Re: [Nettime-ro] COMRADES OF TIME at PAVILION UNICREDIT

[silviu dancu <silviuser@gmail.com>]

Salut, materialul imi place cum suna, dar nu vad numele IP-ului intre
parteneri :))))

2010/2/11 PAVILION [contemporary art & culture magazine] <
pavilion@pavilionmagazine.org>

>
> PAVILION UNICREDIT
>
> /for English please scroll down
>
> 18 Februarie - 28 Aprilie, 2010
>
> COMRADES OF TIME
> Expozitie
>
> DESCHIDERE OFICIALA 18 February, 19.00
>
> Participanti: Zbynek Baladran (CZ), Grigor Khachatryan (AM), Anna Molska
> (PL), Ioana Nemes (RO), Skart (SRB), Clemens von Wedemeyer (DE)
>
> Curator: Joanna Sokołowska
>
> "A fi con-temporan nu inseamna neaparat a fi prezent, a te afla aici si
> acum; inseamna sa fii mai degraba "alaturi de timp" decat "in timp". In
> germana "con-temporan" se spune "zeitgenössisch". Cum Genosse inseamna
> "tovaras", con-temporan - zeitgenössisch - poate fi tradus prin "tovaras al
> timpului", cel care colaboreaza cu timpul si il ajuta atunci cand are
> probleme, cand intampina greutati." Boris Groys
>
> De ce devin artistii contemporani niste "tovarasi ai timpului" atat de
> activi si intervin asupra lui in asemenea moduri, incat il incadreaza in
> metanaratiunile istorice implicite în spaţiile sociale contemporane?
> Expoziţia asociază întrebarea de mai sus cu practicile artistice care
> implică dileme puse de reprezentarea, rememorarea şi actualizarea trecutului
> din perspectiva proiectelor modernitatii socialiste si comuniste. In
> lucrarile artistilor pot fi detectate doua moduri de gandire principale si
> interconectate. Pe de o parte avem o reflectie asupra posibilelor sensuri
> ale straturilor istorice prezente in arhitectura si in alte forme de
> organizare a vietii, ce investigheaza in particular modul in care istoria
> este transmisa si mediatizata. Astfel, aici centrul de interes il reprezinta
> conditiile contemporane de producere a experientei trecutului. Pe de alta
> parte se pune un accent puternic pe meditatia asupra aspectului emancipator
> al modernităţii ca proiect neterminat. Din aceasta perspectiva există o
> nevoie urgenta de evaluare a potentialului actual al modernitatii si,
> concomitent, de analiza critica a erorilor sale.
>
> Proiectele ideologice moderniste pot fi observate cu o intensitate speciala
> in procesul de constructie si in actiunile de distrugere si reconstructie
> legate inexorabil de scrierea istoriei si de un control asupra memoriei.
> "Naratiunea si constructia", noteaza Ricoeur "creeaza un gen similar de
> imprimare: una in longevitatea timpului, cealalta in trainicia materialelor.
> Fiecare noua cladire se inscrie in spatiul urban ca o naratiune intr-un
> cadru intertextual". Distrugerea poate sterge sau suspenda in timp istorii
> vechi, anuntand astfel declansarea unor noi naratiuni. Procesul de producere
> si reproducere a spatiului social in care functioneaza structura,
> arhitectura si forma urbana in evolutie constituie o provocare interesanta
> pentru artisti, in masura in care acestia il interpreteaza ca pe un
> palimpsest compus nu doar din straturi spectaculare, vizibile si materiale,
> spatio-temporale, ci si dintr-o multitudine de straturi invizibile si
> imateriale asezate unul peste celalalt. Artistii nu sunt interesati atat de
> dezvaluirea si prezentarea unui text care s-ar putea sa fi existat odata, ci
> de codarea sau reactivarea lui, expunandu-l contextului actual in care el ar
> putea reaparea. Aceasta e situatia in care artistii devin tovarasi activi ai
> timpului, caci combina fara restrictii cadre recunoscute din descrierile
> istorice si inventeaza noi traiectorii pentru evenimentele trecutului. Fiind
> interesati de caracterul complex al dorintei de a captura trecutul,
> realizeaza transformari in sensurile alocate acestuia, utilizand, de
> exemplu, metoda repetitiei sau a remake-urilor. De fapt repetitia este de
> fiecare data o actualizare recenta a conditiilor de productie ce apar la o
> noua prelucrare a trecutului.
>
> Explorarea in spatiul social contemporan a ramasitelor unei utopii
> pierdute, demers prezent in lucrarile lui Clemens von Wedemeyer
> ("Silberhöhe", "Die Siedlung"), Zbyněk Baladrán ("Glossary", "Socio-fiction
> II") si Grigor Khachatryan ("Churches"), este legata de problema
> transmiterii actului de imaginare si reamintire a lor cu ajutorul diverselor
> imagini si a feluritelor tehnologii utilizabile in domeniul culturii
> vizuale: filmele de fictiune, cele documentare si de televiziune. Analizand
> imaginile prin diverse moduri ale "reproductibiitatii lor tehnice" ei ajung
> la esenta imaterialului contemporan si aspectul afectiv al economiei ce
> genereaza in primul rand imagini si dorinte mediate.
>
> Problema potentialului contemporan de emancipare a ideilor revolutionare, a
> socialismului si comunismului, precum si rolul artei in transformarea
> societatii, sunt abordate si in lucrarile lui Škart ("Our Miracle") si Anna
> Molska ("W=F*S (Work)",  "P=W:t (Power)") si Zbyněk Baladrán. Ce conditii
> declanseaza astazi insasi necesitatea de a pune astfel de intrebari?
> Sugestia artistilor ajunge chiar la esenta polemicii despre problema
> comunismului in istoria societatilor care l-au trait: sa fie eliminat
> complet sau sa fie tratat pur si simplu ca o eroare, o falie temporara in
> nazuinta universala spre capitalism? Aceasta amnezie, laolalta cu absenta
> unor noi orizonturi politice, a constituit unul dintre prezumtivii factori
> ce au facilitat dominatia paradigmei actuale, in care antagonismele sunt
> atenuate.
> Forta sentimentelor negate poate conduce la fantezia reconstruirii
> traditiilor pierdute, anistorice, stabile si "autentice", in sensul descris
> de Svetlana Boym prin sintagma "nostalgie restauratoare", si la "intoarcerea
> reprimatului". Škart si Anna Molska ne propun sa ne incheiem conturile cu
> trecutul intorcandu-ne la el si verificandu-i elementele in momentul actual.
>
> Investigarea de catre artisti a modurilor de reamintire, uitare sau
> reactivare a ideilor revolute ale modernitatii socialiste, ale caror
> elemente inca mai contribuie la edificarea spatiilor in care traim, permite
> o reevaluare a potentialului contemporan al artei in raport cu noua economie
> existenta, cu formele de organizare a vietii si cu initierea unor experiente
> colective.
>
> Publicatie: "Tovarasi ai timpului", cu texte de Joanna Sokolowska, Boris
> Groys, Juli Carson.
> Publicatie editata de  PAVILION - journal of politics and culture,
> Engleza/Romana, 80 pagini, B/W, 13,5 x 18,5 cm, softcover, 7 EURO/19 RON.
>
> This project is supported by POLISH INSTITUTE BUCHAREST.
>
>
> Imagine: Grigor Khachatryan, Churches, 1997, video still, courtesy of the
> artist.
>
>
> ---
>
>
> 18 February - 28 April, 2010
>
> COMRADES OF TIME
> Exhibition
>
> OPENING 18 February, 19.00
>
> Participants: Zbynek Baladran (CZ), Grigor Khachatryan (AM), Anna Molska
> (PL), Ioana Nemes (RO), Skart (SRB), Clemens von Wedemeyer (DE)
>
> Curator: Joanna Sokołowska
>
> "To be con-temporary (...) means to be "with time" rather than "in time."
> "Con-temporary" in German is "zeitgenössisch." As Genosse means "comrade,"
> to be con-temporary--zeitgenössisch--can thus be understood as being a
> "comrade of time"--as collaborating with time, helping time when it has
> problems, when it has difficulties."  (Boris Groys)
>
> Why do contemporary artists become such active "comrades of time"
> intervening in the ways in which time is framed by the historical
> meta-narratives implicit in contemporary social spaces? The exhibition
> relates this question to artistic practices that confront dilemmas posed by
> the representation, remembrance and actualisation of the past as far as it
> concerns projects of socialist and communist modernity. In the artists'
> works, two principal interconnected modes of thought can be detected: on the
> one hand, a reflection on the possible meanings of the layers of history
> present in architecture and other forms of the organisation of life, in
> particular questioning the way history is mediated and medialised. Thus, the
> focus here is on the contemporary conditions of the production of the
> experience of the past. On the other hand, a strong emphasis is also placed
> on thinking about the emancipatory aspect of modernity as an unfinished
> project. From this perspective, the urgent need is to assess modernity's
> present-day potential and at the same time critically examine its mistakes.
>
> Modernist ideological projects can be seen with especial intensity in the
> construction process, in acts of destruction and rebuilding that are
> inexorably linked with the writing of history and a policing of memory.
> "Narrative and construction," notes Ricoeur, "bring about a similar kind of
> inscription, the one in the endurance of time, the other in the enduringness
> of materials. Each new building is inscribed in urban space like a narrative
> within a setting of intertextuality".  Destruction can erase or suspend old
> histories in time, and thus announce the inception of new narratives. The
> process of the production and reproduction of the social space in which the
> evolving urban fabric, architecture and design function forms an interesting
> challenge for artists, in as much as they interpret it as a palimpsest
> composed not just of spectacular, visible and physical temporo-spatial
> layers, but also of multiple invisible and immaterial strata piled on top of
> one another. Artists are not so much concerned with the uncovering and
> presentation of an erased text that may once have existed, but encode or
> reactivate it, exposing the current context in which it might emerge. It is
> here that artists are active comrades of time, mixing frames recognized from
> descriptions of history and inventing new trajectories for past events.
> Interested in the complex nature of the desire to grasp the past, they
> perform transformations on the senses ascribed to it, making use, for
> example, of the method of repetition or remakes. Repetition is in fact an
> actualization of the conditions of production that emerge from a reworking
> of the past.
>
> The exploration of the traces of a lost utopia in contemporary social space
> that is present in the works of Clemens von Wedemeyer ("Silberhöhe", "Die
> Siedlung") , Zbyněk Baladrán ("Glossary", "Socio-fiction II")  and Grigor
> Khachatryan ("Churches") is connected with a question as to the mediation of
> the imagining and remembering of them through the different images and
> various technologies operative in the field of visual culture:  fiction and
> documentary films, video and television. Probing images through different
> modes of their "technical reproducibility" they get to the very heart of the
> contemporary immaterial and  affective aspect of an economy that generates
> first and foremost mediated images and desires.
>
> The question of the contemporary emancipatory potential of revolutionary
> ideas, of socialism and communism, and the role of art in the transformation
> of society are taken up in the works of Škart ("Our Miracle") Anna Molska
> ("W=F*S (Work)",  "P=W:t (Power)")  and Zbyněk Baladrán. What conditions
> produce the need to even ask such questions today?  The artists` suggestions
> can be seen within  the discussions of the problem of the erasing of
> communism from the history of the societies that experienced it, or the
> simple treating of it as a mistake, a temporary break in the universal
> striving towards capitalism. This amnesia and the lack of new political
> horizons was one of the factors supposed to facilitate the domination of the
> current paradigm in which antagonisms are subdued. The strength of negated
> sentiments can lead to the fantasy of reconstructing lost, a-historical,
> stable and "true" traditions in the sense described by Svetlana Boym as
> "restorative nostalgia" and to an explosive "return of the repressed." The
> artists propose a working through of the past through returning to it and
> testing its elements today.
>
> Their work on modes of recalling, forgetting or reactivating the former
> ideas of socialist modernity, elements of which still contribute to the
> production of the spaces in which we live, enables a reassessment of the
> contemporary potential of art in relation to the new economy, to forms of
> organisation of life and to the initiation of collective experiences.
> (Extras from the publication "Comrades of Time")
>
> Publication: "Comrades of Time", with texts by Joanna Sokolowska, Boris
> Groys, Juli Carson.
> Published by PAVILION - journal of politics and culture, English/Romanian,
> 80 pages, B/W, 13,5 x 18,5 cm, softcover, 7 EURO / 19 RON.
>
> This project is supported by POLISH INSTITUTE BUCHAREST.
>
>
> Image: Grigor Khachatryan, Churches, 1997, video still, courtesy of the
> artist.
>
>
> ---
> PAVILION UNICREDIT
> center for contemporary art & culture
>
> Sos. Nicolae Titulescu 1 (Piata Victoriei)
> Bucharest  011131 Romania
> T: + 4 031 103 4131
> E: pavilion@pavilionmagazine.org
> www.pavilionunicredit.ro
>
> Facebook: www.facebook.com/pavilionjournal
>
> ---
> PAVILION UNICREDIT este un centru pentru arta si cultura contemporana, un
> spatiu independent work-in-progress, spatiu de productie si cercetare a
> vizualului, a discursivului si a performativului. Este un spatiu al gandirii
> critice  care promoveaza o întelegere implicata socio-politic a artei si a
> institutiilor culturale.
>
> PAVILION UNICREDIT is a center for contemporary art & culture, a
> work-in-progress independent space, a space for the production and research
> in the fields of audiovisual, discursive and performative. It is a space of
> the critical thinking, and it promotes an artistic perspective implying the
> social and political involvement of the art and of the cultural
> institutions.
>
> ---
>
> This is a project by PAVILION - journal for politics and culture.
> www.pavilionjournal.org
>
> ---
> PAVILION, BUCHAREST BIENNALE and PAVILION UNICREDIT are projects devised
> and founded by Razvan Ion and Eugen Radescu
>
> ---
> Supported by: UniCredit Tiriac Bank
> Strategic partner: Pilsner Urquell
> Partners: Center for Visual Introspection, Tanga Project, ADD, Paradis
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> Romania Cultural, 22, Alternativ.ro, Feeder.ro, 24Fun, Modernism.ro,
> Arhitectura
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