Picket wearing a joke police helmet talking to Police at Orgreave 1984–85 miners strike. Photo © Martin Jenkinson.

via e-flux

Akbank Sanat International Curator Competition 2012′s winning proposal
February 19–April 27, 2013

Akbank Sanat
İstiklal Cad. No:8
34435 Beyoğlu, İstanbul
Turkey
Hours: Tuesday–Saturday 10:30–19:30h

akbanksanat@akbank.com
www.akbanksanat.com

Curator: Alejandra Labastida

Akbank Sanat International Curator Competition is intended to provide support for emerging curators, reinforce interest in curatorial practices, and encourage new projects in the field of contemporary art. Akbank Sanat is proud to present the exhibition realized by the winning proposal of Alejandra Labastida at Akbank Art Centre, Istanbul.

The Life of Others. Repetition and Survival
“If repetition is possible, it is due to miracle rather than to law. It is against the law… If repetition exists, it expresses at once a singularity opposed to the general, a universality opposed to the particular, a distinctive opposed to the ordinary, and instantaneity opposed to variation / and an eternity opposed to permanence. In every respect, repetition is a transgression. It puts law into question, it denounces its nominal or general character in favor of a more profound and more artistic reality.”
–Gilles Deleuze, Repetition and Difference

Deleuze states that unlike resemblance, repetition is an act that arises in relation only to that which has no equal or equivalent and therefore concerns non-exchangeable and non-replaceable singularities. It is essentially a force that opposes the singular–as a transgression or exception–to the particular capable of being subsumed by laws. This project aims to postulate that the proliferation of artistic practices generated around appropriation and citation strategies—the translation and recreation of historical pieces or events—responds to this force that affirms the political status of the singularity—of the non-replaceable being—versus the domesticated paradigm of the equivalent and interchangeable.

Most exhibitions that explore this tendency focus on the decision that the artist makes from the present in order to rescue specific events and works. This project proposes to extend the question in order to consider not only the recreative will of the artist but also this singular power that wills itself. Walter Benjamin refers to “translatability” as an inherent demand of the original and therefore as the supreme proof of the life of the works of art. The relation between a translation and the original is literally vital: the former emerges as the result of an act of survival of the latter. It is, of course, not just a simple relation of equality and similarity but rather a process of renovation and evolution that unchains the conditions of possibility for a critical reformulation.

This critical process land on different strategies: translations, covers, reprises, recreations, re-appropriations; but what all of them share is repetition as the conduct of a vital relationship with the original. It is not just about postulating a reconstructed and reanimated body, but rather about making it present, for the first time, a second instance; or, as Deleuze proposes, to carry the first time to the “nth” power without having to pass through a second time. These works of art may therefore be inserted into a horizon where mimesis is understood not as representation but rather as a ritualized actualization. Repetition internalizes and therefore reverses itself: … it is not Federation Day which commemorates or represents the fall of the Bastille, but the fall of the Bastille which celebrates and repeats in advance all the Federation Days; or Monet´s first water lily which repeats all the others.Immersed in the apparatus of repetition, the works of the artists in this show reveal a power—a will willing itself despite every transformation and against every law. It is a will that postulates repetition as an essential task arising from the self-determination and freedom of a non-replaceable being.

Artists: Rossella Biscotti, François Bucher, Tania Bruguera, Jeremy Deller, Leticia El Halli Obeid, Jon Mikel Euba, Iain Forsyth & Jane Pollard, Mario García Torres, Sanja Iveković, Martin Jenkinson, Magdalena Leite, Jorge Méndez Blake, Fabio Morais, Vicente Razo, Danh Vo, Ming Wong, Artur Zmijewski.

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A Crime Against Art

February 2, 2013

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A Crime Against Art (Madrid Trial)

A film by Hila Peleg
“A Crime Against Art” is a film based on the trial staged at an art fair in Madrid in February 2007 organized by Anton Vidokle and Tirdad Zolghadr. Inspired by the mock trials organized by André Breton in the 1920s and 30s, it playfully raises a number of polemical issues in the world of contemporary art: collusion with the “new bourgeoisie,” instrumentalization of art and its institutions, the future possibility of artistic agency, as well as other pertinent topics.

The trial begins with the assumption that a crime has been committed, yet its nature and evidence are allusive and no victims have come forward. The testimonies and cross-examinations become an attempt by the Judge (Jan Verwoert), the Prosecuters (Vasif Kortun and Chus Martinez), and the Defense Attorney (Charles Esche) to unravel the nature of the puzzling “crime against art.” Set as a television courtroom drama and filmed by four camera crews, the film serial presents a condensed 100 minutes version of the trial.

Cast:
Defendants:
Anton Vidokle and Tirdad Zolgdhar
Prosecutors: Vasif Kortun and Chus Martinez
Defense attorney: Charles Esche
Judge: Jan Verwoert
Expert witnesses: Maria Lind and Anselm Franke
Artist: Setareh Shabazi
Public: Keti Chukrov and Barnaby Drabble
With special contribution by Liam Gillick.

A Crime Against Art is based on The Trial in Madrid, February 2007
Organised by Anton Vidokle and Tirdad Zolgdhar.

Produced by unitednationsplaza studios, Berlin, 100 minutes, 2007

Hila Peleg

My new essay
„… sich etwas mit Hilfe des Leibes zu vergegenwärtigen” – Raimund Hoghe und Franko B.
is now published in:
Katja Schneider / Thomas Betz (Eds.): Schreiben mit Körpern. Der Choreograph Raimund Hoghe. K. Kieser Verlag, München 2012.

In the afternoon I will visit the discussion in the New Museum with documenta 13 director Carolyn Christov-Bakargiev on Contemporary Curating.

by Veronica Tello
in Afterall

Guido van der Werve, Nummer Acht: Everything is going to be alright, 2007, video, 10min 10sec, dimensions variable. Photograph: Ben Geraerts. Courtesy the artist and Luhring Augustine, New York

The 18th Biennale of Sydney, curated by Catherine de Zegher and Gerald McMaster, was an attempt to produce, in the curators’ words, a ‘groundbreaking’ show.1 Entitled ‘all our relations’, the biennale proposed a ‘new model of art’2 that mobilised an enhanced attentiveness to ‘how things connect, how we relate to each other and to the world we inhabit’.3 Reflecting on the intensification of globalisation and environmentalism, de Zegher and McMaster’s biennale was hinged on the notion that contemporary artists are increasingly interested in generating affective, affirmative and ethical relations with nature and amongst human subjects.4 Rejecting modernist and avant-gardist strategies for producing social change, such as alienation and negation, the curators invited artists to contribute works that would instead involve the audience – through conversation, participation, interaction or other means – and further stressed the role of ‘collaboration’ and ‘dialogue’ by encouraging artists to find ways for their works to ‘relate’ to the works with which they would be exhibited.5 While de Zegher and McMaster’s curatorial discourse and methodology clearly intended to draw out a new paradigm for thinking our social and environmental relations, for the most part, the 18th Biennale of Sydney resulted in a conceptually and aesthetically flat exhibition.
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Haus der Kunst – Detail.

Geschichten im Konflikt: Das Haus der Kunst und der ideologische Gebrauch von Kunst 1937-1955

AUSSTELLUNG 10.06.12 – 13.01.13

“Dieses Jahr wird das Haus der Kunst 75 Jahre alt. Der Jahrestag gibt uns Gelegenheit, über das Gebäude nachzudenken – über seine Geschichte, seine Geschichten und darüber, was es heute ist.” (Okwui Enwezor)”

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Martha Buskirk (photo by Robert Moeller)

by Alexis Clements (hyperallergic.com)

Following up on the essay I wrote about the ZERO1 Fellowship sponsored by Google, I wanted to speak with someone with a wider perspective on the shifts that have taken place in the past few decades in the arts, particularly shifts that relate to the interface between art and the marketplace. Martha Buskirk came to mind as an ideal interviewee.

Buskirk, an art historian and critic who teaches at Monserrat College of Art, recently published a new book titled Creative Enterprise: Contemporary Art between Museum and Marketplace, which presents a dynamic and dryly skeptical account of the nuanced and complex relationships between artists, museums and the marketplace.

The book is informed by Buskirk’s deep knowledge of art history and contemporary art practice, as well as her keen eye for the constantly morphing role of the museum and the curator (among others) in the creation of new work. She nicely summarizes the issues she’s grappling with in the book in a discussion of the artist Carey Young’s work: “… it has become ever harder to distinguish between artistic activity and other forms of commerce or production, even as the residual separation is what gives works of art their cultural and commercial authority.”

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