A Day.5 in London

I arrive outside the Royal Albert Hall to see my friend's final Show at the RCA and to attend his convocation. I've known Roli and his father Albert since my time at Summerhill, and I'd also photographed Roli's project earlier. I had left Norwich on the 5:40 National Express, after an argument at the coach station taking an unpredictable turn with the driver retracting his argument, allowing an Indian family to board the coach after all. 

The Royal College of Art convocation ends

I meet Michael to borrow his keys at the Whitechapel Art Gallery (he had suggested to meet at this gallery the night before, and it's then I find out on the gallery website that The Berlin Wall by Lars Laumann is being shown until the weekend). When we sit in the gallery cafe I mention Eija-Riitta Berliner-Mauer, and we talk mostly about other things looking at the anarchist book store outside the window.

"In his films Norwegian artist Lars Laumann tells singular stories of obsessional fantasy and desire. The Berlin Wall, 2008, is a documentary of Eija-Riitta Berliner-Mauer, a Swedish woman who describes herself as ‘objectum-sexual, emotionally and sexually attracted to objects, things’. The film follows her story as she narrates her ongoing relationship with the Berlin Wall." [Whitechapel Gallery, 2010] 

Eija-Riitta Berliner-Mauer at the Whitechapel Art Gallery 

I drink a latte and eat an expensive baguette, he shoots off to catch the train to go to Summerhill, I pick up an event guide and decide to go to "Whose Map is it? New Mapping by Artists" and I take the underground to go to the Black Dog Space to see the Modern British Posters exhibition. I came here 3 weeks ago, on the day I saw the Glasnost and Exposed, without knowing the exhibition hadn't begun. I find the University of London Centre for Creative Collaboration building few metres down from the Black Dog, looking very modest.

The CCC entrance

Whose Map is it? had gathered work by artists covering a wide range of issues: immigration, border policies and cultural identity. There are two analogue interactive maps where visitors are asked to stick a white dot on the location they were born in,  and to draw their route to the gallery.

   

A hand from Amsterdam

Those who travelled to the gallery

Oh, I went to the White Cube as well, to see the Marc Quinn exhibition, but the venue is boiling and there was  a TV crew who had more rights than I did. It was okay in a sense that the guy I asked my way to the gallery was the manager of the Flowers Gallery, and we had a short chat on his way back to his gallery. I visit the Flowers also, just because I was now curious about the gallery and I had some time before I met up with Mark and Kate. I've not seen them since the launch of the School & Family Works at 11 Downing Street in March. We eat Thai, they go to a theatre, and I head to Tate Britain.

This is my first visit to Tate Britain, only because of an article I read in the Guardian about Fiona Banner's commission. I feel as if I mostly watched the people interacting with her work, than her actual work. "This work is more about how people react to it, rather than a big black and white statement" she said (Brown, 2010).

Then I head back to Michael's flat.

Fighting off the London transport's engineering works and suspensions the following morning, I arrive at the RCA to meet Roli again. We have a window of 25 minutes before I leave to catch my train up to Summerhill. He takes me to his work Shizaru, developed on the concept of the three wise monkeys, in which its 4 participants are made to collaborate with others. 

Roli and 4 monkeys

Roli then plays a tune on his Seaboard in the exhibition room, I take some photos, we talk about fonts, I pack up my camera and we walk to the station talking about our Summer plans.

Brown, M. (2010) Tate Britain: Fiona Banner Exhibition. [Online] http://www.guardian.co.uk/artanddesign/2010/jun/28/tate-britain-fiona-banner [04/07/2010]

Whitechapel Gallery [2010] Lars Laumann & Aida Ruilova: 20 April - 5 July 2010 Zilkha Auditorium. [Online] http://whitechapelgallery.org/exhibitions/lars-laumann-aida-ruilova [01/07/2010]

Flowers Galleries [2010] What a Relief: Group Show. [Online]

http://www.flowersgalleries.com/exhibitions/3933-group-show/ [04/07/2010]

Iniva [2010] Introduction to Whose Map is it? New Mapping by Artists. [Online] http://www.iniva.org/exhibitions_projects/2010/whose_map_is_it/whose_map_it_it [04/07/2010]

Lamb, R. (2010) The designer. [Online] http://anewsoundscape.com/The_Designer.html [04/07/2010]

O'Hagan, S. (2010) Signposts to the Modern Age. [Online] http://www.guardian.co.uk/artanddesign/2010/jun/06/modern-british-posters-paul-rennie [04/07/2010]

The School & Family Works [2010] http://theschoolandfamilyworks.co.uk/ [04/07/2010]

White Cube [2010] Marc Quinn: Allanah, Buck, Catman, Chelsea, Michael, Pamela and Thomas. [Online] http://www.whitecube.com/exhibitions/MQ%202010/ [04/07/2010]

Faculty of Invisibility: Assembly

Shedhalle

Faculty of Invisibility:

Assembly

10 July – 8 August 2010

Shedhalle

Rote Fabrik, Seestrasse 395

8038 Zürich, Switzerland

www.shedhalle.ch

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With: Laurie Cohen, Benjamin Cölle, Maaike Engelen, Clemence Freschard, Jeanne van Heeswijk, Ingela Johansson, Achim Lengerer, M7, p-r-o-x-y, Dagmar Reichert, Darren Rhymes, Jan Rolletschek, Elske Rosenfeld, Simone Schardt, Johan Siebers, Tanja Widmann et al

Curated by Sönke Hallmann, Inga Zimprich

EXHIBITION

In its curatorial guest project the Faculty of Invisibility engages with the political place of the assembly. Along moments of institutionalisation it traces the question which possibilities of assembly the contemporary art institution suggests and allows for. The Faculty of Invisibility proceeds by investigating forms of political speech, moments of inscription and acts of enforcement that make social articulations binding and recognizable. If the institution marks the threshold where articulations are inscribed into the realm of the visible and communicable, to question the institution's political capacity today requires to exercise the institutional as a function of speech and to assemble within its mechanisms of showing and issuing.

The exhibition room conveys a series of settings similar to those that direct roles and spaces of speech in institutional entities. These spatial set-ups draw on such acts as the address, the foundation, the protocol, the delegation and the declaration to ask: What does it mean to gather within the language-based apparatus of the institution –– within those places the institution provides, but which in turn reproduce the institutional itself? What can it mean to gain articulation in them, to have a voice within them? How could one open a space of speech inside the institutional realm in which one's own being-in-language becomes apparent and available?

Within this exhibition materials from archives of political entities are on display such as the United Nations, the Central Round Table of the GDR, personal peace-treaties of the GDR's oppositional movement (both from the Robert Havemann Gesellschaft), the founding congress of the West-German Greens (from the Archiv Grünes Gedächtnis der Heinrich Böll Stiftung), records of meetings of Zürich's city council as well as of the Shedhalle itself. In the video piece Staging Cities / Cuidades en Escena, M7red (Mauricio Corberlan, Pio Torroja, AR) develop a scenario of negotiation between human and non-human actors.

(e-flux newsletter, 01/07/2010)

http://www.shedhalle.ch/english/index.html

data 3D visialisation

Live data and visualisation, plotting it on 3D cyber spare.

Team Cloudkick (2010) Real-time server visualization with canvas and processing.js. [Online] https://www.cloudkick.com/blog/2010/apr/27/cloudkick_server_visualization_in_html5_canvas/ [01/07/2010]

screen

A wide screen.

120 Feet of Video Art: Final Exams at NYU's Big Screens Class. [Online] 
http://gizmodo.com/5110633/120-feet-of-video-art-final-exams-at-nyus-big-screens-class [01/07/2010]

software, filtering

Looking for "data that is hidden in various social network information streams – Facebook & Twitter updates in particular." (Jer, 2009)

http://twitter4j.org/en/index.html
http://www.metacarta.com/
http://cycling74.com/

Jer (2009) Just Landed: Processing, Twitter, MetaCarta & Hidden Data. [Online]
http://blog.blprnt.com/blog/blprnt/just-landed-processing-twitter-metacarta-hidden-data [01/07/20910]

Pure Data

"Pd (aka Pure Data) is a real-time graphical programming environment for audio, video, and graphical processing... Pd was created to explore ideas of how to further refine the Max paradigm with the core ideas of allowing data to be treated in a more open-ended way and opening it up to applications outside of audio and MIDI, such as graphics and video." (Zmoelnig, 2009)

This could possibly be a tool to control the images which is collected from the internet. Looks very complicated.

Zmoelnig, I.M. (2009) Pure Data. [Online] http://puredata.info/ [01/07/2010]

Christian Wulff elected German president

Christian Wulff, candidate of Germany's centre-right coalition to become president, narrowly won a cliffhanger election tonight despite the attempt of a group of rebels to turn it into a referendum on Angela Merkel's authority.

... 

His rival Joachim Gauck, a former East German dissident and Protestant pastor who had the support of the majority of the public, secured 494 votes. He fought back tears as the result was announced and he received a standing ovation from the opposition who had backed him.

The Linke (left) party withdrew its candidate, Luc Jochimsen, from the third round. The move might have paved the way for their members to vote for Gauck, but instead they abstained.

The leadership of the Linke had consistently expressed their disapproval of Gauck, who is the nemesis of a party that has its roots in communism, because of his strident anti-communist views as well as his support for Germany's involvement in Afghanistan. On the other hand, some had signalled they were prepared to support Gauck if it prevented Wulff's election, which would have weakened Merkel's beleaguered government further, and might even have brought it down.

Konnolly, K. (2010) Christian Wulff elected German president. [Online] http://www.guardian.co.uk/world/2010/jun/30/christian-wulff-elected-german-president [01/07/2010]

What’s the Time, Mahagonny?

Natascha Sadr Haghighian

3. Here in Mahagonny, life is lovely [Enter Volkseigentum, the squatter, and a water cannon]

In 1988 the Lennè-Dreieck (Lennè triangle), a piece of land on Berlin’s Potsdamer Platz, located on the west side of the wall, was squatted by a group of a few hundred people. In the course of the occupation the area was renamed “Kubat-Dreieck” after Norbert Kubat, who had died in police custody on May 1, 1987.8 Since 1938 the area had belonged to Berlin’s Mitte district, but when Berlin was partitioned into East and West, it fell into an administrative void. It was physically located on the west side of the Wall, while judicially and administratively falling under the part of Mitte belonging to East Berlin, which meant that the West German police were not allowed to enter the area to evict the squatters. Over a few months people built a village on the land, with huts, communal kitchens, and gardens. When the land was eventually handed over to the West in a barter transaction, the police could finally raid the village. When the inhabitants of Kubat-Dreieck began to climb over the Wall to escape the police, the East German border troops, who were apparently prepared for this illegal border crossing, helped the escaping two hundred squatters over the 3.6 meter-high concrete wall, loaded them into vans, briefly interviewed them over breakfast, and dropped them off at another checkpoint. The West German police seized and sealed off the land after the squatters had escaped, and today the area is owned by Otto Beisheim—a prominent businessman and former member of Adolf Hitler’s personal bodyguard regiment, the Leibstandarte SS Adolf Hitler (LSSAH)—who built the Beisheim Center on it in 2004.

This incident could be seen as a forerunner to the peculiar circumstances that surrounded unsettled buildings and land ownership after the fall of the Wall, and the various, divergent ways it was dealt with. In the GDR a great deal of land and real estate, including around 98 percent of industrial facilities, was Volkseigentum—literally “public property,” understood more specifically as a socialist form of public ownership distinct not only from private property, but from state ownership as well, and mainly accumulated through dispossession.

After the fall of the Wall, it became unclear what would happen to this public property. In February 1990 the activist group Demokratie Jetzt (Democracy Now) initiated the founding of a fiduciary organization called Treuhandanstalt, which set out to protect the rights of GDR citizens with regard to the Volkseigentum. In the course of Germany’s reunification the same year, the 8,500 publicly owned enterprises as well as other publicly owned real estate and land—including agricultural land and forests, but also the property of the Stasi, the army, and political parties—were handed over to the Treuhandanstalt by mandate. However, under the legislature of the now reunified Germany, its new objective was to work as quickly as possible to privatize and redistribute the public property of the former GDR according to the terms of the market economy. The German Federal government staffed Treuhand’s board with experienced, exclusively West German managers, and stated that due to the unprecedented scale of the undertaking, the board was to be exempt from any negligence liability. A privatization and restructuring of vast proportions took its course, which was mostly a matter of incorporating East German production facilities into West German companies, followed by the subsequent closing of many of those facilities (partly in order to eliminate competitors).

A few months before the Treuhand was founded, and very close to its headquarters in the former Nazi Air Ministry, a group of people squatted the former WMF (Württembergische Metallwarenfabrik) building. It was one of many squats in the former East German capital. The ambiguous ownership and apparent absence of law enforcement had led to a renewed squatting movement that had previously been strong in the West Berlin of the 1970s and ‘80s. Botschaft, the group that squatted the WMF building, worked collectively and between disciplines to provide a platform for activism and cultural practice outside the frameworks of traditional formats such as art, film, or politics.9 Botschaft’s first large public event was a weeklong series of performances, discussions, and presentations of various kinds addressing the privatization of Potsdamer Platz, city planning, and public space in the age of “Dromomania,” which was the title of the event. “Dromomania” took place just a few days after the police brutally evicted the inhabitants of several squats in the Friedrichshain district using 3,000 Federal Police (the Bundespolizei, or BPOL) and special forces (the Spezialeinsatzkommandos, or SEK), ten armored water-cannon trucks, helicopters, tear gas, stun grenades, and actual live ammunition. Among these squats were the houses of Mainzer Strasse, comprised of twelve units inhabited by a diverse community including a women’s center, a queer squat called “Tuntenhaus,” a community kitchen, a bookstore, and much more.10 As opposed to other squats, the inhabitants of Mainzer Strasse had decided to follow a non-negotiation policy with regard to the police and the municipality. The division between the squats opting for and those opting against negotiation had already led to tensions in the squatter assembly, and the fissure was by now a fait accompli.

“Dromomania” was shaped by these events as much as by the activities around Treuhand and friends. In a moment between the past and the future, a variety of possible worlds seemed feasible, and there was no doubt that one had to get involved. However, there were various opinions as to just how long such a moment should last and what measures should be taken. Whereas some insisted upon the wish that the moment would last forever, others fought to establish more sustainable models of collective ownership and communally run spaces. The moment in fact contained a multiplicity of truths—the truths of the commons as much as the truths of capitalism. (Haghighian, 2010a)

Haghighian, N.S. (2010a) What’s the Time, Mahagonny? [Online] http://e-flux.com/journal/view/157 [01/07/2010]
Haghighian, N.S. (2010b) #103 13.05.2010 (13' 08'') [Online]
http://rwm.macba.cat/en/sonia?id_capsula=678 [01/07/2010]

e-flux journal no. 17: In Search of the Postcapitalist Self

 

On the cover: Akademik Fedorov, Leningrad, black/white photograph, 28x20 cm. Author and date unknown (found in 1994 in a locker of an abandoned Russian military base near Berlin). Private collection of Marion von Osten.

A number of alternate, informal approaches to art and economy that arose in the Berlin of the 90s created a great deal of space and potential for rethinking relations between people, as well as possible roles for art in society. Today, however, much of this hope has since been obscured by the commercial activity and dysfunctional official art institutions most visible in the city's art scene, and though many of the ways of living and working that were formulated in the 90s are still in practice today (not just in Berlin), many of their proponents acknowledge a feeling that the resistant, emancipatory capacities inherent to their project have since been foreclosed upon. Our interest in inviting Marion von Osten to guest-edit e-flux journal's issue 17 had to do precisely with this widespread, prevailing sense of rapidly diminishing possibilities in the face of capitalist economy, and her extensive issue offers a broad and ambitious reformulation of how we might still rethink resistance and emancipation both within, and without capitalism—even at a time when alternate economies move ever nearer to everyday capitalist production, and vice-versa.

—Julieta Aranda, Brian Kuan Wood, Anton Vidokle

The idea for this issue came about around a coffee table with Anton Vidokle. We were at a café in Berlin Mitte, a spot I wouldn't usually choose for an appointment—a sign of unfriendly changes in the city. Upon entering I immediately became aloof, but after a minute felt ashamed for assuming such a snobbish and unfriendly Berlin attitude, and had to ask myself how I could seriously claim to be a real Berliner in the first place—after all, for the last fourteen years, I've commuted almost every week to teaching jobs and projects. And most of my friends and colleagues have to organize their lives around similar routines (and there is less free will in it than the category of the "mobile class" might suggest). Anyhow, moving on from these ambiguous thoughts, our conversation gave rise to some interesting afternoon dérives: the recent histories of Berlin's leftist art collectives, and their interest in self-organization, self-publishing, electronic music, new forms of collective production, gender, postcolonial, and urban theory, as well as resistance and action against the monstrous reconstruction of Berlin in the 1990s, and the history of the Berlin Biennale as a marketing strategy for the city. We also reflected on the widespread university protests in Europe and the resistance to the implementation of the EU border regime, and the need for cultural institutions to find alternate means of establishing the grounds for more lasting forms of cultural production, education, and research beyond the "Become Bologna" and "Be Creative" imperatives. How can we find the finances and collective energy to begin this work immediately, while still placed at the center of so many contradictions? Finally, my own interest in contemporary feminist economists' engagement with new political imaginaries prompted the question of whether it would be possible to rethink contemporary and historical leftist cultural projects beyond the neoliberal horizon, and more specifically in relation to postcapitalist and postidentitarian politics.

This last shift in perspective gave rise to this guest-edited issue of e-flux journal, which can be understood as the beginning of a debate that asks whether the (cultural) Left is still capable of thinking and acting beyond the analysis of overwhelming power structures or working within the neoliberal consensus model. What would such thinking beyond the existing critical parameters disclose and demand? Wouldn't it call for spaces of negotiation and confrontation rather than of affirmation, cynicism, and flight? With the encouragement of the journal editors, I have invited artists, cultural producers, and theorists whom I know to be reflecting on these concerns, but who mostly have not articulated their thoughts publicly or alongside similar concerns; and yet, as readers will find, the authors provide few easy answers to the above questions—and conflicts resulting from alternate views and practices cannot be easily ignored. Rather than follow the exhausted master narratives of capitalism and crisis, this issue of e-flux journal investigates how cultural producers are already in the process of creating and reflecting new discourses and practices in the current climate of zombie neoliberalism. And what is disclosed and what changes if cultural production can be imagined precisely from the vantage point of postcapitalist politics?

For many, it might seem that cultural producers are not the most prepared to engage with these issues, that an activist approach would be more appropriate. But isn't the change in perspective, the intervention in common images and language, and the invention of a new ontological basis for decentering the common capitalocentric vision, already a possible ground? Wouldn't this call for other images and assumptions than that of a totalizing capitalism, victimhood, or the division of social groups into minorities? Wouldn't it call for forms of participation that do not remain symbolic, but would constitute new public spaces for political as well as cultural negotiation? Aren't artists' historical and current forms of self-organization, and interventions into the art system's historical division of labor, signs of a détournement within the actual distribution of wealth and value, whether monetary, cultural, or symbolic? Couldn't the emancipatory potential of aesthetic and cultural practices be enacted here?

It is no coincidence that the contributions to this issue focus not only on the constant privatization and capitalization of urban space, but also on ideas and concrete proposals of (urban) design as an aesthetic and spatial practice integrating manual and cognitive abilities, and in such a way that merits consideration through a postcapitalist lens. Taking this issue of e-flux journal as a platform for these concerns connects these debates with an international discussion, but to the extent that the issue is composed primarily of Berlin-based theorists, artists, and activists, it also asks whether the local is still relevant to these concerns. And it is likewise no coincidence that many of the contributions take the theses and proposals in Gibson-Graham's latest book as a leitmotif for a critical reading and revaluation of existing postcapitalist projects and cultural practices.

It is customary to note that postcapitalist practices act in the shadow of mainstream discourses and events, and this collection of essays intends to contradict that point on many levels, serving rather as an attempt to initiate a similar discussion, but with a sense of immanence: although the present is constituted by postcapitalist practices (and politics as well), we still have to engage in the discourse and establish a new language, whether textual or visual, in order to make these practices apparent, articulated, and applicable. Therefore, this issue of e-flux journal will endeavor to reflect upon the presence of the political against the backdrop of contingent aesthetic, social, and economic factors. It is not a call for a telos or a proclamation of the need for a new, completely different political design that asks, "What has to be done?" Rather, the contributions to this issue seek to promote a more empirical relationship to the presence of the political—one embedded in the genealogies of ongoing social struggles and postidentitarian subjectivity—and ask instead, "What has been done already? And how do we go on?"

—Marion von Osten

Aranda, J., Kuan Wood, B., Vidokle, A. & von Osten, M. [2010] e-flux journal no. 17: In Search of the Postcapitalist Self. [Online] http://www.artandeducation.net/announcements/view/1175 [01/07/2010]