felt the need to map and think (such astranswomen, usersor drug orders that impose exclusions along degree ofprotectionby- means ofvisi ed fromreproductivehealth services developed a toolkit for gynecological darity Movement have responded to own pirate kindergartens. InSpain, collective on their own bodies. Meanwhile, the grassroots clinicssetupby the Soli waters, like veritable carepirates. with laws,with regulations, and executive where these arenot available, at times without aprivatewithout insurance. InItaly, In Greece, a growing numberof are the most exploited, discriminated in expressed non-complianceacting also attempts to offer them some forthea potent politicalimaginary the risk of persecution inproviding the risk ofpersecution the lines ofclass,gender, race, orter tinuation of long-standing practices of these practicesofpirate caretogether, tion optionsto women incountries the by draconianto cuts publicservices to publicchildcareareorganizingtheir the feministcollective GynePunk ritory. They arenot shying away from solidarity and mutualaid. Our project sex workers) to performbasicchecks self-diagnosis, to allow all those exclud present times, although they areacon providing safecontraceptive and abor precarious parents without recourseprecarious parentswithout providing medical attention to those unconditional solidarityto those who using boats harboredininternational bility. These initiatives arefrequently because we feelthey areopeningup Womenon Waves hasbeen 107 - - - - -

— — We haveto consciously studyhow to be We noticed that too many and cultural We are interested in learning from a habit. velop together a practitioners with of the public,we have decided to ex of these conversations to take place collective careprovisions. population.of surplus We to also wish care and to bring their analysis and or ganizing experience to closerattention The syllabusisthemanifest wellbeing of all – and especially of who mixethicalconcerns forthe we wanted to provideaspace forsome Composing aSyllabus twenty-first century. tender eachotheruntilitbecomes with against, and condemned to the status an experimentation tools with and the most oppressedgroups – with angle ofradicalpedagogy and to de academic spaces often arrange discus and together that practitioners with to social reproduction. techniques forcollective organizing. rather thanstifling,suchbottom-up following a more transversal approach thosefrom andpractitioners with To connect variouspracticesofpirate syllabus onpirate care. share apirate care approach,that is, sions around a“singleissue.” Instead, plore and presentthem throughthe push institutions, including cultural institutions, to find ways ofsupporting,

HyperR Audre Lorde eadings.info eadings.info o of the o ofthe - - - - #StandingRockSyllabus provided a We found our inspiration in the re- 2.0 syllabi were compiled to help make violent events: violent the #FergusonSyllabus cesses that involve situated commit or single-authoredre documents circulating since, bothascrowdsourced educators connected socialjus with cent phenomenon of the #syllabi that chael Brown; the Syllabuson Gaming wrought bywrought the Dakota Access Pipeline. the idea that many ofthe bigsocietal addressed throughpedagogical pro and outsideofficialeducational venues. around the worldacallforre with against the ecological devastation toa reaction the misogynistattacks of and Feminismby was The New Inquiry addressed the racistpolice killingofMi tant source ofinspiration forourwork, tive Americans in the last 100 years, to tice movements hadbegunusingthe ments and longtemporalities. There is newed politicalpedagogy, bothwithin resources to respond to anumberof This phenomenon hasbeenanimpor sponding to variouspoliticalcrises stakes ofthe largest gathering ofNa sense ofthe political implications of ofthesome gamer parts community started to appeararound 2014,when powerful tool forcommunicating the Shortly after,Shortly the 101 and Trump Trump issues we areconfronting need to be Sarkeesian #gamergate). (the so-called hashtag as a means to gather teaching his election tohis election presidency, whilethe Many more online syllabihave been because ithelped usbringinto focus Zoë Quinn,

108 Brianna Wu, and Anita ------on our current conditions.on ourcurrent conjunctures we inhabitand to reflect collective childcare,migrantsolidari cess to knowledge, housing struggles, contributors are activeinfeministap organizing. In November 2019 we organized a writ a shared social need to build opportuni autonomous mental health support, a Pirate Care Syllabus.Itwasdrafted ty, community safety, and anti-racist trans health and well-being, freeac togetherBenítez Valero Laura with , ties forsharedpoliticalanalysis ofthe The sourced emerging document froma proaches to reproductivehealthcare, jeka, HR), to create the first version of ing retreat hosted by More(Ri- Drugo Ivory TuesdayIvory , and AnaVilenica Emina Bužinkić, Power Marčetić, two members ofthe Power Maddalena Fragnito, Makes UsSickcollective, ZoeRomano, Pirate CareSyllabusisnot acrowd - Rasmus Fleischer, Mary Maggic, Mary . These . These Iva Iva - - - - - With the tools and workflows forthe of the Worldof shadow library. As amateur come integrated well-maintained with relevanttodigitized documents the own conditions. We wantthe syllabi cesses and alsoto adaptthem to their cal framework and pedagogical process catalogue of digital texts, making avail- thatkeepdocument will evolvingdur extension ofourwork onthe Memory On the technological side,developing we hope that cross-pollination further and catalogued collections ofreading ofspecificstruggles – and to actions are not digitized yet. (It is worth noting able those that arebehind paywalls or begeneratedacross practiceswill that a collaboratively created resource that to they beeasilypreserved – so include that can allow others to activate these the copyright regulation, doingwhat that shadow librariesthemselves area tools and workflows forsyllabusisan responded to intheir organizing.It’s resources fortheir own learningpro each other.might, in turn, strengthen ments that found practitioners most materials. not syllabus, we wantto offera technologi sal access to maintained ameticulously social movement, but,more modestly, pirate incontravention carepractice: of public librariesarenot allowed to do.) librarians, we wantto provideuniver it shareableand document, re-mixable ing ourresidency in Vienna. Bymaking ing process aboutthe crisisthey have useful foractivatingacollective learn brings together those texts- and docu the, buta

109 pirate caresyllabus, and a - - - - - https://pirate.care We arethinkingaboutsyllabiasforms common instead. care practicesadistributed insurgent components, suchassurveillance, con of more differentiated manifestos to easy forkingto create new versions. that documents arewritteninavery will need towill educate ourselves inthe work, asyllabusisbuilt from plaintext the making. While the most reward able resource collection. the texts inthe accompanying search- tween theand documents the linksto that allows collaborative and writing technological choices. In our frame resource-intensive and easilybreaka markup language, rendered into astat formity and coercion, arebeingtechno for the few, and itsmost oppressive To achieve this,we have madecertain survive the perilousfuturethat survive isin the internal linksbe still preserving shared offline fromaUSBstick, while simple and human-readableMarkdown Such asyllabuscanthen beequally knowledges that canhelp usto make logically redistributed forthe many, we of care are being privatized ing aspects its files onagit version control system ic HTMLwebsite that doesn’t requirea hosted onaninternet and server used/ ble database system, and whichkeeps

● ------History Museum, Vienna and Museumof Man and Nature, Munich Courtesy of Burschenschaft Hysteria, taxidermy courtesy of Natural Turn aDeaf Ear to Shoesfor White People, Born in1988,lives and works inStyria. hc playner and rustic woodcuts alike. by ideas of Classicism, New Objectivity, bach, andParis. Her practice isinspired influenced by stays inDüsseldorf, Mistel within artinstitutions.Playnerhas been ofbeyondlimitations typical thought ral understanding of democracy and the world from apositionof anatu fake modernism.Sheseeks to explain neither conservative nor inscribed in Playner isconfident inher role thatis a measure or intervention. means initself issufficient; itisnever to her practice. For and people – both essential ingredients oped a devoted love for her homeland about natural pigments and devel wife. al-worker andchemist turned house- the fifth of sixchildren, born to amet ofsouth Austria, Born in the rural areas of Styria in the Playner learnedfrom anearly age

110 Kunsthalle Bern, 2017, HC Playner, installation views, Burschenschaft Hysteria Kunsthalle Bern / Gunnar Bern / Gunnar Kunsthalle HC Playnergrew upas Meier, 2017, Courtesy of of 2017, Courtesy Meier, Playner, art as a photos: photos: - - - - tivities of the fraternity Hysteria , which of an installation documenting the ac Playner’s recent group of works consists demand a women and transgender tect men,restrict their right to vote, and the goldenmatriarchy, generally pro- organizationimplement seeks to that sible enemy. Hysteria isa women-only and legacy, butalsodelineate apos charged objectsreference their identity she herself isamember of. Symbolically

2017 - -

111 such as writersuch tions. Portraits of illustriousmembers quota of atleast80%for publicposi- the establishment. Playner doesnot seek the approval of to speculate. But one thing is certain: a violent end? That is left to the viewer Have the former sneaker-wearers met ers pileupandbroom bushes flower. out mals, worn of a scene of stuffed hyenas, the mascot painter Hysteria. Next to the undeadani Marianne Vlaschitsaccompany Stefanie Sargnagel , or New Balance sneak

● - - Barcelona & The Gallery Apart, Rome Gallery &The Barcelona &àngels, artist the of Courtesy NewModel Army , 2016 Venice Climate Camp,2019 My, 2019 Limity Jsme Code Rood, 2018 ZAD, 2017 Ende Gelände,2016 COP21, 2016 While Everything’s Falling Apart: Everything’sComing Together Vienna. Born in1970, lives and works in oliver ressler While Everything’s Falling Apart, already exists, yet authorities actively ation, in which allof the technology damental of levels. The title Everything’s and showcases selected artist-activ ernance, its challenges and failures, addresses international climate gov al warming, forms of resistance, and social alternatives. In hisseriesof six such aseconomics, democracy, glob- Coming Together While Everything’s Fall needed to end the ageof fossil fuel Oliver Ressler isanartistandfilmmaker ing Apartrefers to the present-day situ we organize society on the most fun- transform the ways we live and how who produces installations, projects films in publicspace, andfilmsonissues ist grassroots movements seeking to Everything’sComing Together

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Ressler - - - -

The first filminRessler’s series,COP21 avoid harming the economic interests an open-cast mine,blocking the load- a massive civildisobedience actionat governmentscommit to themselves curtail global warming.curtail of corporations and continue to ignore of Berlin) where 4,000 activists entered to any bindingagreement that would the imminent climate catastrophe. the Lusatia lignite coal fields (southeast (2016), (2016) is a film which shifts the focus to UN Climate ChangeConference inParis in 2015, which proved the incapacity of ing station and the rail connection to follows activists that contestfollows activists that the Ende Gelände “zone to defend,” is a film which tells the Venice Climate Camp, 2020 Oliver Ressler, Everything’s Coming Together While Everything’s Falling Apart: disobedience in the actionCodeRood 250 peopleinsixty collectives live per a coal-fired power plant. ZAD(2018), coal portdraws ared lineagainst this struggle againstanew airport. Today story of Europe’s largest autonomous manently at the ZAD, occupying the port of Amsterdam in June, 2017. The Rood wetlands, fields,and forests. In Code territory, located close to Nantes in France. This zone emerged from the blockade of Europe’s second-largest (2018),

113 Ressler focuses on the civil - attempt to stop allactivity there and of Bílina coal mine in Northern Bohemia structive miningoperations. More than sil capitalism. In My the filmLimity Jsme Climate Camp2019, mate activistsentered the mineinan red carpet inSeptember 2019. the blockade of Venice FilmFestival’s to insistonshuttingdown climate-de (2019), last andfinalfilm of thisseries,Venice half of the activists were arrested. In his in the Czech Republic. In June 2018, cli- important infrastructure facility for fos Ressler documents the blockade Ressler addresses

● - - workshop During the one-week-long intensive Brunnenpassage, andBurgtheaterstudio. collaboration between kunsth Workshop in the framework of EUROPE MACHINE, school of contradiction class divisions. serves as the justification of scrutinized contextofin this most which thetime dictory nature of knowledge produced who are taught. It stresses the contra areappointed who and those to teach ideological differences between those work. It questions the economic and tain economic and political systems at cultural production (mis)represents cer and teachers to better understand how a collective attempt by the participants Anna Manzano, afilm was produced as led by Oliver Frljić,

114 School of Contradiction, Srećko Horvat , and alle wien, Burgtheater, - -

on pages20–21. the workshopabout More information Kunsthalle Wien workshop, Photo: Contradiction, School of Havranek /Burgtheater Feb 8,2020, Photo: Niko workshop presentation, School of Contradiction, study of contradiction in the very es “Dialectics in the proper sense is the other. Taking as itsmotto Lenin’s quote each other or openly opposeonean- tion, their readiness to mutually serve ages, their conjunctions and disjunc relationship between soundsandim- umentary parts.It explores the complex concept of didacticplay with more doc The film combines andappliesBrecht ’s

115 - - - tion. inherent inevery form of emancipa it shouldbehiding– the contradiction sence of objects,” the film exposes what

● - Superpositional Intersectionalism, 2019 Born in1991,lives and works inEurope and the USA. selma selman tion – for instance, when she sells her these mechanisms of marginaliza art asa tool capable of transforming nian, Muslim. Selmanalso understands a multipleOther: Woman, Roma, Bos multaneously represents and embodies emancipation and persecution as it si becomes acomplex and tense site of center stage. In Selman erational trauma, andsurvival occupy questions of statelessness, multi-gen- by beingof Roma origin. As aresult, Bosnian War between 1992–1995 and informed by coming of ageduring the Selma Selman’s artisticapproach is

116 ’s practice, body - - - The drawing series SuperpositionalIn ships for at-risk Roma children. art and belongings to setup scholar cial categorizations suchasrace, class, tive of the interconnectedness of so therefore proposing agrand narra tionality is transformed into an“ism,” the same time until measured. Intersec the ability to beinmultiplestates at from quantum physics anddescribes tradictions. “Superposition” isborrowed what constitutes opposites andcon- and neutralize preconceived notions of tersectionalism is anattempt to expose - - - - - and gender. Selman, in fact, wants to three or more. legs, andonebody becomes two or breasts have claws,necks grow into are distorted into grotesque grimaces, surreal, dream-like reality where faces nists eludedefinition and a remain in or unnegotiable, the artist’s protago- ideas of the unchangeable,impossible, tions, spaces, and times. Challenging possibilities embeddedinto allrela tures, organizing identities, bodies,andcul- ofself-invented this term. Visuallyre oppose any possible manifestations Selman reveals the fluidity and

117

● - - Intersectionalism, 2019 Superpositional Selma Selman, The economy hasshifted from conquering territories to conquering data and The figures modelled on those whopassedaway have abluish tone to their skin, Courtesy of the artist & Galerie Barbara Weiss, Berlin Heads, 2019 – 2020 Born in1961,lives and works inBerlin. andreas siekmann approaches andcounter strategies. extensively usedfor children’s play. The material isrough andcheap, though the and works inpublicspace criticize and developments andprocesses of gen dresses the implications of economic eral capitalist system that hasincreasingly managed to dominate the entirety collecting data onbehavior is considered the mostimportant source of capital. over, itisa way to situate Vienna in the mapof the genesisof neoliberalism. ownership of publicopinion. The contextualization of these characters in Vien- commodifying behaviors. In other words, itisallabout the manipulationand of life with itsseemingly never-ending push for privatization. school of economic thought originatingin the late-nineteenth andearly-twen- results exclusively from the motivations and actions of individuals. Therefore, relations, often proposing alternative na isa way to reflect back on their roles institutionally and historically. More- while the bustsof those who are stillalive have acolorful flesh,givinga touch of trification and privatization. His draw faces that it shapes are those of the wealthy fathers and mothers of capitalism. tieth century in Vienna andisbasedon the idea that every socialphenomenon wig von Mises , wig vonwho belonged to the Austrian School. The Austrian Schoolisa In his works,In Some of these bustsstar inhisstop-motion animationfilms, which willbemade Siekmann displays forty-seven busts made out of Plasticine, a modelling clay here in Vienna duringSiekmann’s residencyart atstudiodas weisse haus.The histories. Throughportraitsartist traces these the genealogyof the neolib- the historians, and together they mapa transdisciplinary, multidimensionalnet of humor and absurdity to this strange display. They are economists, philosophers, ironically represent dominant power ings, models, videos, exhibition projects, ist chosepersonalities suchasHans Hermann Hoppe,

118 Andreas Siekmannad

- - - Andreas Siekmann, photo: Andreas Heads, 2019, studio shot, Siekmann Friedrich Hayek, or Lud

● - - Technology owners andopinionleaders previously rema- This nature issoincorruptible, the Californians say, that it School* – FriedrichHayek Augustvon The Austrian , for oneself so that they can berecognized. good or bad, whereupon the hummingbirds are to becha example, or LudwigMises, von does not matter who owns it; it takes the place of all blind Andreas Siekmann sed or who will nolonger begiven credit. ssible to make intelligent hummingbirds andsmartrain. social entities. It isagrandiose product that foresees the for the second colonisation of the world inChicago after future, able to recognize and allocate every face, whether California, the market isnow beingconceived further as nature that can bemechanically produced, justasitispo- nian ideology of the high-tech monopolies. ment of neoliberalism. After creating the financialpolitics the 1950s, itscounterpart can now befound in the Califor just as incorruptible as nature, and the state would falsify, Hayek wrote that the market isan information processor, Hans-Hermann Hoppe – was influential for thedevelop- ined only illustriousbusts.Onemustnow measure them indeed damage, this nature through itsintervention. In

119 Joseph Schumpeter, now - - Austrian Schoolis *

(Chicago School). and in the United States Germany (ordoliberalism) neoliberal economy in conceptsofon the the and hadagreat impact early twentiethcentury the late nineteenth and It originated in Vienna in decisions andmotivations. exclusively from individual social phenomenaresult based on the belief that all theory whose concept is a “school” of economic The siekmann for siekmann mirowski excerpts of an interview with philip thought, let’s zero itout so let’s get ridof allhuman (Museo NacionaldeEtnografía yFolklore)in ongoing fourcentral discussions, questionscame of (MuseoNacionalde Art Arte) and the MUSEF world upsidedown. The archive continues to ask were complemented by works ofcontemporary Potosí Project (curated by Alice Creischer, La Paz. Over the course and ofthe its project Berlin (HausderKulturen Welt), 2010,and about humanrightsand hegemony, aboutthe about the continuity ofprimitive accumulation, from Bolivia, artists Argentina, China, and Eu arose duringthe Potosí Project ten years ago. The and inthe present. that both at characterizes the project that time these questions,even after ten years – taking the Alti Plano regioninBolivia. These paintings rope. Itwasshown at Reina SofíaMuseumin rather to questionsand pursuefurther ideasthat Jorge Hinderer Siekmann) was a , and Andreas The function of art to ofart stabilizepower,function and aboutthe subsequently, in 2011, at the National Museum project about colonialproject paintings from Potosí and Sofía), and the House of the Cultures of the World, into account the blind spotsand open debate up which structured the exhibition: questions up whichstructured Madrid (MuseoNacional Centro de Arte Reina PotosíPrinciple Archive triesto archive, or

120 andreas alice& andreas creischer by the potosí the principle archive Max Max - Berlin •December 2017 information. asbackground interview the muchlonger original to include excerptsof that itmight beuseful Therefore, we thought here inthe exhibition. Siekmann, presented to the work ofAndreas connects these topics digital technology that digital technology. Itis character changes through capitalism, especiallyasits in the age ofthe post-crisis a pleato rethinkthat term accumulation chapter, and ofthe primitiverevision Mirowski ofa ispart Philip with The interview Andreas Siekmann: One reasonfor Our first question Ourfirstquestion Alice Creischer: You canseethatinsomebody vision you know, aself-conscious economics. crisis. We thinkthat thischameleon development inneoclassical economic exploitation. you wouldn’tOtherwise centered and hastolabor. dowith But of economics, even beforeeconomics, was the earliest substanceearth notion coming at this as ahistorian ofeconom designed markets – a trend that you economy to the market economy to where valueislimited by commodity wrote aboutinyour lastbook? we was aboutextractivism – where Philip Mirowski: Well, remember I’m theory, and that totally negates the that’s the only way that you can define this kind offixedlaborbecausethen torical development fromaresource the world. Do you see some kind of his tioned – and a isstillfunctioning – as materialist washuman- buteverything mining inSouth America and allover That’s still a substance ofvalue, theory survey how survey the neoliberalism survived shift intowhen itwasstill Marxism, see a continuity from Potosí to open previous version.previous It’s energy that cre in some way. Then we get thisenergy it’s still very important that important there it’s stillvery is like ics, the ideathat valuecame fromthe kind ofprinciple. lead us to how colonialism has func has anextensive whichmight history us to invite you was your attempt to is very clear on this. clearonthis. be ableto.isvery Marx David Ricardo. Then there’s this

121 - - - - “Well, that’s the point!” AS /AC: Right! classical economic theory. There isno can’t be any in neo form of extraction of information. economics. Iknow peoplesay: “Well, except the neoliberals. with This isone inneoclassical economics,or extraction energy sphere wasnegated, Imean becausethere isnoextraction physical grounding for this energy. It’s all in the we can talk about that, but it’s actu what aboutMilton Friedman?” – and oncewhole vision we moved into this PM: I understand that still wantto Marxists ally a red herring. They shift the whole the way they what could reconstruct and the rest of it behind them, that’s all ofthese physical Sothere aspects. ates valueinstead. Energy isprojected the energy and story into the realm oftheir narrativethrust away from the economy was. And then we’re still there’s of exploitation no discussion talk exploitation, and soon,buttheir talk and about extraction, still want to tant and soon…seethat’s the problem. they essentiallynegate orget ridof not really. And ofcourse, you mightsay: realize that they canshifttheir whole reason why so powerful. they’re They middle oftheand 20thcentury ithap not done, now we get throughto the mind, it’swhat we thinkthat’s impor political stance away from neoclassical pens again,and not consciously at first into the mind. What happens is that in the sensethat itcouldn’t besaid, But theymetaphor hadthe cultural - - - - “big ideas”into the“big localcontext, make AS: AS: Waste,

esting that (inaweird way) the ordo- own thinking. These think tanks don’t contextcultural came to absorbtheir what we believe, and Ithinkit’sinter what Imean? That’s how they translate which is complete bullshit compared PM: a better understanding ofhow to orga after the crisis. a coordinating thinktank. They keep to what they do. What they doisreal- the left isn’t. The thinktanksofthe the politicalsituation. This isone rea- to speak aboutthe circumstances of …tion, anastroturfingsection, You see thinking, they wantajournalistsec talking about a spontaneous order the continuation ofneoliberal policies nize that. Ifwe wantto know how the of mediaries ofbigpicture inthe sort role ofthinktanks,they arethe inter son why successful they’re and why just wantmore peoplethinkingaround ideas – it iscentral to thethat history left arenot reallycoordinated. The left it more attractive and maybe alter it, ing throughthe implications oftheir ize an elaborate organization – think haveliberals actually hadsomewhat of liberal thought collectives in enabling Hayek was setting Anthony Fischer 01 has no internal asto story why they up tothe and IEA, then start Atlas, as

t Philip Mir Financial Meltdown (New York: Verso, 2013). In your bookNeverLeta Crisis goto o Waste: How Neoliberalism Survived the Well, Ihave strongopinionsonthe 01 you describethe roleofneo owski, Never Let aSeriousCrisis Go 122 ------AC: AS: AS: venturing outinto ofareas allsorts coordination. one another. Even though they doidol ognize them asallies. Which hasalways oftheone story. smallpart What Nao of South American dictatorships. enforcement ofeconomic transforma was sowonderful, itwasthisupwelling Rise of Disaster Capitalism (2007),Nao PM: PM: an information processor”asthe epis als thinkthey have anexplanation. And and the good reasons forit. They’re tions inthe 1990sfollowed the model the neoliberals have set them up for it. that’s conspiracyorwhatever. theory temic paradigm? not understanding how they recognize fascinated me, this level of epistemic from all.” They can’t believe that they The leftiscaughtinthistrapbecause standing the movement at all,you’re similar kinds ofexplanations they rec should be organizing ideas and actions should beorganizingideasand actions still telling these stories: “Oh Occupy should behaving thiskind offailure, ize the market insome sense,they are when otherin fact, peoplearegiving is akind ofconfidence in how neoliber in a more integrated because structure mi Kleinmissesoutisthat there really mi Kleindescribedquite well how the human lifeneeding justanapplication became popular, butIthinkthat isjust The Shock Doctrine: In her bookTheShockDoctrine: Because they take the “market as No, because then you’re not under Yeah, Iunderstand why that book ------AC: And itcomes fromaneoliberal directly equilibrium, hopefully: throughex choices. That’s how wecome will to economics inthe US.Hehadsomething called ern economics. You mentioned a set of dom number generators which came to do. But they think that they can make of market logicintheir hymn book: example – things like science. get constraints. Are these conditions were pushed outofmarket- participa will getwill usto thisequilibrium. PM: tion and aboutthe impositionofbud- to a certain set of rules. to acertainsetofrules. The market will that experiment was supposed to show. those ofausterity and exclusion? to the outcome. This capturesthe es the same results. So, essentially, what things function betterthings function inthat world of need to know isjustto tradeaccording abouthowrules biddersand offerers market logicby involving – my favorite The market does know more than I show them the way in a sense, and it said that the way neoclassicism works sential anti-humaniststance ofmod periments that peopledon’t need to forthe riseofexperimentalportant people think and do doesn’t matter know anything about. All they will is that people have to make rational know more ofthe background of what ket experiment students and with ran- Dan Godeand Shyam Sunder – a mar he calledthe “Hayek hypothesis.” He background, there’s thisMPSmember You mentioned the experiment by That’s too bigajump. You need to Vernon Smithwho im was very

123 - - - - - your boutique,I’mgoing to make aspe you want. Butwhat itmeans isexactly even allowed to participate? Who gets other thingsitmeans: How arepeople cial boutiquemarket foryou.” Among out that, roughly-speaking, all ittakes of allhumanthought, let’szeroitout, of the market iswhat causesitto come get to equilibrium ornot. They found where the experiment becomes im what neoliberals believe. They believe which organizethe biddingand the of random numbers,andwith letthem I won’t create amarket forthe stuff at I thinkthat there’s no generic market But itdidn’t stop there, and that’s and then we’ll figureoutwhether we are you worried about? Noise just helps. as longyou letusdesignthese mar to becreated, thisishow and infact, to define what the commodity isand these guys selltheir stuff. They say, “No, this iswhy they don’t careaboutfake that people are really lousy cognizers. think anymore, economists say that this iswhere market designcomes to equilibrium by itself. So let’s get rid to the newer bookwhere Iarguethat news either, becausepeople can’t rea- from. Itdoesn’t matter what people fering. Notice – not organize the people, This ishow they recognize eachother, son their way out of abox, and sowhat selling happen. And thisIthinkleads portant. portant. They saidthat the structure just organizehow and the buying just spitout bids and offersrandomly, kets we canproduce any outcome that is that there besome ofthese rules let’s justhave itallbecome algorithms - - - - “the consumer isking.” This wasthe AC: change would bethanthe leftdoes. ception ofwhat apoliticsofclimate example, becausesuchthinktankor classical view. Inthe lastchapter of of the market isorthogonal to the neo example, climate change. classical neoliberal understanding of of the earliest examples of this was ganizations have amuch broader con- work as asolutionforallproblems – for what the patron wants. And when that would get onthe internet, how to sell Never LetaSerious Crisis goto Waste, I PM: But even the “market asinformation areas ofopposition, butalsoto work a setofat leastthreepolicies,probably talked about the climate as a perfect the market asacondition ofdemocracy. the market satisfyingthe needs ofcon and then changethe the spectrum, about the phones, isit? It’saboutsell- the market forphones. It’snot really definingthethey’re commodities. One the formsthat- ittakes inthisparticu more, whichareto attack different materialist? Idon’t seeaproblemhere. to buildamarketrules according to They don’t have one policythey have sumers. Ithadapopularcatchphrase processor” wassomehow claimingto jectives areforgotten. See,isthat anti- joker – I’ve always thought – for the lar process? So in defining the market liberal. The standard neoliberal vision ofstuffthating peopleallsorts they happens, allthose originalpolitical ob There was the Fordist fairytale of of There wasthe Fordistfairytale No, seethat’s neoclassical not neo

124 - - - - - AS: AS: denial unit,acarbontradingand engineering.” Many ofthese think obvious one – denial. Butdoyou think climate change unitswithin American crete by looking at the foundation of ogy remainsthe solution? why they like it,it’snot that they be PM: Permit tradinghasfailed,there’s ahuge a geoengineering one. That’s the whole amount ofliterature onthis,basically tanks have separate a ofunits; sorts their solution? It is a bright shining that itdoesn’t reduce any carbon emis that creates time to produce policies term politicalsolution – to create afog that? Iwould say no, they don’t, they think tanks. The firstelement isthe they arenot technological determin- neering? It’sbecauseit’saprivatized future ofscience called fiction “geo sions at all.Ithinkthey doknow that space ofpossibility. Let’smake thiscon sense, they pre-emptively occupy the so gung-ho aboutgeoengineering is solution to aproblemthat wassetup space, and the leftgets suckered in. point – it’s that they occupy the entire people inthinktanksreallybelieve lieve itisinevitable. What makes them ists at all,why dothey wantgeoengi- it’s not their solution. Now what is like carbontradingand permittrading. in differenttime-frames, sothat,a in holding pattern inthe medium term, understand that itisjustthe short- by capitalisminthe firstplace. That’s because even carbontradingisjusta So inalloftheir scenarios, technol - Well, let’s be careful about that, if - - - - Andreas Siekmann,Heads, 2019, studioshot, photo:Siekmann Andreas velopment. This takes time. own the means to alter the climate why you have to accept the denialism a certainscience – which at presentis and that, intheir view, isthe realsolu- then come to seethisasapositive de the universities, to bringupamore these entrepreneurs – which includes they won’t doitrightaway, and that’s providesolutions, but trepreneurs will marketstion. Intheir vision, and en that private companies infact will neoliberalism which ispolitically neoliberal typeofscientistwho will for now. You’ve got to create space for Think aboutit this way, there’s fast So for that what you need is to change being resisted by allkinds ofscientists.

125 - - AC: collectives … engineering. controversies inmodern lifeand you’ll PM: away. You could take any numberof ally believe, butcan’t happenright the world … they make this stuffbecome in actual to neoliberal medicine, and genome mighty scenario forthe new thought neoliberalism whichiswhat they re mid-range stuff,and then there’s slow see that they operate inthe same way in allofthem; frompharmaceuticals, useful inthe moment, then there’s What you aredescribingisanal Well it’sapoliticalpattern ofhow - - AC: AS: Amazon or Google is not a bad thing at edented historical break. Throughout of peopletakingrisks,entrepreneurs of the Silicon Valley dudeslove this example – the monopoly onseeds erals thought, “well,classicalliberals where they decide that monopoly is no where Bayer takes over Monsanto. way itis.Maybe one hit ofthem will at the ofrun monopoly. sort who will PM: and entrepreneurial cannibalism,for age isexaggerated – refers to anunprec and that’s good too. all, whichisone ofthe reasonswhy all that’s to pertinent very this, it’s by a paper in the MontPèlerin volume the jackpot,and destroy the monopoly, thousands ofentrepreneurs that, like timethe in exact Chicago scene monopoly, and maybe one ofthem will stuff. Butthere should justbeallkinds sink it.So,having ahuge monopoly like should betoo.” Van Hornidentifies seem to beagainstmonopoly, sowe problem at all. That there should justbe lemmings, throw themselves at the in it, the tendency to monopolization Rob VanHorn. history, the economy needed a social ob Van Horn, “Reinventing Monopoly 02 Most of them will die,andMost ofthemthat’s will the

The Road from Mont Pèlerin, edited by R and the Role of Corporations: The Roots of Chicago Law andEconomics.” In University Press, 2009. Mirowski Philip&Plehwe Dieter, Harvard But I think there are contradictions But this vision – no matterBut thisvision – no ifthe im Okay, Ihear you, onthis,there’s

126 02 Earlyon,the neolib - - - version, the masters infact, hadthe categories sothat your name doesn’t byearth having to define the commod described this contradiction well, very contract between slaves and masters, door to bidoroffer. Itsneaks back in gy – in the hand ofthe masters – the we don’t careaboutyou. You canbeto which doesn’t need the slaves anymore. PM: to think that there’s astronganti-hu- think that’s anaccident. I’minclined aporia of being superfluous, because relation.as adialectic Inthe Hegelian and the ones who depend onit.Hegel they can make sense of their lives. They tility isaimed at peoplethinkingthat tally dispersed into ahundred thousand trading thanany other that’s story ever to control. But thisway ofthinkingis through allthese thingsthat they want that. It’snot all the way there in the this market designstuff gets close to they didn’t realize themselves through need itanymore, and Ithinkit’santi- matter anymore. Well they justdon’t maybe it’sjustgetting ridofthe person manist bentto modern economics. But much more amenable to automatic sense that they arebroughtbackto people’s epistemic capacities. This hos in way. a perverse You are just the data, ity, define who even gets through the idea isthat there could beaneconomy labor. Butnow – through technolo humanist too, initsattitude towards honestly don’t believe inthat. been told aboutthe economy, Idon’t between the ones who dothe work, Well, Ihear you, becauseIthink

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                                                   Andreas Siekmann,Portraits of Heads, 2019 127 von Daniel Spoerri, Vienna Courtesy of the artist & Verein zurFörderung des Werkes 3 works from the seriesIlBistro diSanta Marta, 2014 15 works from the seriesFadenscheinige Orakel, 2014 Born in1930, lives and works in Vienna. spoerri daniel actions – usuallyrelated to temporary character of art, Daniel Spoerri began cerned with objectsand the processual started his famous life-long series Tab regularly engagedinhappeningsand poet. Throughout hislifetime, Spoerri restaurants – as well asin teaching ac the manifesto of the “Nouveaux Réal- tivities ata variety of fineartschools. It was in1960 that Spoerrico-signed Mostly known asa visual artistcon his career asdancer, filmmaker, and isme” inParis. That same year healso Marta, 2014,Photo: Tableaux pièges Il Bistro diSanta fromseries the Daniel Spoerri, Rita Newman

128 - - - are death,decomposition, andrebirth. are partof the life cycle for Spoerri,as at times a tablecloth, as well ascutlery, a communal mealsituationappear composition turnedtableaux. As the china, decoration, leftovers, andother fixed in timeandspace: a table top, moment into a work of art. Scenes from this way forever frozen into asculptural traces left by the participants are in tures”– aformat which traps areal life leaux piège, the so-called “Snare Pic founder of Eat Art, cooking and eating - Daniel Spoerri,Fadenscheinige Orakel, 2014,Photo: Rita Newman ofby works thetitle Amused by naïve beliefs, uncritical Alienating foodstuffs, heexplores the Closely related is another recent group populartextile covers, wall words that helater reassembled ina tion of these into alarge but somewhat traditional eating habits. limited andrepetitive stock of stitched hope, andclumsy rhymes displayed on human sense of taste and questions inspired to cut up his personal collec

129 Threadbare Oracles. Spoerri was was -

astrological piece of advice rather appropriation. and bleak,Spoerrigenerously leaves always rendering them more honest erbs. At times subverting, occasionally composed new sayingsor faux prov space for personal interpretation or political – matters. personal – and therefore always also playfully mocking,butultimately puzzle-like manner into meticulously than an airtight commentary on is perhapscloser to anenigmatic Threadbare Oracles

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Courtesy of Branka Stipančić, Zagreb For Marie Antoinette ’68, 2008 Potatoes, Potatoes, 2001 Poor People Law, 1993 Money Environment, 1980 Born 1947, died2016,lived and worked inZagreb. mladen stilinović Eindhoven, 2008,Photo: Boris Cvjetanović (1980),installationview, Van Abbemuseum, Mladen Stilinović, Money Environment adverts – would reveal power relations as a“sign-maker” engagedina“messy” als, authoritiesingeneral, and what day life on streets andmarkets or by of language, which – inspired by every only seemingly atodds with hislife- socialism. same time unimpressed by intellectu- minimalism andhumorous application Mladen Stilinovi laziness. He was critical of, butat the long affirmation of theimportance of he thought was adishonest form of Stilinovi 130 ć ć ’s prolific œuvre is understood himself

- These plates, painted like piecharts, Antoinette ’68 isasculptural transla eat cake:” Stilinovi are mounted onto a wall together with alluding to anexistence that iscon gling banknotes and dispersed coins, a neatly arranged installation of dan- as anecessary meansinorder to be and socialist systems alike, but also also art.Laziness in this sense was used as the subject of politics, ideology, but deception anddishonesty inaruth a snowy forest, playingastrangely cobblestones on top of cheap loaves of confrontsthe viewer aphorisms with stantly suspended in a web of some solitary market crier praising “pota productive. not only as a subversion of capitalist relating to justice written onto plates. ness. The installation ness. The monetary relations. In the film Potatoes Money Environment lures visitors into tion of the infamous phrase “Let them times more, sometimes less tangible toes,” butdisplayingcake. He there little trays holding real cakes. For Marie less economy andadvertising busi by addresses practices of shameless , we see , we Stilinovi ć placed cakes and Poor People Law ć kneeling in kneelingin Potatoes, ------

delicate mechanismsof everyday life. same time, at the colossally outof touch with reality that on power relations found in the most Antoinette represents arulingclassso Straightforward, sharp, and tragicomic humor asa vehicle for sheddinglight balanced interplay of seriousnessand bread. This phrase attributed to Marie it by nomeans seemsfit to govern.

131 Stilinovi ć

uses afinely

● Cvjetanović Operation City, ZagrebPhoto: 2008, Boris Mladen Stilinović, For Marie Antoinette ’68 , later madeanamefor herself writing and theaterplays, Initially successful as the author of radio Bildgirl. Collagen.,2008 Born inBaden,lives and works in Vienna andNew York. marlene streeruwitz against the actual work of collaging, Bild fully experience the impactof reading outlets during that period,inorder to looking atany other news or media the upcoming task by abstaining from in the morning. Sheprepared herself for were often soldoutalready quite early having to hunt down acopy as they of the month of May in2008,sometimes tabloid Streeruwitz purchased the German orderIn create to the standpoint. relations from adecidedly feminist of patriarchal and capitalist power serving and analyzing entanglements to perform social critique,sharply ob- fascist tendencies, she uses language a keen awareness for sexist, racist and and societal issues.Having developed lar critical writing oncurrent political Streeruwitz or a video talk show played on YouTube. rialized novel launchedonher website, her writing, suchas,for instance, ase- formats and platforms for publishing lishing, Besides more common forms of pub- receiving several awards for her work. novels, prose, andstories, subsequently only. After a strong inner resistance Streeruwitz explores different Bild every day for the duration

132 is also known for her regu Marlene Streeruwitz Bildgirl. Collagen. -

stylized asaconsequence of the free - sentation of naked women hadbeen German, heterosexual, racist man. ing andsoothing the self-image of the tory material, time andagainconfirm the willing “BILD-Girl” left asmasturba choices. If allelsefails there isalways with healthissues,or tricky shopping to helpone’s predicament outof debt, cialists abound. These experts propose sex. At the same time, advice by spe- family, love, food, vacation, beer, and constitutes ahappy life: money, gas, ened with the lossof everything that ing and taking. The reader is threat a finely tunedback and forth of giv composed of editorial lines,revealing the “BILD-Girl” atall;instead, they are men. ButBildgirl.Collagen.donot show the publicsexual gaze, yet exclusively to dom of the press, which in turn granted Bild. nently featured on the front page of an erotic imageof women that promi the “BILD-Girl.” The “BILD-Girl” refers to Streeruwitz found adeparture point in Streeruwitz 19. Mai 2008,from the series arguespre thatthe - Bildgirl. Collagen.,2008 Marlene Streeruwitz,

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133 Tomi Tomi chine-Gun Fire Will Flash, If Light Cannot On LoveOn Afterwards, 2020 Born in1960, lives inGraz andBelgrade, works internationally. tomić milica an oddly large fragment of aphoto of and replaced the Kalashnikov rifle by questioning the elusive linebetween grade. By doingso, Tomi after afragment of apoemby Yugo- of erasing certain narratives, thereby of discontinuity by usingmethods of summit inBelgrade in1961.NAM was such aperformance –even with afake security constraints, the permission for sites where anti-Fascist armedactions slav partisanand writer Oskar Davičo. Come Otherwise (2009), which isnamed montage to juxtapose different his Day, Instead of OneNight, aBurst of Ma the first trans-national confederation the first Non-Aligned Movement (NAM) twenty-five state leaders, taken during the city. weapon –could not begranted by the terroristand theterrorized. were set inmotion during WWII inBel- tories of resistance. This body of work While carrying aKalashnikov rifleinone In herIn work historical apparatuses and their way hand andaplasticsupermarket bag in the other,in the in Vienna, yet due to growing legaland is related to the actionandfilmOne ć ć was invited to revisit this action draws on history as a process Tomi On LoveOn Afterwards,

134 ć Tomi then shifted actions then the ć visited forgotten visited ć addressed Milica - - a war for peace. Their nationshave as opposingpowers that hadput the determination against colonialism and and audiomaterial previously taken and juxtaposed photographic, video emancipation from hegemonicpowers. a moment of historical dissidence and of the Non-Aligned Movement fought of itsmember nations.It declared their of nationsbasedon the right of self- of relations between images,geogra- sion in which, accompanied by several first actioninBelgrade, theleaders On February 2, 2020 in permanent war. Just like the partisans non-alignment from binary world poli non-interference in the internal affairs neo-colonialism, and the demand for phies, and temporalitiesphies, influence that through armed struggles. This photo that tics after 1945, exemplified by the Cold world into anongoingsituationof a tage,” anunconventional paneldiscus the process of political subjectivation. tage method: creating different types freedfrom themselvescolonizers the War, with the U.S. and Soviet Union During the walk,During Kasino, in various public spaces. interlocutors onstage, sheassembled is ideologically charged andpoints to Tomi Tomi ć paidanhomage to in her ć staged a “public mon Tomi ć Burgtheater at used the mon- - - - The refusal of the city to allow the re- disruptive force which unravels and administrative tools. enactment of the first performance omnipresent repression of the state social disobedience can functionasa portrayssystematic violence. points at the invisible, systematic, and whose control isoften applied through

135 Tomi ć asserts that asserts that

● a Burst of Machine-Gun Fire Will Flash,If Light Cannot ComeOtherwise,2009, action, Belgrade, Photo:Srđan Veljović Milica Tomić, One Day, Instead of OneNight, Tomić, E Love Afterwards,written forOn From: THERE A SHOT CLASHES WITH ANOTHER SHOT. ANOTHER WITH CLASHES A SHOT GROUND OF AN EDITING OPERATION THAT IS ABOUT TO UNFOLD. WHATEVER MONTAGE METHOD IT DEVELOPS, WE ARE IN-BETWEEN THESE IMAGES, SO TO SPEAK. TO SPEAK. SO IMAGES, THESE IN-BETWEEN ARE WE MONTAGE” SESSION – WE CAN IMAGINE OURSELVES OCCUPYING THE ZERO “PUBLIC THIS OF BEGINNING AT NOW, VERY AND THE NUNC – HERE ET HIC NOT 1+=2 NOT LET US POSIT AS THIS SESSION’S POINT OF DEPARTURE THAT POTENT THAT POTENT DEPARTURE OF POINT SESSION’S THIS AS POSIT US LET Pavle (Remarks excerptfrom “Trigger Levi, About Montage As Method)”

urope ARE BENJAMINIAN STATE OF “DIALECTIC AT ASTANDSTILL.” STATE “DIALECTIC OF BENJAMINIAN 136 BEYOND, ULTIMATELY TO, BUT RELATED RESIDES IS IT

MGS IMAGES – HERE, IMAGES. M achine FROM THIS JUXTAPOSITION, A NEW MEANING EMERGES. WHATEVER DIRECTION IT TAKES, , Burg performance informofa “public montage” by Milica WHAT ABOUT US? theater in cooperation Kunsthalle with Wien, 2020 BUT 1 × 1=3 ! BUT WHATEVER ORIENTATION IT ASSUMES, EITHER OF THE TWO INITIAL IMAGES. INITIAL TWO THE OF EITHER WE OCCUPY THEIR “INTERSTICES.” AND THE PROCESS CONTINUES …

THERE,

AND Veljović Vienna, Photo: Srđan January 2020, Afterwards, action, Milica Tomić, OnLove

ELSEWHERE.

Radovan Zogović

ON LOVE, AFTERWARDS 137 Have we really loved, we who have spoken about love so sparsely, who have not taken love for a blinding drunken whirlpool preventing you to see and scream: against whom is this cavalry going, against whom this gallop; what are those nails and pliers, those shinbones and that drill?

Have we really loved, we for whom a priority has always been a priority; when more important, more important than poems and tales, proclamations and leaflets are; we, busy by night, marching, and by day sleepy with a poem which burns and sinks deep into the sleep and flesh – like a bullet, unbreakable?

Was it then when you, in front of the exit, turned towards a button-hole and remained there, feeling another blood, possible to be sensed, but which does not pulsate; was it then when, all by yourself, you were so eloquent and convincing, but when meeting someone and saying farewell – irreparably dry and stuttering;

Is that it – when all your nerves, all your ideas are tied into a pulsing knot – so that you don’t forget – neither awake, nor asleep, nor sincere, nor affected; is it then – when within yourself, the sunrise is transformed into something else and you, can’t help it, but rush on foot from Peć to Gusinje; …

1943 defined their struggle as “war againstwar, as defined awarforpeace”. their struggle can we today even think of a politics of universalism, when globalization that alsopromotes anew formofunifying Is there acontinuity inthisunderstanding ofthe relation- (PLS)in Liberation Struggle Yugoslavia duringthe WWII, talk aboutpeace today, when the concept ofpeace hasbeen the dominantpolicyisthat ofexclusion,dictated by the MILICA TOMIĆ: MILICA TOMIĆ: MILICA ship between warand peace between the PLSand the NAM? irreversibly transformed? legitimized by the state ofpermanent war? Can we even Movement (NAM)wasto include and organizethe excluded,

138

Par If th Warring areleftinasituation parties ofmutual monitoring, tisans, the participants ofthetisans, thePeople’s participants Josip Broz Tito situation. saw Josip one particular inthe politics end ofwarorwasapoliticalcondition forwar. War hadan ers would remove the through threat ofworld destruction established by the Non-Aligned. Putsimply, the great pow- toosophical thinking of the pastforty fifty years. Even less without politics,thewithout category ofpeace islost. was the moment ofestablishingpeace. Today, inanepoch where didthe peace disappear?’s classicaldefi- Clausewitz what peace nucleardisarmament meant: asthe requirement BRANIMIR STOJANOVIĆ: BRANIMIR STOJANOVIĆ: any longer, becausepeace, inthe classical sense,meant the and aremonitored by anadministration establishingthe aboutnot usingnuclearweapons.a pact Today, however, at the time ofpermanent war, asyou said,the openquestionis: as acategory. At the peakofthe Cold War inthe fifties and thematized hasbeenthe topic ofpeace;itno longer exists nition ofwarasacontinuation ofpoliticsby other means sixties, when clear itthreatened itwasvery destruction, politics ofpeace, butoffreezingconflicts at alevel. certain internal structure and agoal:internal the realization structure ofpoliticalaims ideology ofreconciliation. The world doesnot know peace in the name ofthe policyofreconciliation, whichisnot a is nowaged longerforpermanent waris,infact, current, has beenrather absentfromdominanttheoretical and phil- e basicconcept ofthe Non-Aligned

T Int he case of Yugoslavia represents erestingly, the theme ofwar Subsequently onthe Non-AlignedMovement, 2013 byExcerpt fromavideo Milica Tomić, “White Screen,BlackLetters and the Sound” Skrigin 1943, Photo: Žorž and Herzegovina, Zelengora, Bosnia Enemy Offensive, Fifth During the

139 versalism by those who areexpelledfrom“history.” Peoples’ al-Socialism) waste,” as “historical to become apolitical to thisis the people’srevolution movement – of apartisan moment ofthe crisisofcolonialism itself. The onlyanswer from the “worldhistory,” fromthe dominantideologiesof formation. However, thisformation on doesnot struggle subject ofuniversalismsubject beyond the existingdominant po litical and ideologicalconcepts. liberation struggles foundliberation away struggles to allow those excluded lonial history, now expanding onto Europeansoil.Itisa universalism at the time (EuropeanModernism – Nation behalf of the state, it is at war for a certain politics of uni- “racial war” reachinganew dimension, “racial war” Yugoslavia activelysupported,through WWII Yugoslav Movement, Partisan on European soil. It means, in acertain of Europe.Michel Foucaultconsiders warinresponseto anim olutionary dimension. This new politicsformed ananti-colonial with other struggles eration against fascism was Struggle of the Non-Aligned Movement apossi geria and Palestine, aswell asmany when a“race” colonizes another “race” as anattempt to “colonize” the soil an anti-imperialand anti-colonial war. this to be the European thousand-year alone.tory The Yugoslav People’s Lib though, no longer on Yugoslav terri recognized as an expression of support recognized asanexpressionofsupport for the wider anti-colonialfor the wider movement. sense, the retreat oftheco century something that could beseenasarev- state in mechanisms, the struggles Al- perial war, orwhat could beseenas National-Socialism could beregarded, in one ofitsfundamental principles, bility for renewing thebility forrenewing politicsofthe

● ------—đilas opensgates of asia Yugoslavia’s interest inthe non-aligned world canbetraced 1948, when the Soviet dictator threw Tito and his colleagues countries inRangoon, RamManohar Lohia,one ofthe ence after World War II,i.e.,after 1948(whichmeans in colonies in Asia and Africa hadreceived their independ out ofthe Cominform. Since most ofthe former Western On the occasion ofthe firstSocialist Conference of Asian Chinese-style communism. Conference of Asian countries inRangoon, Burma. whom the Yugoslav Communists had had to fight after June Politburo Secretariat, and Party attended the firstSocialist the periodofTito’s fiercest againstthe defensive struggle time stillone ofthe most powerful members of Yugoslav the following: the following: 6,1953)inwhichhe said the BelgradedailyBorba(January This happened two months before the death of Stalin seek and find alliesamong the newly liberated countries? sunrise Soviet Union)what wasmore natural for Yugoslavia butto leaders ofthe Indian SocialistParty, gave to aninterview degrees, whileshowing oppositionto Sovietor in varying Most of these countries demonstrated socialisttendencies back as 1953. In January ofthat year,back as1953.InJanuary Milovan Đilas,at that “All Asian socialistsfeel muchcloserto the Yugoslav ence alsothe representatives ofthose Communists Communists, linkedthem by with emotional but who have impressed the world, but above all who ment in the world. We to wish see at our first confer firm ties, firmer than with firm ties,firmer than any other socialist move

140 01 , with , with 02 - - - 1962. 1960; Algeria Ghana 1950; Egypt 1952; Indonesia 1949; India Burma 1947; close alliances: Yugoslavia entered with which Afro-Asian countries the mostimportant independence of areofthe years The following 02 1953. 7,Borba, January Daily newspaper 01

Veljović Vienna, Photo: Srđan January 2020, Afterwards, action, Milica Tomić, OnLove

141 After chiefly aimed at bolstering Yugoslavia’s position in Europe. and India, made the efforts by Yugoslav Communists to sup tral countries in Asia and as a sup Africa was both important The conflict with StalinhadcompelledThe conflictTito to take many port for the struggle against“Western forthe struggle port imperialism” aswell pro-Western attitudes in foreign policy and to adopt a more the newlyport liberated countries of Asia and Africa were liberal coursethe country. within An alliance the neu with Milovan returned Đilas,formerfromBurma partisan, against the imperialistappetites ofRussia.” resisting and holding outto the lastinthe struggle impressed the Asian socialistsby their courage in - - - 1967, Belgrade (January 21,1953)inwhichhe said: to Borba(January an interview to showas serving oppositionto Russianhegemony. While gave in Burma,afterto hisvisit Rangoon, Milovan Đilasgave Slobodan Stanković, and excerptfromresearchpaper“Tito Non-Alignment,” “The [first AsianSocialist]“The Conference hasrevealed cialist soulofthe SovietUnionand itssatellites.” ony nations] ...[These have unmasked the anti-So Cominformism and the Sovietand Chinese hegem- there significant arevery combat forces, able to fight that in Asia, especiallyinIndia, Burma,and Indonesia, not onlyagainstthe oldcolonialism butalsoagainst

142 Radio Free Europe Research, December 6,

● - 1961_179_97): chefs d’etat oude gouverment DES Yugoslav History, All the Heads of of the Museumof CONFERENCE de first Conference of PAYS NON-ALIGNES, LA the booklet LA the Non-Aligned Delegations at the Delegations Belgrade, 1–6 Published in Belgrade (MYH Photo Collection Movement, Belgrade, September 1961. September 5,1961. Inner City senttheir officialstatement regardingthisapplication. a fake weapon. The State Police Directorate Vienna and City Police Command mance inpublicspace, inwhichshe would walkthroughthe streets carrying In collaboration with Charim Gallery, Vienna, Milica Tomić applied for a perfor Act. As theevent authority, MA36isnotresponsible. According to Magistrate Department 36, carrying a“Kalash- 36,carrying According toMagistrateDepartment (it should be mentioned here that it does not matter whether (it shouldbementionedherethatitdoesnotmatterwhether With kindregards could lead to uncontrollable reactions on the part of passersby ofpassersby could leadtouncontrollablereactionsonthepart sensitivedents, thepopulacehasbecomevery inthisregard. and theCityPolice CommandInnerCitytakes thefollowing po- and limbs of the artist. and limbsoftheartist. sition: Dear MrKladler Due tovariousrecent ofsuchParts weapons themselves fall undertheWar Material for of No theplannedundertaking willbegranted permission restswiththeState PoliceResponsibility DirectorateVienna, City Police CommandInnerCityVienna Re: PlannedPerformance withWeaponRe: Head of Traffic Division Head ofTraffic not constituteanelementofapublicevent, which iswhy this nikov” inpublicspace,packaged performance,” asan“art does Univ.-Prof. MilicaTomic! The planned art performance isincompatible performance The plannedart withAustrian law. This situationcouldultimately alsoresultindanger tothelife The appearanceofapersoninpublicspacewithKalashnikov ting an application to do so is thus not necessary orpossible. ting anapplicationtodosoisthusnotnecessary the performer is carrying arealorfake weapon iscarrying the performer intervention doesnotfall undertheViennaEvent Act. Submit- is IMPOSSIBLE fromadistance). 143 !

–

national asw ell asinternational

–

differentiation

–

inci -

- because ofthe mutual fear the slogans–not written the banners –missing and what a pity you couldn’t see the glaring sun and shivering leaves inthisairand in and cool air and fullofpeoplenow and emptyoftenants out that echoed throughthe streetssold playing vestments ofbeats playing these drums and what apityyou couldn’t listen scouts to ticklethe palate ofthe realestate pictures greedy forvital nor to the journalists allthe time roofs their spiesonthe private property their pistolswith inthe holster and officers nor to talkto the communication tonot willing make callsanymore tonot willing announce tonot willing get permission 20,000 peoplehadawalk odd what seemed to beoutand over and First ofMay inBerlin Look look alice creischer first of may

144 always what could beabeginning united in the joy to hate this eviction the holsters ofthe executersof the purchasers, the soldoutrooftops, the palates of united in the joy to hate – for shiningreptiles catwalk passing the police rows like a the spikewith ofthe fingernails – how you Iwish were here – passing the glossycarpaints passing the façadesofglass shoulder to shoulder walking, dancing then there arethe feetonthe asphalt nowbut there arethe drums into judgement eachother’s sight ofthe enemy and screwed all that years having lost all that years critique under the constantly presenteyes of to doideologicalmistakes to bewrong

● Alles fürAlles Alle!, 2019 Marina Naprushkina,

145 The exhibition at kunsth Tue 21/4 2020•6 pm Thu 12/3& Tue 24/3 2020•6 pm public & educational programs of experienceshapes the and that thought With All tours are free with admission ticket! exhibition, raising andanswering questions gram. Theyframework will talkabout the at (inter)activation such as: What dreams of the “good life” do wards? which isalsoasketch of their future pro us through the show anddiscuss the con guided tours curators tours Space of Questions Sun 8/32020•7:30 – 9 pm Sun 8/32020•4 – 5&6 – 7 pm Every Thursday free admissionfrom 5 – 9 pm the artisticpositions create and point to text and background of their first exhibition, What, How &for Whom / DreamTravelBook is free of charge! free thursdaynight! workshop for kids& adults kunsth kunsth

WHW alle wien karlsplatz alle wien museumsquartier. 146 , inB/H/S alle wien karlsplatz will lead WHW will , inEnglish - - -

The guided tour will be translated in Aus The curatorial assistants Aziza Harmel and • contacting: [email protected] . With With With With explorations of the exhibition. available for individualquestionsand joint guided tours interpreted insignlanguageby dressed with our arteducators. exhibition anddiscuss your thoughts about language interpreter language 2020 art conversationsart Sat 4/4 2020• Sat 2/52020• Sun 15/3,22/3,29/3, 5/4, 12/4, 19/4, 26/4, 3/5 Sun 22/03• Every Sunday at3 pm the concept of the exhibition and will be trian signlanguage. You can book further the artworks and the broader themes ad sunday tour insignlanguage sunday tours Desires, Dreams andDemands Laura Amann will give you an insight into Simku – guided tours inGerman

Michaela Schmidlechner&Michael

• Laura Amann Aziza Harmel Wolfgang Brunner&Eva Böhm, Wolfgang Brunner 3 pm 3 pm 4 pm 4 pm you can discover the •

Carola Fuchs sign sign - - Thu 26/32020•6:30 pm Thu 23/4 2020• Thu 16/4 2020•6:30 pm of of collection and contemporary art works on With With With A seriesof tours in which experts, amateurs, Of Bread &Stones Of Sovereignty &Change Of Desires &Dreams display at kunsth questions of social participation and is part and interesting people are invited to present es were already thinking about questions of direction of Oliver Frlji Meeting Point: Meeting Meeting Point: Meeting Foyer Point: Meeting shop whether andhow oldmasters andmistress views on the themes ofon thethemes exhibition.views the The On this evening, participants of the work Old masters meet contemporary art:on Sat 25/4 2020•5 pm their personal view of the exhibition. the distributionof goodsandopportunities. the basisof selected works from the KHM Wolfgang Brunner Wolfgang Brunner Wolfgang Brunner School of Contradiction critically examines My View with Schoolof Contradiction my view... kunsth kunsthistorisches museum wien × EUROPE MACHINE. The project under the

Daniel Uchtmann & Daniel Uchtmann & Andreas Zimmerman& School of Contradictionshare will their alle wien Foyer KHM 147 Foyer KHM 6:30 pm alle wien, you will find out KHM ć , Sre

ć ko Horvat, and

- -

“Academy goes to school”collaboration with ... because “good humor”alsoplays anim Thu 9/4 2020• Thu 30/4 2020•7 pm The exhibition will beaccompanied by ase- alldates:workshops and creation of alarge piece of textile. Together of humor and the goodlife assuch. of the exhibition –about their understanding wien andBurgtheaterstudio. Anna Manzano isacooperation between Further information on artist workshop with Hana Miletić with five women from the Associationfor workshops with www.kunsthallewien.at free admissionallday long! We alsoinvite [email protected] you inaspecialPCCC* tour throughexhi the der standard day artists workshopsartists you to joinafree guided tour at2 pm. ries of workshops conceived and conducted portant role inreflecting on the ”good life,” Sat 18/4 2020 Sat 18/4 2020• With Felt Workshop Denice BourbonandJosef Jöchl Hana Mileti Marina Naprushkina. Burgtheater, lic workshops with by artists. Among others, there will bepub- kickdown” theycontext will talk– within the bition. Following their motto “punch up, don’t My View with PCCC* Der Standard under your arm, you’ll get ć invites you to participate in the Brunnenpassage, 6 – 8 pm 4 – 6 pm Melanie Ebenhoch,andan Hana Mileti or or

ć kunstH , children’s will guide alle alle - - The workshop isfree of charge and takes cultural practices. It isanopportunity to experience how collective feelings can be Further information and registration: will guide you throughwill of thetechnique wet [email protected] formed through collaborative practices. Be felting, adomestic handicraft. By experi place atkunsth menting with the felt material, Mileti In cooperationIn with tactile artwork. thinking, you will co-create a surprising and tween stories and technique, feeling and the Integration of Women ( Frauenintegration, her collaborators want to revalue gendered integration, M-Museum, Leuven, 2019, photo: Robin Zenner Hana Miletić &Globe Aroma, Felt Workshop, 148 Amerlinghaus. alle wien . museumsquartier Vereinigung für Frauen Amerlinghaus Vereinigung für

), ), Mileti ć

and and ć - - -

contributes to the exhibition, she will discuss dren andfamily program. Location: artist workshop with Melanie Ebenhoch Victoria Lomasko isstill working on the monumental wall painting with which she she monumentalpainting withwhich wall Sat 4/4 & Tue 7/4 – Thu 9/4 2020• Even before the opening,and thus while For children aged 6andover – more detailed Hegelgasse 14,1010 Vienna Wed 26/22020 • I am the lastSoviet artist DreamHotelGarden withWish Wednesday with… Victoria Lomasko information can befound below in the chil- her engagedartisticpractice of drawing. In talk 2018,

studio das weisse haus, 7 pm 11 am – 1 pm

… why portrait bustsmadeof plasticine? An- Thu 19/3 2020• of of conscious attempt to develop anartistic vi- coexistence, anddata colonizing capitalism, of A Pirate Care Syllabus: Public Activation Day with ..., amonthly seriesin which studio das ect andanetwork of activists,scholars and exploitation throughdisplayof the idea the dismantling of solidarity-basedmodelsof en scenarios. The talk ispartof Wednesday Andreas Siekmann isArtist in Residence 2020 dreas Siekmann will discusshisresearch on Andreas Siekmann,Heads sual language that addresses damage and with whose thought models seem to even imbue with weisse haus presents its international guests. financial economy, ecological destruction, activation Victoria Lomasko isArtist in Residence 2020 Sea-Watchand Womenon Waves practitioners who stand against the crimi- political linesof conflict into symbol-lad providers,rather of than the victims. Sat 28/32020• In light of adisastrous mixture of unleashed Fri 27/3 – Sun 5/4 2020 Fri 3/4 2020• the “brains” and think tanks of neoliberalism, Pirate Care isa transnational research proj its critique.Siekmann her large-format murals sheintertwines the Pirate Care: Research Residency Pirate Care: Syllabus Launch & Talk with talk studio das weisse hausincooperation studio das weisse hausincooperation kunsth kunsth alle wien. alle wien. 10 am 7 pm 149 5 pm – 6 pm

will also talk about the also talkabout the will

( 2019 – 2020 ) - - This conversationexploreThis will the way very Thu 23/4 2020• • Curated by Contributors: criminalization of migration, strugglesfor care infrastructure. A core strategy of their on Waves) extraction, andchemical injectioninto the an actof resistance againstlandgrabbing, and guests and expand or simply “misgrow”? The ques digital piracy andother urgent practices of about andfrom the practices of Pirate Care. activating the syllabus by learning together and local activistcontributors. On two dates dency Facilitators: small organisms perform andcan provoke soil. What if seedsrefuse to grow or overgrow, safety andanti-racist organizing, environ studio das weisse hausincooperation with working on the Syllabus with international work is the creation of a“Syllabus” gather- unconditional solidarity. discussion nalization of solidarity and for a common mental toxicityand transfeminist hacking, reproductive rights of women, community tion of mutualcare between the seeds, the the public is invited to join contributors in to the current “care crisis.” During their resi- We will learn about struggles against the Earth Practices Micro-Resistances Through Mary Maggic andothers Pirate Care are ing practicaling and tacticalrespond tools to kunsth

Tomislav Medak Pirate Care will meet up and continue alle wien. / •

Sea-Watch

with Valeria Graziano Rebecca Gomperts( 6 – 9 pm Artists inResidence 2020of

Marwa Arsanios •

• Cassie Thornton •

•

Marcell Mars

Women - -

Tue 5/52020• Tour for Kids&Families oriented around neoliberal work culture and Obedient x3 traces the emergence of anew A new guided tour format on Saturday after Always up to date. drug culture organized around nootropics, well as LSD and psilocybin mushrooms in which are smartdrugsgeared towards en- future. California and the tech industry, nootropics noons – designed for children andadults too. at the place relatedexhibition. todifferent. the Always methods of solutions to current questions relations to "tripping"ondrugs,artificial ropics are partof anew psychedelic era micro-doses. Sat 14/3&25/4 2020• In andat the Space ofcol - Questionswe Exchange ideas with us and other visitors! For children aged6andover Most ofMost and workshops thetalks will take Zach Blas:Obedient x3 space of questions Dream of aGoodLife land, and the communities of women, will lect answers, Gedankenexperiments, and intelligence, lizards, and visionaries of the individualist optimization, andexplores their include both commercial, synthetic pillsas be inherent to our discussion. hancing cognitive capacities. Popularized in program for kids& families lecture performance anddiscussion Space of Questionstable. 7 pm

150 Obedient x3 suggests noot 2 – 3 pm - - Children: Adults: Transporter of Dreams out intothe world? out of charge our wishes andcarry our dreams outinto do bright yellow wishing trees grow in the about how your transporters of dreams will dreaming and wishing isparticularly easy. Registration: scribble in the book. artist workshop with Melanie Ebenhoch wishes do you have that you’d like to send [email protected] Book! Join us and start already to draw and Kids exhibition? Back then we plannedand Children’scooperationin workshop with Space for Kids. A Dream City people desire acar, while others would be Sat 4/4 & Tue 7/4 – Thu 9/4 2020• Sat 21/3&28/32020• Sat 4/4 2020• Imagine aplace, ahotel, agarden in which For children aged6andover Do you remember our first bigSpace for there? Are the walls green-orange, and the world. Comeby, we are already curious transporters, dream gliders, which release For children from 6 years on What are your dreams anddesires? Many What does it look like there? And who stays Dream Hotel with Garden of Dreams WienXtra look like! How would you build them? What happy with new shoes. We try to builddream here: the first bigSpace for built the city of the future with you. Now it is workshops book presentation € 4 /with € 2 /with 1 – 2 pm Kinderaktivcard € 2 Kinderaktivcard free 11 am – 1 pm Kids Dream City 11 am – 1 pm The workshop takes place at Children: Children: Adults: Adults: charge of charge out of cardboard, fabric, colored foils, and course goodstories! Together with the art- a surprisingand tactile artwork together. and thinking, you and your family will create garden? Togetherartist the with Association for Women’s Integration, Registration: Registration: artist workshop with Hana Miletić will not only experiment with the felt mate- [email protected] [email protected] Children’scooperationin workshop with much, muchmore. rial butalsolearn the technique of wet felt- Sat 18/4 2020• In cooperationIn with For children aged6andover For felting you need wool, soap, water andof museumsquartier. Felt Workshop WienXtra Osterferienspiel Ebenhoch KinderAktivCard free of charge KinderAktivCard free of charge ist ing. Between stories and technique, feeling integration, linghaus you will work onabigartwork. You Hana Mileti € 3 / mitKinderaktivcard free of € 4 /with € 2 /with € 2 /with we buildcolorful, fantastic models Amerlinghaus andWienXtra.

151 11 am ć andfive women from the WienXtra Kinderaktivcard free WienXtra – 1 pm Vereinigung für Frauen

kunsth alle wien Melanie Amer- - soundcloud.com/kunsthallewien or in at:Tune works in the context of the exhibition. of abetter world, andhow they see their exhibition have to say about their dreams kunsth wine, cars, security andpeace podcast of Switch onandlisten to the ... of bread, kunsthalle wienpodcast alle wien to hear what artistsin the www.kunsthallewien.at Jetzt in der Halle E im Museums- quartier

Volles Programm bis 25. April! T 52111-400, [email protected]

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AB 20.MÄRZ IM FILMCASINO www.filmcasino.at Exhibition Baari Jasarov Fundraising & Sponsoring Paid a dvertisement kunsthalle wien GmbH Mathias Kada Maximilian Geymüller

Directors External Technicians Event Management Burschenschaft Hysteria What, How & for Whom / Harald Adrian Gerhard Prügger WHW ( Ivet Ćurlin • Nataša Hermann Amon Education Ilić • Sabina Sabolović ) Dietmar Hochhauser Russel Altamirano Bruno Hoffmann CFO (Fulbright Scholar) Alfred Lenz Sigrid Mittersteiner Wolfgang Brunner The Hysteria write Art Handling Carola Fuchs Curators of protection for Marc-Alexandre Dumoulin Andrea Hubin What, How & for Whom / Thomas Ehringer Michaela Schmidlechner Schutzbrief the modern leftist man! WHW ( Ivet Ćurlin • Nataša Parastu Gharabaghi Michael Simku Ilić • Sabina Sabolović ) Say “No!” to globalisation and Scott Hayes Eleanor Taylor capitalism and enjoy a piece of the Curatorial Assistants Lazar Lyutakov Martin Walkner future in return. Hysteria recommends Laura Amann Luiza Margan the writ of protection of the son Layout Space of Questions son Aziza Harmel Andreas Schweger of the Matriarchy particularly to leftist men who operate Rita Neulinger Johann Sommer-Gröbner in the public sphere from time to time. ARCHITECTURAL ADVISOR Sara Sofia Strütt Assistant to CFO All the writs are printed on paper Büro Meyer-Grohbrügge, Marit Wolters Andrea Ćevriz hand laid by Styrian boys, signed and Berlin Stephen Zepke stamped with the SeniHysteria seal. Office Management The son of the matriarchy is faithful, devoted, full of mirth and confidence. He blooms in the matriarchy like The writ of protection guarantees Exhibition Management Julia Znoj a precious rose planted in good soil. Maria Haigermoser He fulfils his tasks in word and deed in the spirit of the hyena. shelter and aid to men in the era of Hektor Peljak Bold and noble, his call proudly resounds: Marketing Vasilen Yordanov

Hysteria for all eternity! raging equality madness. These delicate Martina Piber Hail Hysteria! David Avazzadeh beings are otherwise left exposed Juliane Saupe Finances Katharina Baumgartner and subject to their disoriented and Flora Schausberger Mira Gasparevic Dat e , P l ac e signat u r Adina Hasler unpredictable nature. Natalie Waldherr The proceeds from the writ of Construction Management Sophie Lingg protection revenue are used exclusively Johannes Diboky Marlene Rosenthal Visitor Service for the structural expansion of the Danilo Pacher Daniel Cinkl Press & Communication Writs of Protection Fraternity Hysteria and the financing of Osma Eltyep Ali Technicians Stefanie Obermeir 1. Son of the Matriarchy...... E 500,- the struggle for the golden matriarchy! Kevin Manders Beni Ardolic Anna Möslinger (Intern) 2. Lover of the Matriarchy ...... E 111,- Order your writ of protection in a Christina Zowack timely manner and provide the correct Frank Herberg (IT) Katharina Schniebs 3. Accomplice of the Matriarchy .....E 60,- information to ensure yourself or your thank you 4. Friend of the Matriarchy ...... E 35,- men a happy and healthy life. For the Ashkal Alwan • Goga Borić • Sören Buchheim • Greg de Cuir Jr • Jasna Čagalj • Ana Dević • 5. Servant of the Matriarchy ...... E 25,- Golden Matriarchy! Mladen Domazet • Hephzibah Druml • Silvia Eiblmayr • Michael Emminger • Charles Esche • Tatjana Günther • Ana Janevski • Ana Kovačić • Lutz Krüger • David Maljković • Julie Martin • Tomislav Medak • Museum of Man and Nature, Munich • Natural History Museum, Vienna • Emily Transfer the desired amount (including € 2.60 postage and packing for shipments within Austria) to: Fraternity Hysteria IBAN: AT112011182951346600 BIC: GIBAATWWXXX Reference: Writ of Protection Donation Pethick • Nataša Petrešin Bachelez • Marko Pogačar • Kathrin Rhomberg • David Riff • Mima Address and screenshot of the transfer to: [email protected] Schwahn • Sternberg Press • Branka Stipančić • Ana Šeba • Sophie Thun • Christine Tohme • ... WHW would like to express their gratitude to the team of kunsthalle wien & all the artists for their generosity, support & inspiration in developing the new kunsthalle wien program. Publisher front cover kunsthalle wien GmbH © 2020 kunsthalle wien GmbH Adji Dieye, What, How & for Whom / WHW Maggic Cube, 2019 kunsthalle wien GmbH is the city of Texts Vienna’s institution for international art Laura Amann and discourse. Kader Attia & Ana Teixeira Pinto Karen van der Berg All images are courtesy of the artists un- Alice Creischer less otherwise indicated. Doujak & Barker Print Oliver Frljić Gugler print GmbH Aziza Harmel Bilal Khbeiz Jessika Khazrik Philip Mirowski Marina Naprushkina Pirate Care Sylvia Palacios Whitman HC Playner Andreas Siekmann Marlene Streeruwitz Milica Tomić What, How & for Whom / WHW Radovan Zogović

Managing Editor Milica Vlajković

Curatorial assistant Eleanor Taylor

Translation Michael Wolfson

COPYEDITiNG Eleanor Taylor Milica Vlajković

Design Dejan Kršić & Lana Grahek typefaces back cover KhW Ping • Brioni Text [ typotheque ] Monika Grabuschnigg, Crash (Simulation), 2019–2020, photo: David Schönen, Courtesy THE ARTIST & Carbon 12, Dubai #OfBread www.kunsthallewien.at More information on the program Every5 – 9 Thursday Free Admission! / kunsthallewien pm +43 1521 890 1040 vienna treitlstraße 2 karlsplatz 1070 vienna museumsplatz 1 museumsquartier kunst h alle wien

… von Brot, Wein, Autos, Sicherheit und Frieden … of bread, wine, cars, security and peace … o kruhu, vinu, autima, sigurnosti i miru … ekmek,