[syndicate] [media-art-hr] Inke Arns predavanja u Ljubljani, 18-23.10. 2004.

Tue Oct 19 16:05:44 CEST 2004

Ko je samo placa da falsifikuje domete umetnosti Istoka?
Pa nije samo Soros i NGO kriterijum za umetnost danasnjice. Dapace, to su
otpaci i surogati birokratizovane kulture korporativnog kapitalizma koji
vodi u smrt svake kreativnosti i ljudskosti.
________________
Andrej Tisma -  artist, art critic and  curator
WEBSITE: http://tisma.net/

----- Original Message -----
From: "zeljko blace" <zblace at mi2.hr>
To: <media-art-hr at yahoogroups.com>; <radioactive at yahoogroups.com>
Sent: Sunday, October 17, 2004 11:29 AM
Subject: [syndicate] [media-art-hr] Inke Arns predavanja u Ljubljani,
18-23.10. 2004.

Za sve koji su poznavatelji djela Inke Arns, jedne od rijetkih osoba na
"zapadu" koja samostalno, studiozno i dugorocno proucava "istok" evrope
te novo medijsku i takticko-umjetnicku scenu, ova ce dva predavanja
sigurno biti osvjezavajuce iskustvo nakon hiperprodukcije kratkih
skenova regije i tema vezanih uz medijski aktivizam.

Toplo preporucam!

Inke Arns wrote:

>I hope to see some of
>you in Ljubljana!
>
>All the best, Inke
>
>
>-----------------
>
>Seminar for Contemporary Performing Arts
>"Performed Politics"
>Cankarjev dom, Ljubljana
>October 18, 2004 (Monday), 19 hrs
>
>
>Inke Arns (Berlin)
>Affirmation and/as Resistance: On the Strategy of Subversive
>Affirmation in Current Media Activist Projects (including some
>examples from the field of contemporary performance)
>
>Since the year 2000, Deportation Class , Please love Austria! , Vote-
>auction.com , and The Yes Men  have all made use of the tactics of
>resistance through apparent affirmation of and compliance with the
>image and the corporate identity of their opponents. While
>Deportation Class unmasked the "Star Alliance"  founded in the 1990s
>by Lufthansa and twelve other airlines as a "Deportation Alliance,"
>thus agitating against Lufthansa's lucrative deportation business,
>Christoph Schlingensief adapted the mass-media Big Brother format to
>stage a media-savvy deportation of asylum seekers live from the
>container on Herbert von Karajan Plaza, carried out through TED
>viewer voting throughout the Vienna Festwochen of 2000. By
>advertising the whole event as an action of the FPÖ [i.e. the Freedom
>Party of Austria], Schlingensief could count on the attention of the
>mass media. Similar waves of outrage were unleashed by the action
>Vote-auction.com, carried out by ubermorgen, which offered American
>voters the chance to auction off their vote to the highest bidder in
>an online action just prior to the US presidential elections of 2000.
>
>Here, the confluence of capital and (voting) power was demonstrated
>with astonishing clarity. Finally, in their action The Yes Men, the
>American activists' group RTMark sent alleged representatives of the
>World Trade Organization (WTO) to international conferences, where
>they delivered amazing reports on the state of the world's economy
>and proclaimed the end of the WTO.
>
>In my lecture I will look at these and other recent media activist
>projects (etoy/Toywar, 0100101110101101.org, etc.) and analyze their
>strategy of (subversive) affirmation as resistance. What becomes
>apparent in these projects is the fact that today critical distance
>is no longer seen as a viable strategy. As there seems to be no
>outside of the text (Jacques Derrida) left - a situation brought
>about by the strategy of total recuperation and appropriation of
>critical viewpoints by the dominant political and economic system -
>it is rather the viral-like stealth tactics of subversive affirmation
>that still seem to hold a potential of resistance. These tactics
>allow artists to take part in a certain social, political, or
>economic discourse and affirm, appropriate, or consume it while
>simultaneously undermining it.
>
>Laibach and NSK as a whole (as well as others) have undoubtedly
>played a crucial role for the formation of today's subversive-
>affirmative media activist strategies. In the lecture I will
>therefore try to excavate some of the parallel histories of
>subversive affirmation in East and West.
>
>Duration: 60 min.
>
>-------------
>
>
>In the framework of the international colloquium
>Art and its Strategies: Between Aesthetics and Politics
>Slovenian Society of Aesthetics
>Ljubljana, Oct 20-23, 2004
>
>the following lecture will be held:
>
>Inke Arns (Berlin)
>The Tactics of Explicit Consent: On Subversive Affirmation in Current
>Media Activist Projects and their Historic Predecessors
>
>In September 2003 a news item shocked the Austrian public:
>Karlsplatz, one of Vienna's main squares, would soon be renamed
>"Nikeplatz". Apart from the new name, it appeared that a huge
>monument in the shape of Nike's famous "Swoosh" logo would be built
>in Nikeplatz. Needless to say, it was all fake. The one-month
>campaign provoked the reactions of Vienna's citizens, city officials
>and, of course, the Nike group, which denied any involvement and
>started legal action to put an end to this bizarre performance.  This
>prank was the work of an organization known as 0100101110101101.org,
>whose members are known to be significantly influenced by the work of
>Laibach/NSK since the 1980s.
>
>Subversive affirmation and over-identification are tactics - if we
>are to follow Michel de Certeau's definition given in his Practice of
>Everyday Life - that allow artists to take part in a certain social,
>ideological, political, or economic discourse and affirm,
>appropriate, or consume it while simultaneously undermining it. In
>this context, Michel Foucault speaks of the "possibility of a non-
>positive affirmation", a "non-affirmative affirmation", which does
>not embody negation, but consists of a leading towards a border at
>which "an ontological decision is made."
>
>Subversive affirmation and over-identification are forms of critique
>which through techniques of affirmation, involvement and
>identification put the viewer/listener precisely in such a state or
>situation which s/he would or will criticise later. Conceived as
>"estranging participation" or "involving alienation"  (Sylvia Sasse),
>this tactic reveals how the targeted discourse functions - without
>distancing itself from it. Thus, when speaking of subversive
>affirmation and over-identification we are not dealing with critical
>distance but are confronted with a critique as aesthetic experience
>which - via identification - is about creating a bodily/psychic
>experience of what is being criticized.
>
>The various tactics and parasitical practices which I will present
>have in common that they employ the classical methods of aesthetics,
>imitation, simulation, mimicry, and camouflage in the sense of
>"becoming invisible" by disappearing into the background.
>
>Furthermore, the lecture will attempt to historically classify the
>artistic practices of subversive affirmation and trace them back to
>their origins. There appear to be largely unkown conceptual links to
>the absurdist practice of Oberiu (Association of Real Art - Daniil
>Charms and others) of the late 1920s / early 1930s which has been
>called the last Soviet avant-garde.
>
>Duration: 45 Min.
>
>----------
>
>
>
>Inke Arns
>http://www.v2.nl/~arns
>

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