Genoa etc. by Nicolas Bourquin

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Stocktaking Bestandsaufnahme

Theory Theorie

Perspectives Perspektiven

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- 01 - 20

Gregory Gilbert-Lodge Love & Hate

Armin Linke Fortification Architecture

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Bourquin, Ehmann, Woznicki Roadmap to Europe

Enrica Bartesaghi Open Wounds

Jules Spinatsch Temporary Discomfort

Mimo Mannes Genoa, 2001 05

gruppo A12 12.11.1972

Giuliano Gallanti A Harbour of Collective Memory Stephan Rabold Genua, 1995

Andreas Gursky Genua, 1991

Günter Melle Notizen eines Pendlers

Lorenzo Petrantoni Panoramica

Charles A. Kupchan Europe’s Rise LUST Making Europe High Speed V1.0 Alban Kakulya Yann Mingard East of New Eden

Ad van Denderen Teun Voeten Crossing the Line

Genoa etc.

- The third publication of the - etc series.

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NODE Berlin Oslo Bilateral Relations

------------------------------------------------ www.etc-publications.com Issues that matter

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– G8-Summit – – Giuliani/Columbus – – Port – – Migration Economics – – EUROtopia – – Excalibur City – – Laboratory Space – – DIY Europe –

Noelle Pujol Lille 2004

Nadja Rakowitz Zur politischen Ökonomie des Euro Saskia Sassen Making Criminals of Migrants

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Kyoichi Tsuzuki Roadside Europe Uwe Rada Flüchtlinge und Grenzschützer in Forst

Futro Hurry Up

Dragos Zaharia The EU Border in Rosia Montana

David Jourdan Willkommen im Wunderland!

Genoa etc.

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Genoa etc.

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Stocktaking Bestandsaufnahme

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Stocktaking Bestandsaufnahme

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Genoa etc.

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Roadmap to Europe

Fortiﬁcation Architecture A visual essay by Armin Linke

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- Covers illustrations:

- Gregory Gilbert-Lodge (1967) - works as an illustrator in Zürich. Besides various illustration jobs in swiss and international fashionable magazines, Gregory regulary draws in picture books called “SILEX” and - loves designing tattoos. gilbert-lodge@mydiax.ch -

- Armin Linke (1966) - As a photographer and filmmaker based in Milan, he is working on an ongoing archive about human activity and the most varied natural and man-made landscapes. He docu- ments scenes where the boundary between fiction and non-fiction blurs or becomes invisi- ble. In July 2001 he focussed his interest on the artificial cityscape of Genoa. - www.arminlinke.com

Genoa etc. delineates a quest, with the city of Genoa as the starting point, moving on to Europe in theory and finally approaching some “laboratories” of European identity on a local plane. In the following intro- duction Nicolas Bourquin, Sven Ehmann and Krystian Woznicki present - a compact guide to exploring this Roadmap to Europe. Their message is that in essence New Europe emerges from the original concept of Old - Europe.

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Notes Notizen

Columbus Day

A sailor on board the Pinta sighted land early in the morning of October 12, 1492, and a new era of European exploration and expansion began. The next day the 90 crew members of Christopher Columbus’s three-ship fleet ventured onto the Bahamian island of Guanahaní, ending a voyage begun nearly ten weeks earlier in Palos, Spain. [...] The first recorded celebration of Columbus Day in the United States took place on October 12, 1792. Organized by The Society of St. Tammany, also known as the Columbian Order, it commemorated the 300th anniversary of Columbus’s landing.

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- 1.

Mirija Gimbutas notes the following about the democratic origins of the -

European continent: “The term Old Europe is applied to a pre-Indo-Euro- -

pean culture of Europe, a culture matricfocal and probably matrilinear, -

agricultural and sedentary, egalitarian and peaceful. It contrasted sharply -

with the ensuing proto-Indo-European culture which was patriarchal, stra- -

tified, pastoral, mobile, and war-oriented, superimposed on all Europe, ex- -

cept the southern and western fringes, in the course of three waves of in- -

filtration from the Russian steppe, between 4500 and 2500 BC”. Mirija -

Gimbutas, The Goddesses and Gods of Old Europe, University of California -

Press, 1974.

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The variously used term ‘identity’ signifies in Psychology the experience of -

an individual to be a unique and, to a certain extent, psychologically sta- -

ble unit independent of external or internal changes. This consciousness -

of identity implies that one experiences oneself as an individual, as a diffe- -

rent person than the others, and also that one can synthesize differences -

and oppositions within one’s own personality.

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Uwe Rada has examined together with the Polish Institute in Leipzig the -

465 kilometre long German-Polish border – here understood explicitly as -

a laboratory – in the scope of the series of events “Workshop Europe”. Pre- -

ceding the EU-enlargement, this European workshop between Old and -

New Europe tested the difference bewtween mastering conflicts together -

and the recurrance of national stereotypes.

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Genoa

Genoa (Italian Genova (jen’o-vah), Genoese Zena (zay’nah)) is a city and a sea- port in northern Italy, the capital of Liguria. It has a population of ca. 700,000. - Genoa was a city of the Ligures. Having been faithful to Rome while other Ligurian and Celtic peoples of modern Italy stood by the Carthaginians in the Sec- ond Punic War, Genoa lost its importance as a port city after the rise of Vada - Sabatia, near Savona. -

During the Middle Ages Genoa was an independent and powerful republic (one - of the so-called Repubbliche Marinare, the others being Venice, Pisa, and Amal- fi) mainly oriented towards the sea. The Republic of Genoa extended over modern Liguria and Piedmont. It had several colonies in the Mideast, in the Black Sea and in Sicily, Sardinia and Northern Africa. It possessed the island of Cor- sica. - Famous Genoese families such as the Dorias held practically complete control over the Tyrrhenian Sea. -

- The Republic was part of the French Empire until 1815, when the delegates at - the Congress of Vienna sanctioned its incorporation into Piedmont (Kingdom of Sardinia.) - Famous Genoese include Christopher Columbus, admiral Andrea Doria, violin- - ist Nicolò Paganini and Italian patriot Giuseppe Mazzini. - In July of 2001, in opposition to the G8 Economic International Summit, the - Genoa Social Forum attracted half a million protesters from all over Europe to - Genoa. - The port of Genoa ranks as the first in Italy. It is second in the Mediterranean - to the port of Marseille, France. -

The Aquarium of Genoa is the largest in Europe.

- www.en.wikipedia.org/wiki/Genoa

Realityhacking in Genoa

Theory

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Police officers in combat dress, damaged buildings, fortification architecture and the dead Carlo Giuliani lying in the midst of his helpless comrades, surrounded by debris – images of the G8summit, which symbolized for many the dawning of dictatorship-like conditions in Europe. The city of Genoa, which in the beginning of the 21st century became synonymous with the fatal G8-summit of 2001, has become not only the symbol of oppressive state authority, but also the symbol of a political protestmovement that holds up democratic values with its banners thereby returning to its European roots. It is an irony of history that the New Europe, which was to figure as the role model for this movement, has etymologically oriented itself according to the idea of Old Europe. 1 Three years after the G8-summit, Genoa presents itself as the European Capital of Culture. Europe’s identity emerges here in the differentiation between numerous historical layers: between Columbus, who was born in Genua, and Giuliani lie a few hundred years, during which Europe, like Genoa, has had to redefine its role in the face of globalisation. Genoa etc., which understands the Ligurian city as a laboratory of European identity, investigates in its stocktaking-section the various layers of recent history – a history, which is also interlayered with mythologies and legends of the social movements that have arisen after the G8-summit. This myth as well as a multifaceted view into the city, including insights into backdoor scenes and local attitudes, is scrutinized in Genoa etc. Mimmo Manes for instance displays with an aggressive stroke of a brush his anger over the events of the G8-summit by working over an official summit photo. With Enrica Bartesaghi we gain insight into the view of one of the G8-summit victims, diving head-on into the city and its open wounds, while Armin Linke’s pictures remind us of the former militarization of the city. Jules Spinatch, who has already documented within the scope of his project “Temporary Discomfort” political confrontations in Evian/Geneva, Davos and New York, reveals the violence of the G8-summit as a deficiency: it is the absence of movement that conjures a threatening atmosphere. Günter Melles’ notes illustrate different encounters with Genoa: through the ‘spectacles of a visitor’ an entire new perspective on Genoa opens up that oscillates between internal and external focalisation. While title illustrator Gregory Gilbert Lodge comments upon the ‘Italian condition’ in a rather ironic and provocative way, Lorenzo Petrantoni ignores completely the current tendencies and in his collage reflects instead upon the historical body of his native city. Giuliano Gallanti also speaks as a native Genoese and contemplates a city harbour which must face the economic challenges of the 21st century. The structural change entailed here is reflected with the same objectivity in the research of Gruppo A12, an objectivity which also Andreas Gursky (Genua 1991) and Stephan Rabold (Genua 1995) apply to their look at the city.

- Other landmarks of the city are the Palazzo Ducale (Doge’s Palace), St. Lawrence - Cathedral (Cattedrale di San Lorenzo), Via Garibaldi with its superb palaces and The Old Harbor (Porto Antico), wich has been transformed into a mall by archi- tect Renzo Piano. - In 2004 the European Union designated Genoa as the European Capital of Culture, along with the French City of Lille. -

Stocktaking

By taking a perspective into the everyday world usually limited to looking at art - in the museum, I interact with existing public situations. The consequences of - these encounters are interventions or temporary installations. In this process - the artist subsumes himself into the act of perception by being anonymous. -

The question that was evoked in regard to European identity by the G8-summit of 2001 gained a new quality when the debate over the war on Iraq came to a head. Early in the year of 2003, US-Defence Minister Donald Rumsfeld mocked the French-German concerns about a military engagement in Iraq in his infamous “Old Europe-speech” with the following sentence: “Germany is a problem, France is a problem: but when you take a look at the enormous number of other countries, they side with the US and not France or Germany”. The outcry was huge, the provocation perfect. Luc Bondy, director of the Vienna Festival Weeks (Wiener Festwochen) reacted with the following words: “If Mr. Rumsfeld scornfully says that the peace-oriented Europe is ‘the Old Europe’, then it is an hon-

our to us. When the Old Europe, which has known war, now has the reason and sense not to want war anymore, then I am in favour of this Old Europe that is the New Europe”. The large fissure which visibly emerged between Europe and the US in this moment triggered off controversies within the walls of the ‘common house of Europe’, but it also gave flight to the shaping of a European consciousness. The critic Rudolf Maresch stated in a radio broadcast on the event of the publishing of Peace etc. (summer 2003) that Europe must hold up its history and culture in the face of the US-American hegemony in order to contribute to a more peaceful future. Is Europe at the beginning of the 21st century going to detach from the protection/ guidance of the US, like America once did from Europe? Leaders in the shaping of opinion from different backgrounds fuel this thought with data, facts and prognoses. Jürgen Kluge, for instance, the head of McKinsey Germany and candidate for the US chairmanship of the world biggest consultant company, invokes a European era. His analysis: after the Japanese decade in the 1980s and the US-American decade in the 1990s, the European decade has now begun. One leading opinion shaper who initiated this discussion quite early is Charles A. Kupchan. In his landmark essay “The End of the West” he saw the next clash of civilizations coming between Europe and America. This contribution, which Kupchan first published in “The Atlantic” in November 2002 and which is as current today as it was then, has been printed in an extended version in “Genoa etc.” under the title “Europe’s Rise”. While Europe is presented here in a global context, the question of European identity comes to a head. The common definition of identity in Psychology 2 can be easily transferred onto the level of politics, or to be more precise: onto the level of the European question. For when one talks about Europe as a common house a metaphor of spatial borders comes immediately into play, conveying an idea of inside and outside that caters to a logic of exclusiveness. The debate about European border policy is hence always a debate on European identity. Saskia Sassen’s contribution to “Genoa etc.” makes this very explicit. Sassen contextualizes in an exemplarily way the term Fortress Europe, which has been derived in a critical manner from the inflationary talk of Europe as a common house, and locates it in the history of globalisation – always in regard to the consequences that the border policies in their international entanglements have for European society. For whereas European policy deems to achieve an identity-forming effect by establishing borders, Sassen shows its destructive potential. Alban Kakulya and Yann Mingard have spent an extensive amount of time at the European border with a heightened sense for this conflict. They have explored the territorial security markers between the Baltic and the Black Sea and have talked to border police officers and their families. By doing this they have protruded deeper into a no-man’s-land, which takes shape with their array of pictures. Ad van Denderen and Piet den Blanken have also captured ‘the other side’ and we feature some of their works that have been compiled for the OSCE-project “Crossing the line”. EU money makes border – that is to say identity politics – to an extent that is not to be underestimated. Nadja Rakowitz makes the attempt to answer in her essay on Marxist value theory the related question of the political economy of the Euro. She has as a vantage point the definition of money as a social condition, which seems to constitute itself no longer on a national but rather on a supra-national level. The process of European unification is commented upon ironically by Slavimir Futro with the background of his Yugoslavian biography in play. The project NODE Berlin Oslo bridges the gap between theory and practice and in this provides the connection to our perspectives section. Their ironic visual essay remixes an official statement on “German Norwegian Relations” with the personal experiences of

the design duo. Perspectives If we look at Genoa as a laboratory of European identity in the stocktaking-section, and if we pose the questions wich arose there in a more abstract context in the theory-section, then we eventually visit other places that serve as a surface for the projections of a New Europe in the perspectives-section. We subsequently ask the question as to what exactly the statement “I am a European” means. A multitude of images and a multitude of self-identities could be associated with this statement. But how do we actually grasp European identity? Asking this question in view of the historic EU-enlargement entails the scrutiny of a multitude of seemingly secondary places. If these places are considered as laboratories of European identity it should be stressed that they should not be comprehended as utopias in the conventional meaning. Lille, Forst, Excalibur City and the other locations, which are exemplarily placed into the centre of attention, are not spatially and /or temporally dislocated places, in which ideal societies or state constitutions can be sketched. Instead they are real places with real problems. Moreover, they demarcate points which one could signify as spatial elementary units of a more specific political order – namely the elementary units of the EU. On the one hand, they display a source of disturbance to the exclusive club of European cities because they trigger the question as to how the centre has to define itself through the new periphery, thus forcing itself into an act of self-legitimisation. On the other hand, the respective elementary units represent panic sites as well as the coordinates for the social conflicts underlying the European community as a whole. Hence it is in those laboratories where issues, which are peripheral to the agenda of the core powers of the EU, are no longer simply of national relevance but which – as if looked at through a microscope – inform in an enlarged and distorted manner the official representational level of what we are used to calling the European community. Succinctly put: in one moment Europe becomes one at its edges, only to precipitate in the next moment into an identity crisis. This state of suspense opens up a new emancipatory space, which the perspectives-section attempts to render accessible. With David Jourdan’s experimental text-collage, for instance, we enter into a commercial zone called Excalibur City that is located at the Czech-Austrian border; with Noelle Pujol we take a walk along the urban edges of Lille which were forgotten (like the cities harbour) in the turmoil of this year’s Cultural Capital merchandising; with Uwe Rada’s contribution we become witnesses of German-Polish encounters in Forst; with Kyoichi Tsuzuki we get into a car that explores locations off the beaten track in the old and new EU member countries; and through Dragos Zaharia we gain an insight into the situation of the Rosia Montana area in Romania. Apart from a common topic, these positions all have one approach in common: they are all projects of different sorts. From archiving-documentary research (Pujol, Tsuzuki), to socio-political commitment (Jourdan), from protest-oriented activism (Zaharia) to cultural exchange (Rada) 3 ; all of them induce different approaches to the discussion about what Europe in general, and the European Union in particular, are supposed to be. They are above all not merely theoretical, but in fact quite practical approaches to this question, that ultimatley incites our participation in the shaping of New Europe. Illustration:

Mimmo Manes (1972) Art director and designer based in Siena, Italy, he does multimedia projects and graphic art on paper and has exhibited his works in international galleries. His work is permea- www.realityhacking.com ted with strong social engagement and protest. www.mimmomanes.com - ---------------------------------------------------------------------------------------------------- - ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

Christopher Columbus – Der verlorene Sohn

Als der Genueser Christopher Columbus im August 1492 aufbricht, um die Neue Welt zu entdecken, sticht er nicht von seiner Geburtstadt aus in See, sondern vom spanischen Hafenort Palos. 500 Jahre später entdeckt Genua seinen verlorenen Sohn wieder und widmet ihm 1992 eine Großveranstaltung, die das Stadtbild grundlegend verändert. Ein anderer, berühmter Genueser spielt dabei die entscheidende Rolle : Der Architekt Renzo Piano gestaltet das Hafengelände neu und erschliesst der Stadt, ihren Bewohner und Besucher einen neuen Zugang zum Meer.

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- Die Idee, jedes Jahr eine oder mehrere Städte zur “Europäischen Kulturhauptstadt” zu erklären, ist eine Initiative von Melina Mercouri und dem Europäis- chen Parlament aus dem Jahr 1985. Hintergrund ist der große Reichtum der eu- ropäischen Kulturen und die enorm wichtige Rolle, die die Städte bei der - Ausgestaltung und Entwicklung dieser Kulturen spielen. Die europäischen Kulturhauptstädte sollen die Aufgabe übernehmen, Einheimischen wie Besuchern - markante Merkmale der Stadt, der Region und des Landes näher zu bringen und - Veranstaltungen zu fördern, bei denen Kulturschaffende aus anderen europäis- chen Städten einbezogen werden. Während die Städte bis einschließlich 2004 auf Regierungsebene aus- gewählt wurden, wird für die Auswahl der Kulturhauptstadt ab 2005 ein neues - gemeinschaftliches Auswahlverfahren eingeführt. So wird nach den Städten - Brügge und Salamanca 2002, Graz 2003, Lille und Genua 2004 die Europäische Kulturhauptstadt 2005 in Irland liegen. Die nach dem neuen Verfahren - ausgewählte Stadt ist Cork. Ab 2005 wird jedes Jahr ein Mitgliedstaat die Europäische Kulturhaupt- stadt beherbergen. Für die Jahre 2005-2019 wurde die Reihenfolge der Mitgliedstaaten festgelegt. Sie beginnt mit Irland 2005, Griechenland 2006, Luxemburg - 2007 und dem Vereinigten Königreich 2008. Der jeweilige Mitgliedstaat schlägt - eine oder mehrere Städte vor, spätestens vier Jahre vor dem betreffenden Jahr. - Eine Jury aus sieben unabhängigen Experten aus dem Kultursektor, die von Europäischen Parlament, Rat, Kommission und Ausschuss der Regionen benan- nt werden, bewertet die Bewerbungen anhand von Kriterien wie europäischen - kulturellen Strömungen, zu denen die Bewerberstadt beigetragen hat, oder - Projekten, die zu dauerhafter kultureller Kooperation zwischen europäischen Städten führen. Auf der Grundlage eines abschließenden Berichts und gegebenenfalls - nach Stellungnahme des Europäischen Parlaments trifft der Rat seine - endgültige Entscheidung nach einer Empfehlung der Kommission.

- www.europa-web.de/europa/03euinf/06europa/kulthaup.htm -

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Neues Auswahlverfahren für europäische Kulturhauptstädte

Genoa 2004 : European Capital of Culture

The nomination of Genoa was made on the part of the governments of the European Union on May 28, 1998. The designations for 2004 (in addition to Genoa, Lille in France was also designated) were the last according to an inter-governmental procedure that found its basis in the resolution of June 13, 1985. It is the third time that an Italian city obtained this nomination, after Florence in 1986 and Bologna in 2000. Since the procedure for designation has changed in the meantime, the next time that Italy will have this opportunity is only in 2019. Genoa is emerging as a contemporary city with many different aspects, as attentive to cultural trends as it is to research and technology. For this reason the concerned Institutions wanted to put the accent on the City’s metamorphosis, on the urban renewal that has influenced the social fabric of the city, sometimes changing the citizens’ habits. The voyage was identified as the guiding theme that marks over 100 events and will be the backdrop to the entire programming of Genoa 2004 European Capital of Culture. The voyage: a term that sums up the richness and variety of cultural expression throughout the entire city, a concept, a key word that is able to capture the soul of Genoa. The theme of the voyage, deeply rooted in the city and at the same time universal, stands out for its originality in the tradition of European Capitals of Culture. The voyage, that is so appropriate to the sea-faring past of Genoa and the Genovese, can be understood also in a physical sense, as a Europe-Mediterranean axis, port, traffic, immigration and tourism, as well as in a metaphorical sense, as the path taken through history and the city, through art and scientific excellence, a cultural melting-pot. www.genova-2004.it