Open Systems


The
Bring In Take Out Living Archive at the Open Systems – Zentrum für Kunstprojekte, Vienna, 12 October – 10 November 2012

Opening: 11 October, 19:00 pm

Participating artists:

Andreja Kulunčić

Borjana Mrdja

Meta Grgurevič and Urša Vidic

Further presentations

LA Perpetuum Mobile

LA Audio/Video Booth

LA exhibitionLAB: 12. Oktober

15:00–17:00

Interviews with participating artists and theoreticians:

17:00–18:30

Artist talks by Andreja Kulunčić, Borjana Mrdja, Meta Grgurevič and Urša Vidic

18:30–20:00

Presentation of re.act.feminism, a performing archive by Bettina Knaup

Discursive intervention by Susanne Lummerding

Moderated final discussion

The Viennese edition of the The Bring In Take Out Living Archive (LA) focuses on the ossified concept of the centre and periphery and its questioning. The aim is to challenge the representational and actual politics of the “cultural difference(s)”, which through the colonizing scope of universalistic/particular binary values generates Othering: other languages, other nations, other cultures etc. produced and (ab)used by the neoliberal society. In a manner, not unlike the “Herr-Knecht” dialectics, such neoliberal scope constructs, defines and appropriates politically engaged art as a field of exoticism counterbalanced by the periphery and ‘empowered’ by ethnology of the Other. In this way, social differences are transformed into cultural and anthropological values and further into marginalized, minor, homogenized and closed identities with potential to produce the politically engaged art – freely distributed and presented only in the major liberal centres (synonyms for an open and democratic society).

The artists of the LA exhibition and of the LA exhibitionLAB Vienna – Andreja Kulunčić (Zagreb), Borjana Mrdja (Banja Luka), Meta Grgurevič and Urša Vidic (Ljubljana) – employ in their works presented in the LA Vienna multi-faceted strategies of appropriation in order to expose various aspects of expropriation and to suspend them. Thus the exhibition uses the transfer capacity of ‘peripheral‘ art and ways of thinking as well as the ambiguous construction of ‘peripheral’ artists in the ‘centre’ – who in a way play a role of mimicry and stage a site of double articulation – in order to debunk the false universality maintaining the wire in-between the periphery and the centre.

Besides the exhibition and the LA-exhibition LAB in Open Systems, part of the Vienna edition (the work stations Reading Room, Audio/Video Booth and an installation work by Borjana Mrdja) will take place at the Vereinigung bildender Künstlerinnen Österreichs (VBKÖ) as part of the programme Die vielen Archive.

 

Artist’s and programme info:

Andreja Kulunčić

 

1 CHF=1 VOICE, September 2007–September 2008

Documentation of a political art intervention, Shedhalle Rote Fabrik, Zurich

With her political art intervention in the public space by the way of flyers, billboards and newspaper ads – all calling for donations by the “Sans-Papier” for the renovation of the Swiss Parliament, Andreja Kulunčić appropriates the medium of propaganda. All with an aim for more political participation as well as representation of the “Sans-Papier”, who have been (at best) stubbornly ignored but mostly excluded from the process of political representation and even criminalized by the state of Switzerland (and other European parliamentary democracies). Against the background of the lessons learned from the dead-end politics of identity and multiculturalism, the work debunks the believe that by representing singular interests and a singular agenda of minorities within a democratic arena, these will automatically gain political relevance and in this way lead to the political emancipation of minorities and their singular interests. The work 1 CHF = 1 Voice reminds thus of the universal right to recognition and “responsibility in the face of the other” (Emmanuel Levinas)

Austrians Only, 2005

Documentation of a project consisting of newspaper advertisements, posters, direct-mail items (Festival of Regions, Upper Austria)

With her project Austrians Only, Andreja Kulunčić intervenes once again by the means of commercial media as newspaper ads, posters and emailing into the ossified relation to the other. The project targets the exploitative system of labour and the consequent social injustice of the exploited ethicized subjects. Within the project, the system of dominance is reversed, by offering/projecting the socially inferior jobs to the so called “majority”, which is normally excluded from the extremely exploitative forms of illicit work as prostitution, construction work and as well as domestic work. Especially the latest – illicit domestic workers – are as a rule dismissed within the discourse of “equal opportunities” and figures resulting from “gender monitoring”. While figures might show a positive development within gender and distribution of power within labour system, they as a rule disregard moonlighting (mostly migrant) women, who are mobilized for domestic and so-called affective labour.

Andreja Kulunčić is a contemporary artist, living and working in Zagreb, Coratia. She graduated in sculpture at the Faculty of Applied Arts and Design in Belgrade, Yugoslavia, as well as studied at the Hungarian Academy of Fine Arts in Budapest. Since 2009, she has been a lecturer in New Media, at the Academy of Fine Arts, Zagreb. The exploration of new models of sociability and communication situations, an interest for socially engaged themes, the confrontation with different audiences, and an interdisciplinary collaboration on collective projects characterise Kulunčić’s artistic practice. Andreja Kulunčić’s work has been featured in exhibitions such as the dOCUMENTA11; Manifesta4; 8. Istanbul Biennial; PS1, NY; Whitney Museum of American Art, NY; 10th Triennale-India; Walker Art Centre in Minneapolis; Liverpool Biennial. http://www.andreja.org/

 

Borjana Mrdja

Blic Jackpot Paintings, 2011–12

Paintings: acrylic on paper, gobelin wooden frame

 

BLIC is a daily (tabloid) press made in Serbia (as a part of Ringier Axel Springer, a leading integrated multimedia company in Central and Eastern Europe), but distributed all over the postYugoslav space as well as widely within the posYugoslav diaspora in Europe. BLIC is notorious for its page 7, where texts on political issues are published alongside photographs of completely or partly nude anonymous women, tagged with commentaries addressing the content of the news or relating to political discourse. Not only women images, also the commentaries have mostly pornographic connotations. Next to the anesthetization of governmentality, we thus notice also it’s pornographization. How does body – and specially the female body, as a paradigm of controlled, dispossessed body – relate to governmentality and how does governmentality control bodies via the subordination of a paradigmatic body? In a series of works, Borjana Mrdja through different media explores the story of subordinated bodies by a collage adaptation of a powerful photographic and film method: blow-up. The supposedly “political” content of the newspaper/background is thus rendered subsidiary, completely or partly illegible and evacuated by blown-up female nudes. In a post-porn manner Borjana Mrdjas work thus exposes the intrinsic interconnection between governmentality and its (ab)use of regulation of desire. Another work from the series Blic Jackpot (Blic Jacpot newspaper) will be put on display at the VBKÖ.

Borjana Mrdja holds a MA in Painting from the Academy of Arts in Banja Luka, Bosnia and Herzegovina, where she works as an assisting teacher. Body is the central focus of her artistic practice, which she articulates within different media: paintings, drawings, video, video performance, installation and distributive installation. Borjana Mrdja presented her work within curatorial projects such as Spa Port, Banja Luka; Terminal 00, London; Open City, aMAZElab Art&Culture, Sarajevo, Tirana, Skopje, Milan; Not So Distant Memory, New York and elsewhere. She was in addition awarded several awards by the Academy of Arts in Banja Luka and was nominated for the ZVONO award. http://www.borjanamrdja.com/

Meta Grgurevič and Urša Vidic

Marilyn Monroe (From cycle: Flowers Are Inherently Disgusting), 2010

Installation: stage tape, bicycle parts, lights, wood, electrical mechanism, 300x200x70

Time To Sing (From cycle: Flowers Are Inherently Disgusting), 2010

Video in loop

With the installation work Marilyn Monroe accompanied by the video Time To Sing the artists Meta Grgurevič and Urša Vidic create an uncanny ambient, in which the sensory experience of an almost mechanical reproduction of ossified images and identity concepts are put into a flux, which seems to have got rid of all of the interfaces enabling active intervention in this closed in-itself system of endless repetition. However, against the background of the conceptualizations of the relation original-copy, which pay attention to the topological, contextual distinction between the both, we are encouraged to (ab)use the deterritorialisation of the original and the reterritorialisation of the copy and so intervene in the paths of biopolitics. In the light of the understanding of the medium of installation and documentation as outlined by Boris Groys, the works from the cycle Flowers Are Inherently Disgusting by Meta Grgurević Urša Vidic offer an evidence of “strategies of resisting and inscription based on situation and context, which make it possible to transform the artificial into something living and the repetitive into something unique”.

Meta Grgurevič is a contemporary artist, living and working in Ljubljana. In 2007 she post-graduated in studies of painting at the Venice Fine Art Academy. Since then, she has produced a number of solo projects and has participated in diverse group exhibitions in Slovenia, Italy, the UK, Greece, Bosnia and Herzegovina, Croatia and Macedonia.

Urša Vidic completed her M.A. studies at Ljubljana’s Academy of Fine Art and Design. Since 2004 she has participated in a number of solo and group exhibitions in Slovenia, Austria, Italy, Germany, Belgium and Hungary.

Since 2010, the artists Meta Grgurevič and Urša Vidic have been intensively working on joint projects (Flowers Are Inherently Disgusting, 2010, and Murder my Sweet, MGML, Vžigalica Gallery, 2010; Deadly Kiss Me, Simulaker Gallery, 2011). In their art projects, Meta Grgurevič and Urša Vidic address often the subject of femininity in pop culture, mainly through the language of form and it’s transposing to the fine art mis-en-scène. (Matjaž Brulc)

http://www.metagrgurevic.com/

http://www.ursavidic.com/

LA Audio/Video Booth, 2011-–2012

Documentation of the artists‘ talks, presentations, discussions and interviews generated as part of the LA exhibitionLABs

Moving from the focus on the relational politics between feminism, contemporary art and the post/Yugoslav space (LA 1st edition at the REDacting: Trans-Yugoslav Feminism’s gathering in Zagreb, Oct. 2011), through feminist ways of creating an archive as a living knowledge of everyday life (LA 2nd edition at the “Feminist and Queer Festival Red Dawns” in Ljubljana, March 2012), to the social articulation of the self-sustaining public space within the commons (LA 3rd edition in Sarajevo, Sept. 2012); LA created a public archive of artists’ talks, presentations, discussions and interviews with the participating artists, theoreticians, activists and curators: Ana Čigon (Ljubljana), Nika Autor (Ljubljana/Vienna), Ana Vilenica (Belgrade), Vesna Leskošek (Ljubljana), Tea Hvala (Ljubljana), Mojca Dobnikar (Ljubljana), Madina Tlostanova (Moscow), Lina Dokuzović (Vienna), Ljiljana Raičević (Podgorica) Flaka Haliti (Prishtina/Frankfurt), Vesna Bukovec (Ljubljana), Vjollca Krasniqi (Prishtina), Selena Savić (Belgrade), Ida Hiršenfelder (Ljubljana), Vahida Ramujkić (Belgrade), Aviv Kruglansky (Barcelona), Karen Mirza (London), Tina Smrekar (Ljubljana), Biljana Kašić (Zagreb), Tanja Marković (Belgrade), Jelena Petrović (Belgrade/Ljubljana), Margareta Kern (London). The LA Audio/Video Booth is continously added by new material from LA editions in different cities.

https://bringintakeout.wordpress.com/video/

Perpetuum Mobile, 2011–2012

Video compilation in loop

Perpetuum Mobile is a compilation of video works as well as some other digitized art projects (photos, comics, texts, web based projects), growing on the basis of a continuous open call.

The Perpetuum Mobile video compilation comprises at the moment video works by: Milica Tomić (Belgrade), Tina Smrekar (Ljubljana), Lana Čmajčanin (Sarajevo), Adela Jušić (Sarajevo), Flaka Haliti (Priština), Nela Hasanbegović (Sarajevo), Nika Autor (Ljubljana), Emina Kujundžić (Sarajevo), Ana Hušman (Zagreb), Vahida Ramujkić (Belgrade), Bojana Jelenić (Belgrade), Gordana Andjelić Galić (Mostar/Sarajevo), Renata Poljak (Zagreb), video documentation by Ana Hoffner (Belgrade/Vienna), Dina Rončević (Zagreb), Ana Čigon (Ljubljana), Nataša Teofilović (Pančevo), Marina Radulj (Banja Luka) and Monika Ponjavić (Banja Luka), Nataša Davis (London).

In Vienna, the Perpetuum Mobile presentation will include two galleries: Open Systems and VBKÖ. While the video works will be presented in the Open Systems, the documentation of other digitalised art projects will be accessible through the LA exhibition_VBKÖ_edition at the VBKÖ including: text by Dunja Blažević (Sarajevo), text and photo documentation by Alenka Spacal (Ljubljana), books by Ivana Pantelić (Belgrade), Svetlana Slapšak (Ljubljana), Ana Vilenica (Belgrade), Damir Arsenijević (Tuzla), Jelena Petrović (Ljubljana/Belgrade), posters by Tanja Ostojić (Belgrade/Berlin), photo documentation by Nela Milić (London), Jelena Jureša (Novi Sad), Vanja Bučan (Amsteradam/Maribor), video stills by Marina Gržinić (Ljubljana/Vienna) and Aina Šmid (Ljubljana), Maja Bajević (Sarajevo), drawings by Jovana Komnenić (Pančevo/Berlin) and Vesna Bukovec (Ljubljana), comics by Nikoleta Marković (Rijeka), a film by Maja Prettner (Murska Sobota), collages by Dragana Mladenović (Belgrade/Pančevo), an Internet browser video by Lina Dokuzović (Vienna) and a poem by Andreja Dugandžić. As it is an ongoing process, new materials and works are continuously being added.

 

Futher contributors to the LA exhibitionLAB

 

re.act.feminism #2 – a performing archive, presentation by Bettina Knaup

re.act.feminism #2 – a performing archive presents feminist, gendercritical and queer performance art by over 120 artists and artist collectives from the 1960s to the beginning of the 1980s, as well as contemporary positions. The research focus is on Eastern and Western Europe, the Mediterranean and Middle East, the US and several countries in Latin America. On its route through Europe this temporary archive continues to expand through local research and cooperation with art academies and universities. The archive is also ‘animated’ through exhibitions, screenings, performances and discussions along the way, which continuously contribute to the archive. http://www.reactfeminism.org

Bettina Knaup (Berlin) is an artistic director (together with Beatrice Ellen Stammer) of the re.act.feminism #2 – a performing archive. She is a cultural producer and curator, interested in the interface of live arts, politics and knowledge production. She curated or produced many transnational projects (e.g. City of Women Festival, Ljubljana; Performing Proximities, Beursschouwburg, Brussels;  collaborative on-line project GenderArtNet; Body Affects, Berlin; etc.) She directed the new European platform for cultural exchange LabforCulture during its launch phase.

Susanne Lummerding (Berlin/Vienna) teaches in Media Studies and Gender Studies at the University of Vienna. She is a certified Coach and Supervisor working in Berlin and Vienna. Her focuses of research include the analytical linkage of revised concepts of mediality and the political as well as anti-identitarian representational critique and agency. She is author of: agency@? Cyber-Diskurse, Subjektkonstituierung und Handlungsfähigkeit im Feld des Politischen. One of her recently published articles is: Signifying theory_politics/queer? In: Castro Varela/Dhawan/Engel (eds): Hegemony and Heteronormativity. Revisiting ‘the political’ in queer politics. For more publications/information see: www.lummerding.at

 

Open Systems

Zentrum für Kunstprojekte

Lassingleithnerplatz 2

A- 1020 Vienna

Austria

(+43) 699 115 286 32

Open Friday, Saturday 13.00 – 18.30 and open for the rest of the week days by appointment only.

Admission free

office@openspace-zkp.org

http://www.openspace-zkp.org

Open Systems – Zentrum für Kunstprojekte aims to create the most vital facilities for art concerned with contributing a model strategy for cross-border and interregional projects on the basis of improving new approach.