The Balkan Trilogy

This Publication brings together exhibitions made in Kassel, in the Kunsthalle Fridericanum and in several Balkan cities between 2003-2005. The Balkans is presented and analyzed as a model case for transculturality that spans political and ethnic divisions.  writes René Block and Markus Babies in their Preface

The essays are introduced by the Visual Essay of René Block, which documents the exhibition “In the Gorges of Balkan”. The photo-essay is titled

My Balkans. A visual Essay.

Contents:

Preface//Vorwort: René Block, Marius Babias

Reinventin the Balkans. The New War Economy and the Politics of Representation in Souztheastern Europe // Die Neuerfindung des Balkans. Die Neue Kriegsökonomie und die Politik der Repräsentation in Süderuropa ( Marius Babias)

The Center-Periphery Paradigm Once Again // Einmal Mehr: Das Zentrum-Peripherie-Paradigma (Bojana Pejić)

What is new in the reinvention of the Balkans”? // Was ist neu an der “Neuerfindung des Balkans”? (Rastko Močnik)

Imagining Balkan Art /Inventing Balkan Art. Western hegemony and Cultural Identity Change in the Balkans. // Die Erfindung der Balkan-Kunst. Westliche Hegemonie und Kulturelle Identitätsumwandlung in der Balkan-Regionen (Boris Burden)

IN thze citie of the Balkans // In Den Städten des Balkans ( Nataša Ilić)

Beyond the Balkns // Jenseits des Balkans (Barbara Heinrich)

100 Notes – 100 Thoughts

A sreies of dOKUMENTA (13). eDITION: Hatje Cantz
Kis alakban (A6):

N°008: Weiner, Lawrence: If in Fact there Is a Context

N°010: Christoph Menke: Aesthetics of Equality / Astetik der Gleicheit

N°012: Shiva, Vandana: The Corporative Control of Life / Die KOntrolle von Konzernen über das Leben

N°016: György Péter: The Two Kassels: Shame Time, Another Space / Die Beiden Kassels: gleiche Zeit, anderer Ort.

N°017: Goldsmith, Kenneth – Letter to Bettina Funke (2010) (költészetéről, az UbuNetről)

N°020: Romanie Moreton: Poems from a Homeland / Gedichte aus einem Heimatland

N°27: Berardi, Bifo-Franco: Ironic Ethics / Ironische Ethik

N°031: Kluge Alexander: He Has the Heartless Eyes of One Loved above All Else / Er het die herzlosen Augen eines über alles Geliebten

N°034: Inigo Niermann: Introduction / Einführung Chus Marínez

N°035: Faldbakken, Matias: SEARCH/SUCHE

N°044: Ross, Andrew: The Exorcist and the Machines / Der Exorcist und die Maschinen

N°046 Groys, Boris: Google Words Beyond Grammar / Google: Worte jenseits der Grammatik

N°047: Ibrahim Sonallah, Two Novels and Two Women, Zwei Romane und Zwei Frauen

N°052: Daniel Heller-Roazen: Secrets of al-Jāhiz / Die Geheimnisse des al-Jāhiz

N° 053: Bennett, Jill: Living in the Anthropocene / Leben im Antropozän

Közepes alakban (B5):

N°004: Jacir, Emily & Buckmosr Susan

N°006: Etel Adnan: The Cost for Love we are not Willing to Pay / Der Preis der Liebe, den wir nicht zahlen wollen

N°007: Kuenniemi, Erkki: (Introduction/Einführung: Bang Larsen, Lars)

N°011: Toufic, Jalal, Reading, Rewriting Poe’s “The Oval POrtrait” – Angellically / Poe’s “Das Ovale Porträt”, mit den Augen eines Engelsd gelesen und umgeschrieben

N°013: G. M. Tamás: Innocent Power / Die Unschuldige Macht

N°015: Paul Ryan: Two Is Not a Number / Zwei ist keine Zahl (A Conversation with / Ein Gesprach mit Ayreen Anastas & Rene Gabri

N°018: Bellatin, Mario: The Hundred Thousand Books of Bellatin / Die hunderttausend Bücher von Bellatin

N°019: Gamboni, Dario: The Listening Eye: Taking Notes after Gaugin / Das Hörende Auge: Aufzeichnungen nach Gaugin

N°022: Rolnik Suely: Archive Mania / Archivmanie

N°024: Castillo Deball, Mariana; Wagner Roy; Cozote Antropology A Conversation in Words and Drawings  / Kojotenantropologie. Ein Geschpräch in Worten und Zeichnungen.

Sauzeau, Annemarie: Alighiero Boetti’s One Hotel / Alighiero Boettis One Hotel

N°026: Garcia Torres, Mario; A few questions Regarding the Hesitance at Choosing a Bottle of Wine or a Bouquet of Flowers /Einige Fragen hinsichtlich des Zögerns bei der Entscheidung, eine Flasche Wein oder einen Blumenstrauß mitzubringen

N°030: Pamela M. Lee: Illegibility / Unleserlichkeit

N°033: Haraway, Donna: SF: Speculative Fabulation and String Figuers / SF: Spekulative Fabulation und String-Figuren

N°038: Éduard Glissant & Hans Ulrich Obristz

N°040: Carolyn Christov-Bakargiev: On the Destruction of Art – or Conflict and Art, or Trauma and the Art of Healing / Über die Zerstörung von Kunst – oder Konflikt und Kunst, oder Trauma und die Kunst des Heilens

N° Avery F. Gordon: Notes for the Breitenau Room of The Workhouse — a Project by Ines Schaber and Avery Gordon / Notizen für den Breitenau-Raum von The Workhouse – ein Projekt von Ines Schaber und Avery Grodon.

N°048: El Saadawi, Nawal The Day Mubarak was Tried, Der Tag, an Dem Mubarak der Prozess gemacht wurde

N°049: Durham, Jimmie: Material

N°050: Thomas Mann & Theodor W. Adorno (Introduction/Einführung: Enrique Vila-Matas)

Middle East Europe / Re-Enactment Strategies

Exhibiting artists:
Khaled JARRAR [PS]
Avi MOGRABI [IL]
Christoph DRAEGER [CH]
PUBLIC MOVEMENT [IL]
Joanna RAJKOWSKA [PL]

Curated by Eszter LÁZÁR
Opening: 27/04/2012, 7pm
Opening speech by: Zoltán KÉKESI

Guided Tour with the artist Christopher Draeger is on the 16th of May, at 6 pm. All are welcome!

Constructing a slice of our reality based on news coverage of events taking place in the Middle East, in Israel, in the West Bank or the Gaza Strip can easily lead to oversimplified or false conclusions. While images of this part of the world and of the much discussed Arab-Israeli conflict reach us primarily through mass media, for people living in the area, for Palestinian and Israeli artists, these images represent day-to-day reality, actual everyday experience. In a European paradigm the works of these artists are difficult to read due to the complexity of both the historical and the political context and quite similarly, when we place European work into the context to which artists of the Middle East refer to, the possible interpretations, the content of the work gains new layers.

The traveling project of Tamara Moyzes, MIDDLE EAST EUROPE draws attention to this phenomenon in the context of political art. It opens up the issue of the artist’s responsibility and observes how the interpretation of an artwork is transformed when it is placed into a different cultural context. The exhibition presents diverse work with regard to the subject the exhibiting artists chose. We find work dealing with “high politics” as well as personal human drama, with terrorism and peace activism, with generally comprehensible slogans and contextual testimonies alike while some of the works raise the question of the indisputable responsibility of the media itself.

The Labor exhibition, staying within the scope of the original concept of the project, chose techniques and strategies of re-enactment as its focus. Re-enactment became a frequently used tool in contemporary performing and media arts during the last decades (Life, Once More, Witte De With, Rotterdam, 2005; History Will Repeat Itself, Kunstwerke, Berlin, 2007; Sydney Biennále, 2008) and the artists exhibiting in Budapest set out to investigate and present the specific events, experiences using this technique. This is an opportunity for them to offer alternative interpretations as opposed to or complementing the often simplistic or biased mediated reality of TV channels and newspapers. They reproduce traumatic events form the Arab-Israeli conflict zone with varying intensity and different intentions and discover alternative narratives with more room for complex interpretation and more sensitivity than frozen moments on photographs and bare data provided by the news have to offer.

Re-enactment is an aid not only in dealing with personal trauma but also in evoking historic events that, in spite of the distance in time still generate strong emotions in people involved either directly or in an indirect way. Recalling the 1972 Munich events, when eleven members of the Israeli Olympic team were taken hostage (and raising the question of responsibility of the media), evoking the psychodrama workshop for young Arab men in Jenin and its documentation or presenting the audition for the motion-picture about the 1944 Hebron assassination assume different intentions and employ different techniques. What links however the works presented at Labor is the relevance of these past events in the here and now. “Artistic re-enactments are not simply affirming what has happened in the past, but rather they are questioning the present via repeating or re-enacting historical events that have left their traces in the collective memory.”

//Will Repeat Itself: Strategies of Re-enactment in Contemporary (Media) Art and Performance, in: History Will Repeat Itself, ed. by Inke Arns, Gabriele Horn, Revolver Publishing, Frankfurt am Main, 2008.//

Concept of exhibition series MIDDLE EAST EUROPE by Tamara MOYZES

For more information visit www.middleeasteurope.info

or

http://www.dox.cz/en/accompanying-events/middle-east-europe-reflection-of-the-middle-eastern-conflict-in-art-activism-and-media

Supported by:

The National Cultural Fund of Hungary, Hungarian University of Fine Arts, European Cultural Foundation, Representative Office of the Czech Republic Ramallah

On View until 18/05/2012, Monday-Friday 4-7pm

Portraits and corpses – An Exhibition of Ádám Dallos and Zsolt Molnár

”I consider the depiction of animals wandering in  dreary wilderness or sitting on mountain peaks forbearing the gaze of the viewer as portraits, more accurately as self portraits. I chose the species which I can consider my own animals and picture my own face with them. I endow myself with the animal’s attributes, and attribute the animals with my own features. My animals are the peacock, the cat, the wolf or the fox. I can especially identify with a deer of a certain desease, whose antler for the imbalance of testosterone does not contain bones but a soft tissue in ball shapes. These species are not males in their peers eyes, for the can not fight and pair. Therefore they die at a young age.”

Ádám Dallos

”Only part of the relationships between humans and animals are of natural intentions. Hierarchy set by violence is also a significant element in them. I am interested in artificial presence that has impact on natural procedures. In my series I depict corpses going to the meat industry. The proportionateness of the surface has a certain rigid state. I create my own cold store with loads of dead animals by observing the connection between stability and collapse. Mass production proceeds among the rigid and reclused walls of these cold stores. I depict the process and the changes of this mechanism.”

Zsolt Molnár

The event is part of the One night  adventure programseries of FKSE

supporter: NKA