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ALIMJAN JOROBAEV_ I Miraggi del Comunismo

Posted in docenti, Events, Exhibition by NABA Painting and Visual Arts on 28/09/2012

 

ALIMJAN JOROBAEV

I MIRAGGI DEL COMUNISMO

A cura di Marco Scotini

Inaugurazione 3 ottobre 2012, ore 18.30

In mostra fino al 22.12.2012

sarà presente l’artista

Tra i maggiori esponenti dell’arte dell’Asia Centrale, il fotografo kirghiso Alimjan Jorobaev apre la nuova stagione espositiva della Galleria Laura Bulian, con la sua prima personale italiana. Già presente alla Biennale di Istanbul del 2009 e a molte altre esposizioni internazionali, Alimjan Jorobaev (classe 1962) arriva in Italia con una mostra dal titolo I miraggi del Comunismo, curata da Marco Scotini. La fotografia di Jorobaev, dalla caduta del Socialismo in poi, raccoglie segni e tracce di storie contaminate, mixando sopravvivenze arcaiche con conflitti del presente, resti del comunismo con forme di neonazionalismo, ritorno delle identità religiose con nuove modalità di sopravvivenza.

Questo atlante dell’incongruo che Jorobaev colleziona e cattura, così come le narrative che ciascuna immagine fotografica riesce ad attivare, non sono altro che uno specchio fedele del passaggio dei tempi, dei continui mutamenti economico-politici nell’area centro asiatica. Si tratta, di fatto, del presente kirghiso: quello dove le più diverse forme di coesistenza sono diventate possibili. L’immagine di masse di uomini in preghiera rivolti verso la Mecca nella piazza centrale di Biskek, sotto la statua di Lenin ancora innalzata, così come il commercio illegale di sigarette West, prodotti alcolici e altra merce, sotto una vecchia jurta sono contraddizioni evidenti ma, allo stesso tempo, rappresentazioni potenti.

Una nota foto di Jorobaev del 1995 mostra un interno domestico come una natura morta in bianco e nero. Una cucina a gas a quattro fuochi in mezzo ad una cassettiera e a un frigorifero ricoperto con carta da parati ornamentale: al di sopra, una serie accatastata di stoviglie da lavare ricopre il piano di cottura. Sullo stesso piano poggia anche una tela capovolta con un ritratto ufficiale di Lenin: un chiaro riferimento all’89 e al tema dell’iconoclastia nel blocco orientale. Ma qui non si tratta dell’immagine consueta della statua scardinata dal suo piedistallo. In maniera totalmente inedita, ciò su cui quest’immagine si interroga è il modo in cui le trame del simbolico attraversano il politico e il privato: spiate dove meno le si aspetta, nei segni muti, nei gesti comuni.

Ancora le relazioni di potere sono al centro di un’altra serie fotografica a colori del 2011 che si insinua all’interno del carcere di Moldovanovka. L’oggetto di questa ricerca è il gioco silenzioso di sguardi, di specchi e diaframmi che fanno sì che il soggetto fotografato non sia mai presente nello spazio occupato da colui che guarda. C’è tutta una distribuzione spaziale che differisce la sua entrata in scena: tanto il carceriere che il carcerato sono catturati ogni volta da un dispositivo che li inquadra. Latente, mai totalmente presente, il soggetto di queste foto (indipendentemente dal suo ruolo) è sempre l’oggetto di una sorveglianza normalizzata.  

Ma che cosa sono i Miraggi del comunismo da cui prende titolo la mostra milanese, oltre ad essere una serie fotografica sviluppata da Jorobaev tra il 1995 e il 2005? Qual è qui il rapporto tra fenomeno ottico e realtà? Quello che infatti il realismo fotografico di Alimjan Jorobaev mostra non è la prospettiva socialista. È piuttosto il presente che ha fatto seguito al suo fallimento del ‘91. Dalla insurrezione civile del 2010, che riuscì a destituire il presidente Bakiyev, fino alla Riforma del sistema penitenziario della Repubblica Kirghisa, ogni fenomeno è indagato senza essere giudicato: esso è la semplice apparizione di un segno (non importa se nuovo o vecchio) in un contesto estraneo, inappropriato.

Un bianco e nero straordinario mostra la prospettiva all’infinito di un asse stradale asfaltato in mezzo ad un superficie ampia e vuota che ricorda la steppa. Di fianco a sinistra l’insegna isolata, in cemento e a caratteri cirillici, della parola COMUNISMO che possiamo leggere solo rovesciata. Il rapporto tra le parole e le cose (potremmo dire) è qui un miraggio: l’effetto della differente rifrazione dei raggi luminosi. L’orizzonte su cui l’immagine si apre è, di fatto,  quello naturale e immenso della catena del Tien-Shan.

 
LAURA BULIAN GALLERY
Via Montevideo 11, 20144 Milano
Orario:
Martedì – Sabato, 15.00 – 19.00
Mattine su appuntamento
www.laurabuliangallery.com

Disobedience archive (the free square cinema)_ Truth is concrete, Graz 25.09.12

Posted in docenti, Events, Exhibition, Lecture, Screening by NABA Painting and Visual Arts on 28/09/2012

 

 

 

Disobedience archive (the free square cinema)

A film night by Marco Scotini

 

With Salma Shamel / Mosireen (ET) and films by Atelier d’ Architecture Autogérée, Mitra Azar, Critical Art Ensemble, Department of Space and Land Reclamation, Marcelo Exposito, Ashley Hunt, Sara Ishaq, Mosireen, Bassel Shahade et al.

The “Disobedience Archive” reveals the mediatised nature of history. It shows what corporate media conceal and takes back control of the violent expropriation of experience: producing history and therefore rendering it visible. History, considered as a problem of representational politics is at the centre of these films and videos that range from documentaries to counter-information, from film-essays to agit-prop cinema and from video-activism to grassroots community cinema.

Disobedience is not simply a sample of struggles and protests, but rather an archive of the imaginaries, of ways of living, of production, of looking, of learning and self-representation. The current No, the refusal to obey, contemporary dissent, does not propose a dialectic position in relation to power, but establishes itself as a force of creativity and experimentation: of languages, mechanisms and, ultimately, of subjectivities. The “Disobedience archive” has been on tour since 2005, it has grown step by step and has always been shown as an exhibition display.

The film night connects the “Disobedience archive” directly with Tahrir Cinema in Cairo which was set up as a makeshift cinema in 2011 by the Mosireen collective: a screen to show people films dealing with the ongoing revolution. A special programme, from the global protest in Seattle to the current insurrections in the Middle East and Arab world, with particular attention to Egypt, Syria, Yemen and Palestine.

 

Truth is concreteA 24/7 marathon camp on artistic strategies in politics and political strategies in art. 21/09 – 28/09/2012, Graz

“Art is a left-wing hobby.”

Geert Wilders

These have been months, years of unbelievably fast change all over the world. Uprisings in the Arabic world. Revolutions and counter-revolutionary attempts. Islamistic threats and the fetishisation of Islamistic threats. Demonstrations and repercussions in Russia, Ukraine, Belorussia … Persecution of artists – sometimes under a bright spotlight as in the cases of Pussy Riot or Ai Wei Wei, but more often unnoticed by a broader public. The nuclear disaster in Japan. The appearance (and disappearance?) of Occupy all over the world. The rise of the right wing in many countries – often as a side-effect of the financial devastations that threaten the whole European project. The fundamental destruction of social, educational and cultural structures … Where to start, where to end?On our travels during the last one and a half years – be it to Zuccotti or Tahrir Square, to Japan after Fukushima or to Moscow during the wave of demonstrations, to London, Budapest, Athens, Istanbul, Ramallah, Tel Aviv, Tunis, Rio or Buenos Aires – everywhere artists were among the first to get involved, among the first to join the political and social movements. But how did art, how did artistic strategies and tactics play a role? At a time when art, theory and practice seem to be constantly lagging behind reality? When art is seen more and more as a mere leftist hobby rather than a foundation of humanity?We have learned that there are no easy answers any more. We don’t trust ideologies, even though we follow the ideology of capitalism. We know everything is contingent and relative. We replace critique with criticality, the political with the post-political, and neoliberal capitalism with cultural capitalism. But where the answers get too complicated, the desire for simple solutions is growing. And we – perhaps indeed leftist hobbyists – seem to have lost contact with a larger base. The constant awareness of the complexity of the notions of truth, reality or even politics seem to have manoeuvred us into a dead-end road: either we are too simple, or we are too complex, too populist or too stuck in hermetic eremitism. Either we include too much or we exclude too many.On the common ground of art and activism So what is to be done? Can art help solve problems that politics and society themselves have ignored for so long? Should art be a social or political tool, can it be useful? And why should artists know what to do when nobody else does?“Truth is concrete” is what was written in big letters over Bertolt Brecht’s desk in his Danish exile – quoting Lenin quoting Hegel quoting Augustine. And in another corner there was – as Walter Benjamin writes in his notes – a little wooden donkey standing with a sign around his neck: “Even I must understand it.”We take the possibility of concrete truth as a working hypothesis and look for direct action, for concrete change and knowledge. For an art that not only represents and documents, but that engages in specific political and social situations – and for an activism that not only acts for the sake of acting but searches for intelligent, creative means of self-empowerment: artistic strategies and tactics in politics, political strategies and tactics in art.Art and politics always have been in strange love/hate relationships. “Truth is concrete” purposely ignores many of the borders, conflicts and resentments. Art is not activism, and activism is not art. But the common ground, the shared space is large and important. It offers a chance for art to be engaged, connected and relevant. And it offers activism a chance not to get stuck in ideology, routine and functionarism, a chance to stay unpredictable and sharp. “Truth is concrete” takes a close look at what happens where the differences between art and activism lose importance.170 hours non-stop “Truth is concrete” is a 24-hour, 7-day marathon camp: for 170 hours more than 200 artists, activists and theorists lecture, perform, play, produce, discuss and collect useful strategies and tactics in art and politics. A full grant program additionally invited 100 students and young professionals from all over the world. The marathon is a platform, a toolbox as well as a performative statement. It is a machine that runs non-stop – often too fast, sometimes too slow. All day, all night. It produces thought, argument and knowledge, but it also creates frustration and exhaustion. Having to miss out is part of having to make choices.The marathon is the centre, surrounded by a camp-like living and working environment, a social space with its own needs and timings. “Truth is concrete” creates a one-week community, mixing day and night, developing its own jet lag towards the outside world – at the same time being open and free for everybody to join.The programme of the marathon is accompanied by one-day-workshops, several durational projects and an exhibition. And – most important – by a parallel “Open marathon” that is based on self-organisation: its content is produced entirely by the participants – everybody is welcome to fill the slots, spontaneously or a couple of days in advance.So is this all just too much? Maybe. But maybe we have no time to lose. The world keeps changing at a fast pace and the marathon is a work meeting – an extreme effort at a time that seems to need extreme efforts.

MAYBE EDUCATION AND PUBLIC PROGRAMS: dOCUMENTA (13)

Posted in Senza categoria by NABA Painting and Visual Arts on 07/09/2012

dOCUMENTA (13)

MAYBE EDUCATION AND PUBLIC PROGRAMS

On Artistic Research:

A Two-Day Conference with the Art Academy Network Developed by dOCUMENTA (13)

Conference 8-9 September, 2012

Status: August 1, 2012

Project assistant: Maria Chehonadskih, Nele Mareike Wulff

 

 

Ständehaus (Bode-Saal). Saturday, September 8 and Sunday, September 9, 2012. See program below

Free with dOCUMENTA (13) ticket.

What do we mean by “artistic research”? Is research a discipline in its own right? Or is it the term used to name the knowledge leading to art? Can it be both? How does it affect art history and writing? How does it challenge the agency we assume art has in society? Can research be taught?

Artists, like scientists, are pioneers when it comes to creating new forms of connectivity between worlds that seem to have nothing in common. They embark on writing novels, conceiving treatises, discovering archives, devising therapies, and choreographing bodies—that is, they embark on the endless study of everything that contributes to the different formulations of what we call reality. It would be dismissive to describe all this as mere play. We find ourselves, rather, facing a strange form of research that is more aware than ever of the parallels between producing art and understanding the world. Ever since Marcel Duchamp, and perhaps much earlier—indeed, possibly for as long as it has existed—art has been eager to accommodate a knowledge that is different from academic knowledge and to provide the ultimate reason for modifying that academic knowledge. Much contemporary art attempts to develop works and situations that make it possible to read the past freely, to take flight and approach the unknown. Taking artistic research seriously means accepting disorganization in the relations between the disciplines with which contemporary art deals. The rise of cultural studies, critical theory, and the many variations of the post-Marxist understanding of the relationship between art and economics are the fruit of an ungrounded—though perhaps historically necessary—confidence in the possibility of first unraveling and then stabilizing the meaning of what happens in a work of art, as well as the “creative” process as a whole. Artistic research now aims to recognize the importance and explore the consequences of the following statement: meaning emerges from fiction.

Program

Saturday, September 8, 2012

10 am – 1 pm

ARTISTIC RESEARCH OR HOW TO DISORGANIZE THE RELATIONS BETWEEN THE DISCIPLINES THAT DEAL WITH ART

Lectures by Mai Abu ElDahab, Luca Cerizza, Simon Sheikh, Jan Verwoert. Moderated by Chus Martínez.

The presentations will be followed by a discussion.

2 – 8 pm

DOING RESEARCH: An exercise in thinking about the meaning of artistic research in the academy context.

The afternoon participants are artists/researchers and members of EARN—European Artistic Research Network

Sunday, September 9, 2012

10 – 11:30 am

PUBLISHING IN RELATION TO ART, RESEARCH, PERFORMANCE, DISCOURSE

A discussion about the publication and research program conducted at Geneva University of Art and Design, with artists Yann Chateigné and Dora García.

11:30 am – 6:30 pm

TOWARDS A NEW FORM OF RELATING AESTHETICS AND POLITICS

Presentations by Andrea Büttner, artist; Bernhard Rüdiger, artist; Andris Brinkmanis, Elisabetta Galasso and Marco Scotini, NABA – Nuova Accademia di Belle Arti, Milan; Ayreen Anastas and Rene Gabri, artists; Vanessa Ohlraun, Oslo Academy of Fine Art, and others.

Participants

Academies: ADERA — Les écoles supérieures d’art de Rhône-Alpes; École nationale supérieure des beaux-arts de Lyon; Finnish Academy of Fine Art, Helsinki; Geneva University of Art and Design; GradCAM – Graduate School of Creative Arts and Media, Dublin; Kunsthochschule Mainz; MaHKU, Utrecht School of Visual Art and Design; Malmö Art Academy, Lund University; NABA – Nuova Accademia di Belle Arti, Milan; Oslo Academy of Fine Art; Università Iuav di Venezia; University of Gothenburg, Faculty of Fine, Applied and Performing Arts; University of Leeds, School of Fine Art, History of Art and Cultural Studies; The Slade School of Fine Art, University College London.

Mai Abu ElDahab is a curator currently based in Brussels. From 2007–12 she was the director of Objectif Exhibitions in Antwerp. She recently edited and co-edited several publications including After Berkeley (2012), From Berkeley to Berkeley (2011), Circular Facts (2011) and Hassan Khan “The Agreement” (2011), all from Sternberg Press. Recently, she has contributed to Artforum and Mousse Magazine.

Luca Cerizza is a curator, writer and art historian currently based in Berlin. A contributing editor of Kaleidoscope magazine, he teaches Museology at NABA academy, Milan. He co-curated “Alighiero e Boetti Day” (2011) and “Tarzan Noire,” a solo show of works by Marcello Maloberti (2011).

Chus Martínez is Head of Department of dOCUMENTA (13) and a member of its Core Agent Group. A philosophy scholar, her current research focuses on artistic research: how thinking can happen through matter and how sense can be reversed by experience. She was the director of the Frankfurter Kunstverein (2005–008), and chief curator of the Museu d’Art contemporani de Barcelona (MACBA) (2008–11).

Simon Sheikh is a freelance curator and critic based in Berlin and London. A correspondent for Springerin, Vienna, and a columnist for e-flux Journal, New York, he is also a researcher for the ongoing Former West project, initiated by BAK in Utrecht, and is undertaking doctoral studies in Lund on the topic of exhibition-making and political imaginaries. In September 2012, he takes up a post as a Senior Lecturer in Curating at Goldsmiths College, London.

Jan Verwoert is a critic and writer on contemporary art and cultural theory based in Berlin. He is a contributing editor of Frieze magazine, and his writing has appeared in many journals, anthologies, and monographs. He teaches at the Piet Zwart Institute Rotterdam, the de Appel curatorial programme, the Ha’Midrasha School of Art, Tel Aviv and the Bergen Academy of Art and Design.

 

 

SAT 08.09.12

10 am – 1 pm

ARTISTIC RESEARCH OR HOW TO DISORGANIZE THE RELATIONS BETWEEN THE DISCIPLINES THAT DEAL WITH ARTLectures by Mai Abu ElDahab, Luca Cerizza, Chus Martínez, Simon Sheikh, Jan Verwoert. The presentations will be followed by a discussion

10:00 Welcome and lecture Chus Martinez

10:15 Lecture Jan Verwoert

11:00 Lecture Luca Cerizza

11:45 Lecture Simon Sheikh

12:30 Lecture Mai Abu ElDahab

13:15 Lunch Break

 

2 – 7 pm

DOING RESEARCH: An excercise in thinking about the meaning of artistic research in the academy context.The afternoon participants are artists/researchers and members of EARN—European Artistic Research Network

14:00  – 14:10 Opening program by Jan Kaila: Introduction EARN. D13 collaboration. Introduction Doing Research Project and Launch publication  by Henk Slager.

RESEARCH STATENENTS

14:10 – 14:30 Dora Garcia
14:30 – 14:50 Bryndis Snaebjornsdottir (Gothenburg)
14:50 – 15:10 Rene Gabri/Ayreen Anastas
15:10 – 15:30 Terike Haapoja (Helsinki)
15:30 – 16:10 Chiara Fumai
16:10 – 16:30 Elske Rosenfeld, Giullia Cilla, Ingrid Cogne (Vienna)
16:30 – 16:50 Jeremiah Day (Utrecht)
16:50 – 17:10 Laura Malacart (London)
17:10 – 17:30 Hongjohn Lin (Taipei)
17:30 – 17:50 Sam Belinfante (Leeds)
17:50 – 18:10 Claire Pentecost
18:10 –  18:30 Clodagh Emoe (video statement) (Dublin)

CONCLUDING PANEL

18:40 – 18:50 Recap: Gertrud Sandqvist (Malmo)

18:50 – 19:00 Recap: Mick Wilson (Dublin/Gothenburg)

19:00 – 19:50 Closing Discussion with Mick Wilson (moderator), Gertrud Sandavist, Chus Martinez, Simon Sheikh, Jan Verwoert

19:50 – 20:00 Book Presentation: Art a Thinking Process with Angela Vettese.

SUN 09.09.12 Research on art and artists

11:00  – 11:10

IntroNicola Setari

 

11:10 – 12:30 am

PUBLISHING IN RELATION WITH ART, RESEARCH, PERFORMANCE, DISCOURSE

A discussion about the publication and research program conducted at GENEVA University of Art and Design, with Yann Chateigné.

RESEARCH ON ART AND ARTISTS: TOWARDS A NEW FORM OF RELATING AESTHETICS AND POLITICS

Presentations by Andrea Büttner, artist; Bernhard Rüdiger, artist; Elisabetta Galasso,  Andris Brinkmanis and Marco Scotini, NABA – Nuova Accademia di Belle Arti, Milan; Vanessa Ohlraun, Dean, Oslo Academy of Fine Art, with professors and fellows of the Academy of Fine Art and others; moderated by Nicola Setari

 

12:30 – 14:00 PM The Disobedient Class: Bottom-up Academies and Affirmative Education

Introduction by Elisabetta Galasso, lecture by Marco Scotini, conversation Andris Brinkmanis, NABA – Nuova Accademia di Belle Arti, Milan, with artists Ayreen Anastas and Rene Gabri

14:00 Lunch Break

15:00 Natural History and Suspended Time: The Artist as Researcher, lecture by Bernhard Rüdiger, artist and professor at École nationale supérieure des beaux-arts de Lyon

16:00 Presentation by Vanessa Ohlraun, Dean, Oslo Academy of Fine Art, with professors and fellows of the Academy of Fine Art

17:30 Conversation between Andrea Büttner, artist, and Chus Martínez

18:15 Conclusion by Nicola Setari

approx. 18:30 end