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Ali Gul Pir received death threats, and he inspired hot controversies. You make fun of rich, egoistic, and corrupt feudal lords who do not care about anybody and anything. Can you translate the song on the spot? I am so rich, I fart money, and I will show you now here. It talks about the feudal system we have in Pakistan. With a couple of thousand rupees we produced the song. So, we were really excited about it, and wanted to play it on TV. But both, TV and radio first did not want to air it. They said that the song was too controversial. We were kind disheartened, and we decided to upload it on YouTube — it was June ; YouTube was not banned in Pakistan yet.

We released the song on June 14th, Friday 3 p. We refreshed the page every few minutes, and views would go up by hundreds. And within twenty-five days we had one million views. I was a theatre actor back then. I had a Facebook fan page with three hundred followers, and my friend had a page with maybe two hundred followers.

Plus I had a few hundred private Facebook friends. Basically we shared the video clip on our pages and profiles, and from there it just became crazy. Soon, every radio channel would play it. It was just amazing to see that the people of Pakistan have power.

Anywhere you go people ultimately have power, but they just need to come together and work for something. The song was controversial, it was new, but it was true and people could relate to it. It was about feudal lords and people in power doing whatever they like and getting away with it. A lot of people had been affected by such people, a lot of people work under such people, lot of people see such people in school, colleges, work. So they could relate to it. That was the emotion that brought everyone together. Google later gave me an innovation award for the song — and the greatest thing was that a big politician, that I often made fun off, had to present me this award.

Our literacy rate is low, and our education system is pretty messed up. We have big class differences: There is an extreme upper class, a lower class, and the extremely poor, but no middle class. So we have poor people who can barely buy food, and we have people who drive big cars. I ultimately want to speak to the masses. So yes, it was very important that after the Internet release every TV channel and every radio station played it. And then we have these mobile phones in our villages.

People were transferring the song onto their phone and they were listening to it and watching it, so it trickled down. And to which extent was the song about protesting, and maybe even about changing Pakistan? When I was in school I saw such people get away with murder, but poor people would get beaten up for breaking a signal. Or they would do something small, and they would spend months in jail for that. Most of my tracks start from anger, and then in my tracks and videos I turn this anger into fun. How is your family background? My dad had a good job, and we had decent money.

Then we went to Canada. I studied there for four years. We had to come back and started living in Karachi. During that period it was hard to even come up with money for school fees. We tried to sell every property we had, or we tried to borrow money. We had no savings, but we were managing somehow. I did over shows. I was invited by the US state department too and performed five shows in the US. I pitch songs to brands. I still have friends in Malir Town [one of the 18 towns of Karachi city, once famous for its vegetable and fruit farms] and they still come by.

I also try not to loose touch because this is essentially my family. My ancestors were farmers, so we still have some land, and we grow mangos. At the same time I try to keep in touch other social groups in Pakistan. Someone however wondered if a song like this was possible only because you are Sindhi, and you sing about Sindhi landlords. It is easier to make fun of yourself, right.

It could be more controversial if I pick up another race and make a racist remark. I would get laughs, but I would probably offend a lot of people too. If I make fun of myself and my people, the first suspect and victim is me. At the same time, I did not make fun about Sindhi people only. I made fun about a mentality. It could by anyone in power, who abuses power and destroys lives — and nothing happens to him.

But I have not performed in the rural Sindh region. It is not safe. Sindh people were sending me death threats. There are some nationalist parties that sent me death threats after the song was out. It was intense for a month or two. But you know, you have to make a decision: If you are in it then you are in it, for all your reasons, and with all the dangers. Me thinking that I can do this and get away with it, or face the consequences is selfish. I have to think about these issues as I go along. Why does Ali Gul Pir do what he does?

It comes naturally to me. I like making people laugh. See people laughing because of something I did or said, makes me happy. I do improvised comedy in theatre, in Urdu and English. Improvised comedy is the best. The protest and satire side of music somewhat comes — I believe — because of my father who was in prison for six years. I want to be a man who mattered, someone who tried to bring change, tried to make people happy, tried to inform them as well, and bring up positive change in society.

To me that is a life worth living, I guess. Or do you feel connected to rappers worldwide? In many places comedy and rap were linked in early stages. I think I am funny, but I am not even that funny. I try to keep my work focused, and I try to be honest to it. I try to tackle an issue and focus on it, because I think my country needs it. The focus is my country. This country is going through a lot of trouble, and only we can get us out of this trouble.

So we need to take charge. We need to understand what the problems are. And we need to be entertained — because we are getting blown up, we are getting fired at, and we are going through unemployment, and all this stuff. Pakistani people need entertainment. They need positivity. Here, political leaders shouting at each other, is entertainment. But there is no good entertainment, with good messages. Entertainment could heighten the intellect of people, it could teach them something new. Media is important, it affect a lot of minds. Media makes you think one way. Media makes you think that this country is bad — or good.

Media shifts popular opinion. Yesterday for example, I have been watching TV because of that airport bombing, and I just wrote half a song on it. What actually happened and what we watched on TV was so apart, and exaggerated. There is constant projection of fear in media. It basically says that we should all just stay home. It terrorizes you.

I swear, its very hot. Somebody get me one glass of lassi dairy drink , so my heart can cool off sigh. By Lucia Udvardyova on July 13, She runs the blog Easterndaze , a platform for up-and-coming independent Eastern European arts and music scenes. And thats exactly what we can explore in this list: electronic shaped tracks accompanied by colorful and digital video art — inspired by tumbler aestetics.

For the first and the last video we're going to visit particular places in Prague as the ubiquitous Chinese restaurants and the communist council estate. See five video clips from other countries in our ongoing videclip series here. Artist: Deaths Track: Karaoke Blues. Deaths are a young and up-and-coming Czech synth-pop act. Equally dramatic and romantic, simply, the Karaoke Blues.

Under the moniker Space Love she teamed up with her love, the fledgling producer Voodoo, to create an audiovisual project inspired by trap and global bass music, sci-fi, tumblr aesthetics and pop-cultural sampling. They have just released a vinyl on the British Ono Tesla label, and their no-frills attitude and forlorn lyrics are a perfect soundtrack to not only Eastern urban dystopia.

By Thomas Burkhalter Norient on July 8, Beirut based Syrian-Filipino rapper Nasser Shorbaji aka Chyno writes lyrics and produces video clips dealing with the Syrian Civil War, a suicide bomber, and other topics of the world he lives in. We are the people who are going to plant seeds to the people who will. An edited version of this interview was published in the Norient book Seismographic Sounds see and order here.

My father is from Syria and my mother is from the Philippines. Due to that I have sort of an identity crisis: who am I? Where am I from? I tackle this and other issues in my album: Where is home to me? Do I feel home within the liberties of the Western world — or within the liberties of Lebanon in contrast to Syria? Or is my home Syria, because I have lived there?

Or is it the Philippines where I was born? I moved to Barcelona when the Syrian Civil War started in These questions became very relevant to me back then. And there are the many Filipinos working as housemaids in Lebanon, often under very bad conditions. Being different can be a strength. You see a clean-cut guy with a tie, a regular person. I seem less threatening when talking about these issues. It felt strange when I was writing it in Spain.

Kind of like a sport spectator telling an athlete how he should play the game. Literally one week after the release of the video the first suicide bombing in ten years happened in Beirut — by the Iranian Embassy. Can you try to describe your approach? I do not want to tell the listener what to do. But I create a narrative with an open ending. In the video you do not know if the suicide bomber commits his atrocity — even though the Arabic sample in the end of the track talks about a funeral.

I put it as a dilemma: In the first verse the suicide bomber talks about the necessity of doing it. In the second verse he talks about his fear. So I try to observe, be poetic in my description, but not preachy. That is the essence of my message. I am not in a position to tell people how to live their lives. Why this sample? It is one of the many documentaries and articles I researched to come up with this track. I have the same interest in suicide bombers. What triggers them?

What are the social and psychological implications? In Beirut I met people who were super liberal, and when things happen they want to get armed. One friend, a bar tender, got a call from another friend to join an armed militia. And then there is the craziness that comes from religious leaders. I put these elements together. I talk about what triggers the suicide bomber. I put a lot of underlying facts: it is about the cold in our houses because of bad insulation. I want to show that humanity is very volatile. Normal people can change into crazy.

You seem to have a different opinion. I told them, but how? The whole song is about a suicide bomber? There still is this fear. Radio stations do not play political songs, so that unsolved issues of the Lebanese Civil War [] war do not come up. They try to ignore the problem and hope it goes away.

I live here, and it is my duty as a rapper to represent my environment. It is important to create music for your society. But English is my first language. I speak and think in English. I also feel that what I have to say is important to the rest of the world too. It should be a normal office person not an Arab with a beard. This is a very Islamic way of looking at things.

Kind of like: Preserve my memory before I blow things up. The photocopy is in line with this idea. They talk about what should change at home. So in this track I discuss the feeling of being outside of things. Would it be better to stay in your country and fight, or should you run and seek greener pastures?

How bad is it to live in Barcelona, enjoying a normal life, smoking pot and partying, while we have war in Syria? People tell you to go fight and be honorable. But then, who and what are you fighting for? You fight, you die, or you get more kids, and they fight, and more people die. The song is about a big confusion. I use a lot of metaphors, rapid flows and wordplays to create frustration and uncertainty. Some have left and then went back. The samples explain so well why war is wrong in general, how it affects people.

He tries to explain World War 2, and to me all of what he says resembles very much what we hear about the war in Syria. Or are destructive powers too strong? We might not be the people to change, and we might not even have the mind frame for change. But art might spark something in youth that will make them change. Being hopeful for the future is one thing nobody can take away from us. I love irony and sarcasm. It puts things in perspective, and is far more powerful than preaching.

Everyone watches it. I criticize myself and that makes the other person think. In contrast to Syrians who flee their country and risk their lives in the Mediterranean when trying to reach Europe. I was in Europe for the first time in I had left my banking job and joined a semi-professional theatre group. We performed in a few countries in Europe and the Middle East. And because I returned to Lebanon, the visa officials now trust me not to just flee the country — unlike for example Lebanese rappers Kitaa Bey-Route who stayed in France after a tour. I have friends in embassies too who vouch for me.

I do not want to imply that I get visas easily. Can you really talk for or even about refugees and people in poorer areas of Beirut? They speak for themselves. I address things to them. I am frustrated too. Yes, I live in Gemmayze. But I also worked hard to be in a position like this. Some of them live in big villas, and it is nothing bad about that. But still it is another position that they are talking from, than someone in Southern Beirut who was bombed and feared for his or her live.

My family would be considered middle class in Syria. We are probably better of than fifty percent of the population. But we deal with issues as well. When my family moved from Saudi to Syria they constantly lost money. The album is not called Making Music to get away from War. I call myself a little bit privileged.

The videos I do are not as expensive as they appear.

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A lot of friends help me with this, often for free. I also go online and search for grants and funds, I write proposals, or I talk to companies. In this part of the world there is no formula that tells you how to be successful, especially as a solo rapper. So hopefully, we can create that with a team. We are all pioneering right now. There is no underground scene that made it to the mainstream here. Everything around us is just very disgusting pop music. The same is with my band FareeQ el Atrash. Verse 1 Is it Fight or is it Flight? Let it melt. You fixing that back? Oh, oh. You chiropractic?

No, no.

Table of contents

Just wishing that Sham take notes from what Cairo practiced. We need baptism, with Zam zam water. Could i get some freedom and, could i please get peace with that without you tryna get a piece of that? Can i get a piece of mind? Can i get some sleep with that? No rest for the wicked till, I have my dreams come back,. Verse 2 Is it fight or is it flight? Leave it all behind you and R-U-N. Move on next block, an apartment gets shot up, so what if they are your friends? Donate guns and promises. I think we need to fast. Can I please eat halal without you tryna put beef with that?

Can I eat some cheese on that? No picnic for the wicked until I get to feed my fam. By Jan Dutoit on July 2, Das sozialistische Jugoslawien lebt auf YouTube mindestens musikalisch weiter. Das Internet-Videoportal bietet deshalb fast alles, um eine musikalische Reise durch den Staat, den es nicht mehr gibt, zu unternehmen. Die folgende Reise beginnt in den 50ern und endet um Bewusst schliesst sie gewisse Genres aus und hebt andere hervor.

Mexikanische Musik war im Jugoslawien der 50er und 60er Jahre extrem in Mode. Es gab sogar eine eigene Genrebezeichnung: YU-Mex. Manche Jugomexikaner, die auf Spanisch aber vorwiegend auf Serbokroatisch sangen, lebten ihre Leidenschaft vollkommen — man beachte neben der Musik auch ihre jugomexikanische Tracht:. Es gibt mehrere Theorien, weshalb diese Liebe zur mexikanischen Musik entbrannte. Durch die Hilfe des Offiziers kann er aber noch einmal seine Mutter, die nichts von dem Schicksal ihres Sohnes weiss, an ihrem Geburtstag besuchen.

Das Lied wurde in Jugoslawien zu einem Hit und mehrfach gecovert. Obwohl es sich hier eigentlich gar nicht um ein mexikanisches Lied handelt, liefert der Film eine Entstehungsthese, die bis heute weit verbreitet ist. So sind die Zeiten. Eine andere Entstehungsthese bringt den Stereotyp des listigen jugoslawischen Kommunisten ins Spiel. Aber Achtung! Nur lustige Seiten hat der YU-Mex nicht. In der jugoslawischen Musikszene tummelten sich aber nicht nur Jugomexikaner.

Angeblich erhofften sie sich dadurch, im Radio gespielt zu werden. Hier ihre Interpretation von Schwanensee:.

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Folgender Film bietet sowohl Originalaufnahmen rund um den Auftritt vor Tito ab min. Hier entstanden die ersten Musikvideos in Jugoslawien:. In einem Songtext feierten sie offen einen Helden des kommunistischen Jugoslawiens. Um kam auch der Punk nach Jugoslawien. Der Verdacht, dass einzelne Bands enge Kontakte zum Regime hatten, existiert schon lange. Auch die Aussagen einiger serbischer Historiker gehen in diese Richtung.

Die Alben enthielten auch Liebeslieder, die den Sexualtrieb anregende Hormone freisetzten. Auch der Song kann es nicht beweisen:. Jugoslawien hatte in den ern eine der kreativsten Rockszenen Europas. EKV wurden sogar Strassen benannt. Hier drei Hits der Band:. Der Text macht jedoch klar, dass auch auf die Beerdigung Titos angespielt wird:. Der Beitrag des slowenischen Punk zur Demontage des sozialistischen Wertesystems.

Hamburg Punk und neue Welle im sozialistischen Jugoslawien. Yugoslav rock music and the poetics of social critique. Farnham In: Jugoslavija revisited. Wespennest , November , S. In: Tanja Zimmermann Hrsg. Einige neuere Publikationen rund um das Thema aus Kroatien und Serbien. Popularna kultura u Jugoslaviji Beograd Interaktionen politischer Mythologien und Pop-Kultur]. Zubak, Marko: Pop-Express By Kay Thompson on June 11, By advertising fantasy products, DollFace encourages them to finally break up.

In her clip dir. Was the relationship between the government and the Nigerian public similarly damaged as the partnership of the woman in the clip? Or so it seemed. In what became the magical realism of Nigerian modernity, the signs of development were equated with its substance. Apter, , p. Using a series of advertisements for Pata Pata brand products, Temi DollFace encourages women to respond to their relationship problems directly instead of letting them fester. Throughout the video, Temi DollFace and her dancers entice viewers to participate in the Pata Pata Dance, which comes with its own tutorial in three volumes and includes the popular Azonto moves.

As Derica Shields astutely points out see post at Okayafrica. Thus, the video humorously reminds us that material objects can only go so far that is to say, not far at all in helping navigate the complexities of human relationships. Instantaneous solutions appear attractive, but closer examination reveals that they do not hold up under the demands of complicated human problems. This allowed him to broadcast his messages across the newly independent, linguistically diverse nation.

The modernizing bubble promised all the comforts that the colonial powers enjoyed — provided on the slippery surface of petrodollars and petronaira Apter, Following the discovery of oil in southeastern Nigeria, the government joined OPEC and enjoyed the benefits of high oil prices even as Americans went through a recession. The initial spectacle generated by Nigerian oil was that of economic takeoff…based not on the accumulation of surplus value…but on a specific form of excess — one of oil rents and revenues that underwrote the importation of staples and luxury goods, as well as various white elephant projects that produced only negative returns.

Although oil money introduced the possibility of material prosperity, Nigerian consumers bought consumer products from abroad, and the Nigerian economy leaned heavily on oil rather than developing a manufacturing sector that could sustain the economy through fluctuations in the price of oil. The presence of such modern appliances built up an illusion that the Nigerian economy could sustain this level of consumption, and that the nation-state, renting out its single resource, would remain politically and economically viable.

As the nation-state centralized, the oil money was consolidated at the federal level and trickled down at all levels of government. Added to the political instability of successive dictatorships and coups, endemic corruption eroded the trust of the Nigerian public in the government. This continues today — the Nigerian economy and government are still dependent on oil, and people have little faith in the ability of the state to provide for its citizens.

In the absence of a Pata Pata Getaway Car for most Nigerians to escape the damage done by their troubled government, the problem of the bubble will have to be solved independent of quick material fixes. The Pan-African nation: Oil and the spectacle of culture in Nigeri a. Chicago: The University of Chicago Press. By Jenny Fatou Mbaye on May 27, Artist: Takeifa Track: No Stress. This track is an extract from their album released in — however the video clip was released only 2 years after! Having intensively toured in Senegal as well as overseas, the five brothers and sister are an example of these artists who have demonstrated a strong stage presence, being the first among this generation to suggest an original sound to the convention Senegalese music — this still with a digital visual support coming only later after recognition.

Artist: Awadi feat. Artist: P. The Writah feat. Amdy Track: Sunu Meen. Video clips are not just about music but also a way to speak a common language with multiple translations Xuman ; to portray a rich and diverse culture with its moves and dance steps the Dance Hall ; to engage citizens into political affairs that concern them JTR. By Hyunjoon Shin on May 20, Artist: Goonam Track: Blood. This video is an incarnation of the retromania that occurred not only in the West, but in Asia as well.

This is an electronic dance rock trio born from the ashes of punk bands. They are New Order in Asian indiepop. The band sings in global English with the dream of achieving international border-crossing appeal. Anyway, the sound is cute and wild at the same time. Artist: Danpyunsun and the Sailors Track: Ball. Kim Dae Jung, the man with the same name as the former president of South Korea. This is the blues; not the authentic genre, but the name for the emotion the song conveys. Artist: Asian Chairshot Track: Girl.

Busan is kind like the Seattle or Liverpool of South Korea, though the geographical direction is the opposite. The music in Busan is rougher, wilder, and rawer than the music produced in the capital city Seoul. Here we get the Korean version of Tool.


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By Theresa Beyer Norient on May 6, Ein Streifzug durch sein Werk. Objekte, die schweben, gleiten, geworfen oder katapultiert werden. Transcript, Oktober , S. Bielefeld [transcript] , Seiten. Now, we are even happier, to see that her project caught its deserved attention by NYC authorities. Congrats, Sara! Communities can be understood as forms of active engagement, collaboration and knowledge sharing which create new social bonds and be regarded as catalysts for social innovation and participation.

This Berlin-based project has been running since and already lead to promising results: Dementia is a syndrome that mainly affects people over the age of 65 and the probability is increasing with age. How should a city for the blind be designed? No,…how should a city in general be designed?

On the 4th October an impressive protest march of the deaf-blind took place in Berlin. Und wer sind die Akteure wenn sich Geschichte als Bild manifestiert? Skintimacy is an interface that allows for the manipulation of electronic-based processes through touch. Depending on whom you touch, the way your bodies make contact influences the control of both analog instruments and digital setups. Design Research Lab, July 29th — August 2nd Even more, we are excited to meet our ca. Click fyers to enlarge! From basement labs to piercing shops. Lepht Anonym on biohacking, implants, sensory extension, silicon and on how to hack your own perception of electromagnetic radiation for approximately thirty Euros.

A Project at Vanderbilt University on how technology can be used to teach math skills to the visually impaired…. The Mobile Lorm Glove is a communication and translation device for the deaf- blind. It translates the hand-touch alphabet Lorm, a common form of communication used by people with both hearing and vision impairment, into digital text and vice-versa. At the Falling Walls Lab in Berlin, inspiring people presented their breakthroughs. After our last lively feature discussion in april there will be another interesting one this friday.

This time it will be in English again. The discussion is open for everyone to join. Looking forward to your contributions! This project just caught our attention: A system, where the user wears a headset with sensors that pick up magnetic signals from a tongue ring. For example deaf people need both hands for sign language. Wolfgang Jonas gave a plausible answer: —please excuse: the text is in german — Wie unterscheiden sich Design und RTD hinsichtlich ihrer Ergebnisse?

The application proposes a mobile device function to be used like a remote control, for achieving immediate attention. Which is pretty awesome, considering Garrett is blind! In the 21st century we move beyond the animosity between nature and technology. Juni stattfinden. Entwerfen — Wissen — Produzieren. Colleague and friend Stefan Goellner just got back from his trip to Japan, where he visited the 3rd International Conference for Universal Design in Hamamatsu.

The Design Research Lab is led by Prof. Gesche Joost. The first two of them are surely pretty popular. Here it is:. Most of them are not meant to be complimentary. Three releases around the body, from three different perspectives. This august is full of interesting guest speakers. We are happy to have Graham Pullin as a guest speaker at our next Research Colloquium at T-Labs on monday, 9th of august. Graham will talk about aspects from his book, as well about some of his latest projects, e. We are happy to have Lennard Davis as a guest speaker at our Research Colloquium next monday.

As one of the guiding figures in Co-Design Theory and Practice, Liz Sanders gives an overview of the design research landscape as it has emerged over the last 20 years. Worin liegt die Parallele der menschlichen Verdauung zur Eisenbahntechnologie? After Dr. Ramia Maze could unfortunately not attend personally the last DRNetwork Forum, she did an interesting online presentation. Anybody knows what happened to the OneHand Keyboard by Caracol? We especially like their new logo, which combines the classic St.

Our visit is planned for june. Ich bin gekommen. Next Week April 21, at 7 p. Entrance is free; refreshments will be provided We are looking forward to seeing you there! US employment agencies have launched a national ad campaign to encourage businesses to employ workers with disabilities. Varied custom braille typefaces included beveled typography for a sensory experience. Tony Deifell presents his photography project with blind teenagers on his website.

There is also a video about the project. The application would allow participants to explore issues of accessibility within public parks and recreation areas. In the context of popular music, there has always been an ambivalent relation to Loudness. It has recently been released on DVD.

Here is the Trailer! Enter your email address to subscribe to this blog and receive notifications of new posts by email. Sign me up! Skip to content. Author Archives: designabilities. Posted in fashion , movie , pop culture Tagged behinderung , Berlin , feiern , holzig , kater , party , rock'n'rolli , rolling elephant Leave a comment. Posted in art , philosophie Tagged alchemie des alltags , anthroposophie , design , kunst , mateo kries , peter sloterdijk , rudolf steiner , vitra Leave a comment.

Posted in movie Leave a comment. Posted in Literature Tagged buch , budenzauber inklusion , rezension , tom bieling , udo sierck Leave a comment. Posted in photography Leave a comment. Disability Awareness Posted on January 27, Posted in advertisement Leave a comment. Posted in Conference , social design Leave a comment. Posted in design research , Literature , sustainability and social innovation Tagged Bernd Draser , buch , Davide Brocchi , design research lab , Die Geschichte des Nachhaltigen Designs , florian sametinger , gesche joost , Innovation , Karin-Simone Fuhs , Michael Maxein , nachhaltigkeit , Social , sustainability , tom bieling Leave a comment.

Opening: Samstag, 9. Dezember , Johanna Bruckner, Total Algorithms of Partiality , Invasive plants in resin Milva Stutz, Natural modul , Charcoal on paper Katharina Swoboda, Penguin Pool , Dezember — 7. Nicole Bachmann, I say , Video still. But also think together and with the audience about artistic processes in this context, as well as reflect on the wider context of text-based, voice-based art works. I say explores the relation between the liveliness of the sound and the activity of listening by intensifying the microprocess of forming words so as to enunciate them.

It unfolds the micropolitics of language structures in close relation to body movements in the plural and singular, to ask how the speech affects the body, instituting corporeal vulnerability and body resistance. Do-Sa h - h oder nach Vereinbarung Vom Dezember geschlossen. The research project Art Work ers began from a set of historical facts and some intuitions: the concurrent deskilling of art and industrial labour; the parallel emergence of applied research in the arts and in utopian industrial plans; the observation that art did not enter the factory only once production was over, as an alternative or a gentrification agent.

Rather, artistic production had often overlapped, both aesthetically and politically, with industrial labour and materials. Working in between the past and present of two factories Alusuisse, Chippis and Olivetti, Ivrea , the exhibition Blackout shares performances, discussions and printed matters from the archive of the Art Work ers research project.

The piece deals with negotiations of speech within a group and the exploration of the singular as well as the communal voice. The materiality of gestures and the spoken word become an embodied vocabulary through which the performers navigate the construct of language and affirmation of their own expression. Book as Performance in conversation with Georg Rutishauser. The Sympodium strives to generate an energetic open space for aesthetic experience and exchange of knowledge between the current active practitioners in the field of Performance Art s : artists, curators, performance study researchers, educators, and their publics.

Those committed to Performance Art will share their practices, experience, reflections, thoughts, and research. The Sympodium is a podium that encourages invited participants to give a very direct subjective response from the material objectives of the event itself. The Sympodium is quasi-academic and brings together practitioners inside and outside Academia to publicly present and discuss their practices and modes of articulation and action.

The Sympodium operates within the local, interregional and international Performance Art scene. It strives for different perceptions and a new ontology of the relation between Performance and Art, and a pattern of branching that expands the field of live practices. Das Sympodium operiert mit der lokalen, interregionalen und internationalen Performance Art-Szene.

But we also ask if this these are states beyond criticality where historical reflections on gold refinements and colonial settings are muted. It enabled both early modern industrialization and the constitution of Switzerland as a financial center. It also brought about specific aesthetic, affective and moral economies. The Swiss myth of neutrality turns dirty materialities and trades in commodities into an opaque and discreet form of technocracy, security, philanthropy and white supremacy. The Swiss Psychotropic Gold Refining fabulates on commodity trading and refining of gold.

Narratives of violence, the access to black bodies, derivative enrichments, psychotropic energies and mutual indebtness molecularise on the high-gloss, tenderly protective metal. Calvinist gold is never shown. Saturday, 5 - Thursday, 31 August Installation and performative reading. Das, was scheinbar offenbar war, im Negativ zu zeigen. Nahm Mass an den Objekten, die diesen Ort mitbestimmten. To show what was seemingly obvious, in the negative.

Took the measure of objects that contributed to defining this place. Every event, every impression that of itself effects excitation, production of unbound energy without aiming at a precise necessity, an immediate action, without a plan to evoke a desire besides the preservation, fixing, capture of the excitation itself - is a poetic fact, object or event. Site-specific installation, video, archive materials, wallpapers. She then founded the journal La Fronde The Sling , a journal solely written and edited by women.

Marguerite had a lion, which she lovingly called tiger and which brought her also publicity for her political campaign. Although an animal lover, she founded the cemetery for purely hygienic reasons. It was the very same place where Durand died in of a heart attack. Practice as Research — Research as a practice Video Narratives Lecture-performance at the finissage on 31 August As a strategy, I often use historical, actual or fictive female characters to install a multilayered biopic inside the exhibition. My video interact with other material like discourses in cultural theory, press releases or even the exhibition text on the wall.

In this sense, the audio-visual fragments, that I produced, are or can be read in an actual and abstract relationship to other texts, videos, photographies, performative elements and events. This project was supported by Kulturamt der Stadt Graz. Kosta Tonev Wilfred Wyman The project constructs and narrates the life story of a fictional, late-Victorian artist named Wilfred Wyman A collection of documents and relics forms a narrative reflecting the intricate relationship between 19th-century biology and the totalitarian ideologies of the s.

Stuart Hall — war ein Kulturtheoretiker und marxistischer Intellektueller. Pro Helvetia will host a series of conversations with national and international guests on a range of subjects related to its activities in the visual arts. Ein Teil daraus findet sich in dieser Publikation.

Die Zeichnungen und Collagen sind aus der Zeit von ca. Ein Ausstellungsprojekt von Lucie Kolb Weitere Veranstaltungen siehe unten. Auf Twitter wird Lexas Tod unter dem Tag lesbiandeathtrope diskutiert: Das Vorantreiben einer Geschichte durch den Tod eines lesbischen Charakters wird nicht akzeptiert. Dieser reagiert mit einer offiziellen Entschuldigung. Was zeigt sich hier? Sie schreiben eine Geschichte mit Lexa weiter, in der sie lebt und regiert. The notion of a rehearsal — being in a kind of workshop, playing in a band, in a jam session, or old men sitting on a porch, or people working together in a factory — there are these various modes of activity.

Installation view: Looking After Freedom. Michaelis Gallerie, Especially in the context of an arts space that is within the embattled terrain of the university, and still produce genuine platforms for reflection and imagination, contigent of the political and moral positions of any reflection. Achille Mbembe in African Modes of Self Writing points out the sets of dogmas that seem to pass for African discourse in both its political and cultural dimensions, as lacking of historical criticism… and this lack reduces the discourse to three rituals: the first ritual contradicts and refutes Western definitions of Africa and Africans by pointing out the falsehoods and bad faith they presuppose.

The second denounces what the West has done and continues to do to Africa in the name of these definitions. These rituals of discourse according to Mbembe reduce an extraordinary history to three tragic acts: slavery, colonization, and apartheid - to which globalization as a form of neo-colonisation is being added. Through Decolonisation and the Scopic Regime the objective for me has been one of developing space that is relevant in this environment and brought together various people and their ideas that poses questions on aspects of the question at hand: the development of critical, self-reflexive, locally specific responses to knowledge production and dissemination in all its forms.

Rohit Jain. Who likes Chicken Curry? Who laughs about blackfacing and Mohamed caricature? Who defines arranged marriages? Who is scared of Indian IT-Workers? Who is involved in colonialism? Who survives? Who votes? Who really cares? In this talk anthropologist and sociologist Rohit Jain inquires into the making of postcolonial public spaces of Switzerland in the age of de-centralised capitalism. On the hand, the resistance against postcolonial amnesia provokes melancholia, anxieties, or anger.

On the other hand, to imagine alternative histories and stories allows to affect unruly archives and to unleash a performative power of assembly Judith Butler. Rohit Jain is, thus, interested in the conditions of possibilities as well as in the artistic, political and theoretical strategies to develop alternative publics of conviviality and new communities. The presented work, therefore, opens up new avenue for understanding an unacknowledged Swiss history of violence and envisioning a future of reparative justice at the intersection of ethnography, artistic practices and activism.

Rohit Jain is an anthropologist and anti-racism activist based at Zurich and Berne. His current work focuses on the connections between postcolonial archives, the politics of affects and the performative intervention into translocal publics. Stand Up! Der Vortrag findet in englischer Sprache statt. The unique design of this poster by Lissitzky stands between avant garde montage and socialist realism with its inflated portraits and staged enthusiasm.

These aesthetic attributes correlate with the shifting economic realities of the time with the move from the NEP to shockwork methods of the Soviet five year plan. This poster comes from a specific moment in Soviet industrialization which was accompanied by a new subjectivity as well. That moment seems to inform our moment as well. Considering this poster opens up a discussion on contemporary forms of subjectivity under current modes of production and distribution of computerized networks. The talk will outline how the communist horizon and real existing socialism can inform our understanding of the current social and cultural, political, and economic realities as we are facing the implosion of the neoliberal order.

Mai , h Finissage Samstag, Samstag, Mai - Samstag, Dabei kommen vor allem Verben zum Einsatz, die einen Plan oder eine Bewegung von einem Ort oder einer Bedingung zur anderen vermitteln. Das Present Progressive ist eine Zeitform, die es im Deutschen nicht gibt. Recalling, reenacting und rewriting zum Beispiel sind Strategien, die wiederholt eingesetzt werden, um das Gewicht der Geschichte zu verlagern.

Vergangenheit und Gegenwart sind in dieser Zeitvorstellung mithin nicht klar unterscheidbar. Darum werden auch auf dem Teppich von Bayeux Ereignisse, die nicht zeitgleich stattfanden, im selben Raum dargestellt, der lediglich durch Architekturelemente unterteilt wird. It can indicate that an action is going to happen in the future, especially with verbs that convey the idea of a plan or a movement from one place or condition to another.

Strategies of recalling, reenacting and rewriting are applied in order to shift the weight of history. Travelling in time is presented as a way of shaping the future. The exhibition design consists of a Here past and present are not clearly distinguishable — therefore causally related events are depicted in the same space, separated merely by elements of architecture. RSI is an avant-garde radio station featuring sports and cultural content. Created four years ago by Martin Camus Mimb, a renowned sports reporter on the African continent, the station is today the most listened-to radio in Douala, the economic capital of Cameroon.

In the unique field of sports, we aim to give listeners a new vision of information, thanks to an experienced team of specialized reporters. Photograph by Melanie Boehi, December This talk is concerned with histories of South African colonial formations featuring gardens and plants. It is grounded in empirical research of multispecies histories in the Kirstenbosch National Botanical Garden. Plants have featured prominently in imaginations and conceptualisations of South Africa throughout the colonial, apartheid and post-apartheid era.

In the late 19th century, white settlers appropriated the indigenous flora as a marker of identity. The settler elite regarded the cultivation of scientific and aesthetic appreciation of the vegetation as a tool for promoting civilisation and patriotism. This occurred within the larger discourse of nature conservation, which served as a legitimisation of white land appropriation, forced removals and prohibition of subsistence land use by Africans and slave-descendants.

Subsequently, Kirstenbosch evolved as the centre of a network of regional botanical gardens spread throughout the country. These activities expressed the aspirations of the Cape colonial elite and evolved in the context of both rising South African settler nationalism and British imperialism.

In , the Nationalist Party came to power and apartheid became the official state policy. Standing in a genealogy of empire exhibitions and flower shows, plants from Kirstenbosch were displayed internationally.

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The state also invited international botanists to South Africa in an attempt to impose a positive image of South Africa to them. The apartheid state deployed flowers and gardens because they were widely regarded as beautiful and apolitical — an understanding that needed to be continuously reproduced and in the late s was challenged by activists and artists opposed to apartheid. They have been reframed as tourism destinations and sites of post-apartheid nation building.

Stoler, Duress , The talk is concerned with such histories of South African colonial formations. They are addressed from a multispecies perspective, which acknowledges not only humans but also other living beings, in particular plants, as historical actors and witnesses. It does so by drawing on and combining a range of methods, including historiography, multispecies ethnography, critical plant studies, plant sciences, and floriography the reading and writing with flowers.

The two exhibitions will resemble and question each other. There was a focus on a couple of polemic motifs such as construction, fabrication and abstraction by example of written, published and authored works. The first project was all about testing limits. The second one tries to draw the line. Der Verdienst. He's a regular contributor to Spike and Mousse magazine and a columnist for Starship magazine. He graduated the Postgraduate Programme in Curating in As freelance curator he has mandates for various institutions in Europe and the US.

He is an alumnus of the Postgraduate Programme in Curating. The current manifestations of contemporary dance and its fringe areas build global bridges through the physical, aesthetic and idiosyncratic interpretation as well as the visualization of socially relevant topics. Contemporary dance inspires and is inspired and often calls for dialogue beyond the physical performance. The work in the exhibition was developed over the last two years and engages with the legacies of botanical exploration, plant migration, flower diplomacy and botanical nationalism from the dual vantage points of South Africa and Europe.

Conceived as a surround sound installation, the work serves as an aural repository of local knowledge that was originally passed from generation to generation through oral tradition but was displaced by European writing and nomenclature, which it now confronts in the exhibition space. Geraniums are never Red revisits the bright red geraniums that trail from the balconies of Swiss chalets and clamber up palm trees in California. They are in fact pelargoniums. They were first brought to Europe — and misidentified — after , when the Dutch East India Company established a permanent settlement and a Company Garden at the Cape and started to explore the surrounding flora to bring back new botanical treasures, which apart from pelargoniums included proteas, ericas and many other mainstays of European gardens.

These films have not been seen since and were found by the artist in boxes in the cellar of the library of the botanical garden. The Fairest Heritage is an attempt to watch these documents today and speak back to the archive. Orlow collaborated with the actor Lindiwe Matshikiza who inhabits and confronts the found footage and its politics of representation, sending up the botanical nationalism and flower-diplomacy of apartheid era South Africa.

Exotics were the pride of European gardeners for a long time. But new species were not just brought to Europe to satisfy horticultural demand and other colonial economic interests. Some plants also arrived as stowaways; seeds in animal feed or other shipments. The consequences of newly introduced species were not always predictable and in recent decades botanists have highlighted the threat of some of these new-arrivals to local biodiversity.

A number of national organisations deal with the problem of invasive neophytes producing information campaigns and so-called blacklists of exotics that are illegal and need to be eradicated. The series of posters Blacklisted Was wir durch die Blume sagen re-mixes information gathered from the Zurich office for the control of neophytes and uses quotes from literature and websites across Switzerland.

Veranstaltung im Corner College am 8. Die Einnahmen von der Bar gehen an die Druckkosten. Schimpfen durchs Fenster hinaus, Lieder, Gedichte und furiose Reden, dringen zu den Nachbarinnen hoch. Zine-Vernissage und Auktion am 1. Mai im Corner College. The income from the bar will go towards the printing costs.

DJ Sweatproducer: Street sounds, household noise, women trumpetists in the apartments. The thinking and feelings seem already now to buzz, as house walls and floors shake and crash. Bushes in the wind. Railing out the window, songs, poems and furious speeches reach the neighbors upstairs. Through air, so dominant, one can hear it, even the slightest sound! Zine release and auction on 1 May at Corner College. The video tells the story of a police roadblock. An artist has illegally appropriated the object transforming it into an exhibition piece. Shortly thereafter a police team enter the gallery where it is on display, and repossess it.

The first screen of the video installation presents the story as seen through the eyes of the cleaning lady who was the sole witness of the event. In the second, a group of actors impersonate the characters of her story. This event is part of the exhibition project Theorem 4. Aesthetic Agency and the Practices of Autonomy. Celebrating high times on a Sunday afternoon with a small reading out of the book Josefine, a special high time music set, some tea and gin.

They will then be transported to Corner College for a public mise a nu par un objet. Vadim Levin in a dialogue with a dead artist. The name of the artist will be announced later. Vadim Levin, Spirits Call. Performance, Doors open h h Screening and artist talk by Aya Momose, followed by a discussion between Aya Momose , co-curator Miwa Negoro and the audience.

Aya Momose Exchange Diary In collaboration with Im Heung-soon. Taking the form of a visual diary, Exchange Diary is a collection of short films recorded and exchanged by two artists over a year, using a unique way in which each artist filmed a short video and sent it to their collaborator who then added their own narration based on their impressions of the visual images. Initially, each artist shot a short video of their everyday lives or a place they had visited, and then sent the video to their collaborator.

The other artist then watched the video, and added their own narration based on their impressions of the visual images. Invitiation card for the exhibition. Graphic design: code flow. They will then be transported to Corner College for a public mis a nu par un objet. The novel Der Prozess by Franz Kafka is appropriated for the title and gives the direction of the second part of the exhibition project Theorem 4. Written between and , it pulls the reader into a maze of ambiguous biopower entity control by a remote authority, where the nature of the crime is never revealed to either the character Josef K.

At the same time, it is haunted by a radical instability. Laws can change. They can be valid for a time but not eternally. The novel remained uncompleted, in a state of ever incompleteness, which turns out to be a concept. Some lines cross over between The Trial and In the Penal Colony, a short story written in October and published , which describes a sophisticated machine, a device of torture and execution that carves the sentence on the skin of the condemned prisoner before letting him die, all in the course of twelve hours.

Kafka, who himself studied law and performed an obligatory year of unpaid service as a law clerk for the civil and criminal courts, was obsessed with the system of justification and the process of justice, of law and aesthetics. Kant would say of this work simply that it was based on an error. Baumgarten confuses judgment, in its determinant usage, when the understanding organizes phenomena according to categories, with judgment in its reflexive usage when, in the form of feeling, it relates to the indeterminate relationship between the faculties of the judging subject.

There is no personal inputs by the actors, who do not embody characters, but are only masks behind which there is nothing, just another mask. Their performance of repetitive clothing veils the plane, and is the collective acting of the three avatars Percept, Affect, Concept, which constitute the forces of individuation and the positive estrangement or displacement that clothe the event and transform it. In Deleuze, they are transformed into the positive affirmation of No! The immanence evokes the masks and hiding, crime, and the false the fancy, or funky. The politics of justice, which is not only in the ethical but also in the aesthetic domain, deals with the distribution of force between the layers of violence and control.

There is a striking proximity between the theory of surplus value and the aesthetic sublime, that in the economy of translation comes even closer the politics, aesthetics and economics. Excerpts from the curatorial text by Dimitrina Sevova, in collaboration with Alan Roth. We also refer you to the first section of the curatorial text for Part I of this exhibition project, which applies to both chapters.

Robert Estermann Out of the Fog I let the rider ride. Everywhere prism-like , are uncounted drum-like cylinders to use an image with reflecting surfaces autonomically revolving around themselves, deflecting the light from all the other cylinders. There is no relationship between them — none. Out of the fog is being recorded just after sunrise. Coming out from the cold into the warm, the glasses of the camera are foggy when starting recording.

During the video, the fog on the glasses is slowly fading away. Speaking of revolving cylinders, the earlier work Distant Riders consists of a larger-than-life model of a zoetrope, a revolving cylinder with vertical slices on it, one of the first cinematographic devices. The landscape in the background of the nine photographs also seems to coalesce into a hyper-landscape. This atmosphere is produced by the hallucinatory effect of the signifiers of the s which Estermann is quoting here, apparent in the slightly voyeuristic gaze with which the riders enter the field of vision.

But how does this theme arise, when it is neither formulated as an ethical programme nor idealised as a mythical unity from the past? As has already been discussed, the slight sexualisation of the motif of the girl rider is too faint to locate the sequence of images in the sphere of the obscene, let alone the perverse. And the atmosphere of the images, with their location in a distant, undefined coastal zone is too restrained to be subjected to a moral discourse. One key may be the landscape. Its significance as a trope may be better understood if we compare it with the function of the scenic refuge zone commonly featured in dystopias: usually this is portrayed as a zone contrasting with the civilised space, which is why it is depicted alternately as an inaccessible desert far from city life, as in Brave New World, as a hidden, protected forest at the end of the last railway line as in Fahrenheit , or as a distant coastal zone as in Distant Riders.

This counter-world is rich in sensations and full of sensual freshness in Fahrenheit , this is represented by the constant light snowfall in the protected zone of the forest. This makes its psychological function all the more important: it allows the citizens to experience sensomotoric renewal or even awakening as opposed to social anaesthesia , psychical continuity as opposed to schizoid fragmentation , and develop ethical care as opposed to moral cynicism.

The Great Western Possible , ed. Jakob Jakobsen Antiknow Scene 2. The Body Event Plumbing. On improvisation, unlearning and antiknow Work-papers from the Antiknow Research Group and one speaker playing unskilled music. From Antiknow. A pedagogical theatre of unlearning and the limits of knowledge.

Directed by Jakob Jakobsen. The installation Antiknow is a collective effort into unlearning and nonknowledge as critical strategies. This, in a time where institutional and frozen forms of knowledge and learning shaped by economic forces increasingly characterise education and society in general. It is doubtful whether this course ever took place. During his six-month residency at Flat Time House, starting in April , visual artist Jakob Jakobsen engaged in elaborating possible meanings and consequences of the term Antiknow in the current context of so-called knowledge economy.

This led to a series of meetings focusing on Antiknow in relation to work, politics, art and resistance.


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Marina Vishmidt, Maria Berrios, Howard Slater and John Cunningham were invited to reflect on specific themes within these fields of social practice. This installation is one of the consequences of Antiknow and involves experiments into drama for non-actors, unskilled music and free drawing. The installation refers to FTHo as a ready-made stage, using as a point of departure the anthropomorphic scheme that John Latham proposed for the building, where each room is dedicated to a specific part of the body: The Mind, The Brain, The Body Event Plumbing , and the Hand.

In the space, a mechanical theatre was developed. The various themes investigated by the Antiknow Research Group are presented as a drama or anti-drama between sets of loudspeakers and synchronised lighting. The scripts have been produced collectively using transcriptions of the Antiknow Research Group meetings. Lara Jaydha Broken and open Moving Image A series of digital collages work in progress We reach out for a real connection to stay afloat in a sea of submerged emotions.

From a deep sense of longing for connection, comes the desire to open and share parts of ourselves. We allow ourselves to be vulnerable and in doing so realize the fragility of our existence. There is an attempt to hold on to the present but everything keeps slipping away. Endings are often unresolved.

This existential truth is terrifying but at the same time, I find there is a sense of beauty and calm in it. I am interested in exploring how we perceive the idea of fragility and its association with gender, form and stereotypes. Why is it looked at a sign of weakness? How can we change this notion?

Can we look at it without judgment? Could it symbolize a source of inner strength? Two visits to the artist's storage, on 4 and 11 March Public mis a nu par un objet. Video installation. Employing theatrical techniques, Momose often depicts situations in which voices and bodies diverge, or departures from stated intentions, to generate new shades of meaning. The sign language is false after all, the definition and the context which the gesture and the voice sound sends becomes separated eventually. In the recent work, To Cuddle a Goat, a Poor Grammar Exercise, which includes scenes filmed in Mongolia, she explores different approach to the previous, and expresses the ambiguous nature of its subjects and the uncertainty of relationships with others.

The work implies the oppressed subjects and bodies in the history beyond any boundaries. An orientation device Installation, table, cloth. Saman Anabel Sarabi and Josefine Reisch have drafted their own orientation device to orient themselves through the cliffs and institutions, waters and archives, mountains and walls, cities and channels, forests and schools, - finally through the horizontalities and flatnesses of Through the perspective and voice of Josefine and with the help of her device they will put urgent questions on the table in the near future, starting at Corner College on 24 February The panel discussion will be held in German and in English.

Danach Plenumsdiskussion mit dem Publikum. Und Suppe und Bar.

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Das Studio mag ein Raum mit einer gewissen Autonomie sein. Welches ist die Rolle der selbstorganisierten Studios auf der wirtschaftlichen Landkarte, und wie ist die Herstellung von Kunst im Studio heute organisiert? Wie, kann ebenso gefragt werden, kann Gesellschaftlichkeit als erweitertes oder versprengtes Studio betrachtet werden? Wie reflektiert das Format des offenen Studios die jetzige Tendenz des internationalen Kunstaustauschs, von Residenzen angetrieben zu werden?

Wie wirkt es sich auf den Produktionsprozess aus Arbeitsbedingungen und arbeitswirtschaftliche Bedingungen? Followed by a plenary discussion with the audience. And soup and bar. The studio might be a space with a certain degree of autonomy. The studio is part of the productive flow of relations, subjectivities, institutions, places, architecture, materials, techniques, and infrastructures. At the same time it is in the grammar of autonomy, aesthetics and politics. There are many possible places and non-places of the studio, but it can still be found in two main orbits, as an independent space of solitude where the artwork is produced, and a more open idea of the studio, where the artwork is performed by artist-labor.

What is the role of the studio in the urban fabric and how is its public support planned? What is the role of self-organized studios on the economic map, and how is art-work organized in the studio today? How do cultural policy and state financial support to the studios impact and shape the production of art, and the lives and existence of the artist, too? At the same time, how can sociality be seen as an expanded or scattered studio? How can the studio induce cooperative forms and self-organized structures within the urban tissue and art practices, art labor, art-work and at the same time organize vibrant forms of life.

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What path of critical inquiry and what kind of methodology can be applied in a research about the post studio conditions, to reflect on the phenomena of unsettling the studio, mobility, and immaterial production? At the same time, the studio still designates and signifies a space where art labor is performed, and the forms of organization of the working process of the art production. It stays relatively in the shadow of the private space and the hidden economy, unlike the museum, the art space or art taking place in the public environment.

How can artists sustain their working environment relying on income from their artistic labor and art-work? Often, they inhabit the studio mostly for a time in-between several other jobs, while the studio is transformed and adapted to multitasked functions driven by project-oriented work, digitalization and internet. The productive process is automated between two applications for grants, in a diversity of institutional commands by e-mail and research work based largely on Google searches. Being an artist is a day-to-day job of professional occupation, and at the same time a form of life that can scatter into a new sociality.

Artists often and openly strive to gain cheap and large places in the city for working. The struggle for free space and more space in the city, as in Zurich and other cities in the s, makes the studio issue resonate within the resistance against gentrification processes, that has sometimes ended up even in the occupation of buildings. How can it open new forms of resistance, and to what extent are artists and cultural workers today able to perform a revolutionary force and political subjectivity when the nature of work is changing? How can they re-claim and negotiate in these social changes?

What is the impact of the open studio, as a form of activating and mobilizing audiences and a different way of organizing art? How does the format of the open studio reflect the current tendency of international art exchange to be residency driven? How does it impact the process of production working conditions and labor economic conditions? Selected and reworked excerpts from the text by Dimitrina Sevova for the exhibition Theorem 4. Wohin nehme ich mein Atelier mit? Arbeit kann nicht ohne Gesellschaft gedacht werden. Der Begriff der Arbeit wird also von der Gesellschaft in der ich lebe definiert.

Heisst das, dass die Schwerpunkte auf die alle wir, die in dieser Gesellschaft leben oder die sich in einer Gruppe dieser Gesellschaft in der man sozialisiert wird und sich befindet, definiert was Arbeit ist? Worin besteht ihr Wert? But: Dialogues or having a counterpart is very important in my working process. Since I am working at home, I am kind of isolated.

The motto was to produce inexpensive art for everybody while at the same time undermining the functioning of the art business.