Rethinking Dissent curerad av/curated by Joa Ljungberg&Edi Muka
Rethinking Dissent om politikens begrÄ€nsningar och motstÄÄœndets mÄĆjligheter
Rethinking Dissent om politikens begrÀnsningar och motstÄndets möjligheter. /on the limitations of politics and the possibilities of resistance. ISBN 978-91-633-1128-4 Copyright Joa Ljungberg, Edi Muka, 2007. Grafisk design /Graphic design Research and Development. Typsnitt/Typefaces Berling Nova, Tokyo Palace (in memoriam). Tryck och bokbinderi /Print and binding Elanders Sverige AB, Göteborg 2007.
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7âIntroduktion/Introduction Virpi NĂ€sĂ€nen
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9âRethinking Dissent Joa Ljungberg & Edi Muka 34âBildreferenser /Picture references
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45âSatelliter/Satellites 57âBildreferenser /Picture references
Virpi NÀsÀnen
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Göteborgs 4:e Internationella Konstbiennal Varmt vĂ€lkommen till Göteborgs Internationella Konstbiennal! Grundad Ă„r 2001 presenterar den nu sin 4:e upplaga och erbjuder dĂ€rmed en spĂ€nnande start pĂ„ höstens kultursĂ€song. I denna, biennalkatalogens första del, finner du bilder och en introduktion till utstĂ€llningen Rethinking Dissent â om politikens begrĂ€nsningar och motstĂ„ndets möjligheter. En andra del av katalogen, med konstnĂ€rstexter och texter i kritisk teori, publiceras i samband med ett symposium den 13 oktober 2007. För att skapa en interaktion med den lokala konstscenen har biennalens curatorer Joa Ljungberg och Edi Muka erbjudit lokalt baserade curatorer, konstnĂ€rer och gallerier att arrangera sina egna produktioner i dialog med biennalen, vars teoretiska plattform tjĂ€nar som gemensam utgĂ„ngspunkt. Dessa utstĂ€llningar och evenemang presenteras som Satelliter och i det medföljande materialet kan du lĂ€sa om dess medverkande konstnĂ€rer och curatoriska ramverk. BiennalutstĂ€llningen sprider sig fem olika platser: Röda Sten, Röhsska museet, Gamla Posthuset, Göteborgs Konsthall och galleriet Kaustik. Biennalens Satelliter presenteras pĂ„ sju olika platser: 300 m3 Art Space, Galleri Box, Galleri 54, Konstepidemin, Atalante, LĂ„dan/ the mobile box och Galleri Rotor. Som ett viktigt komplement till utstĂ€llningarna erbjuder biennalen ett omfattande pedagogiskt program med konstnĂ€rssamtal, guidade visningar, förelĂ€sningar 7
och kurser. Röda Sten Kulturförening Àr huvudman för Göteborgs 4:e Internationella Konstbiennal, pÄ uppdrag av Göteborgs kulturnÀmnd. VÀlkommen Virpi NÀsÀnen, projektledare, Göteborgs 4:e Internationella Konstbiennal
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Joa Ljungberg & Edi Muka
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Rethinking Dissent (1âââ.â1 ) Det engelska ordet âdissentâ kan beskrivas som en kĂ€nsla eller filosofi av motstĂ„nd mot en idĂ© (t.ex. en regerings politik) eller en organisation (t.ex. ett religiöst samfund eller ett politiskt parti). Motsatsord kan vara enighet, konsensus och samtycke. I vissa politiska system kan âdissentâ uttryckas formellt genom oppositionspolitik, medan politiskt repressiva regimer kan förbjuda varje form av âdissentâ. Individer som inte fogar sig till vissa staters politik kan beskrivas som âdissidentsâ eller i extrema fall som âenemies of the stateâ. 1 Med den 4:e upplagan av Göteborgs Internationella Konstbiennal vill vi Ă„teruppta de viktiga och inspirerande diskussioner om det âpolitiskas tillstĂ„ndâ som lĂ„g till grund för Democracy Unrealized, den första av fem teoretiska plattformar som organiserades inom ramen för Documenta xi Ă„r 2002. Var befinner vi oss idag, fem Ă„r senare? Genom vĂ„rt val av utstĂ€llningstitel, Rethinking Dissent, vill vi uppmuntra till reflektion kring betydelsen av dissent i en tid karaktĂ€riserad av det globala kapitalets dominans över det politiska. En enligt filosofen och sociologen Slavoj ĆœiĆŸek âpostpolitiskâ tid dĂ„ till och med den politiska vĂ€nstern anpassat sig till en globaliserad marknadsekonomi och pĂ„ sĂ„ sĂ€tt upphört att utgöra ett reellt politiskt alternativ.2 I essĂ€n Thanks â for Nothing! (publicerad i biennalkatalogens andra del) diskuterar statsvetaren Jodi Dean detta pĂ„stĂ„dda politiska dödlĂ€ge och frĂ„gar retoriskt om 9
Rethinking Dissent det âkanske mest patetiska attributet av dagens vĂ€nster Ă€r dess energiska försvar av högerns mest vĂ€rdefulla skatt, liberaldemokratinâ.3 Enligt Dean skiljer sig inte ĆœiĆŸeks förestĂ€llning om âett postpolitiskt envĂ€lde inom det globala kapitaletâ sĂ€rskilt mycket frĂ„n författaren Michael Hardts och filosofen Antonio Negris idĂ© om Imperiet: 4 âbĂ„da ser det politiska rummet som hotat pĂ„ grund av globaliseringenâ. Men medan Hardt och Negri ser avsaknaden av politisk autonomi som en möjlighet, sĂ„ till vida att nu kan för första gĂ„ngen en uppsjö av kamper och organisationer globalt organisera sig mot den överstatliga maktstrukturen, ser ĆœiĆŸek samma fenomen som âjust den avpolitisering som gör det omöjligt att pĂ„ allvar utmana globaliseringenâ.5 Dean redogör vidare för ĆœiĆŸeks syn pĂ„ dagens vĂ€nster som sorgligt engagerad i en evig process av âtomtâ motstĂ„nd (tomt i den bemĂ€rkelsen att det aldrig pĂ„ allvar kan utgöra ett reellt hot) och fortsĂ€tter med att förklara hur nationalistisk, etnisk och religiös fundamentalism dels nĂ€r sig av rĂ€dslan inför vĂ„r tids ökade nĂ€rhet till den Andre, dels utgör frestelser att fylla i det tomrum som skapats i avsaknaden av alternativ och visioner.6 Ytterligare ett kĂ€nnetecken för denna pĂ„stĂ„dda âpostpolitiskaâ tid Ă€r graden till vilken vĂ„ra liv och vĂ„r förstĂ„else av omvĂ€rlden pĂ„verkas av ett kontinuerligt globalt krig. Ett krig som ofta presenteras och förklaras för oss som en konflikt mellan traditionalistisk islamistisk fundamentalism och modern liberal demokrati. Ăr denna pĂ„stĂ„dda ideologiska antagonism den frĂ€msta orsaken till dagens transnationella kraftmĂ€tningar? Om inte, vad handlar den globala krigsföringen om? TvĂ„ mĂ„nader efter attackerna mot World Trade Cen10
Joa Ljungberg & Edi Muka ter skrev president George W. Bush under The Patriot Act som pĂ„ ett dramatiskt sĂ€tt utvidgade amerikanska myndigheters maktbefogenheter i kampen mot terrorismen, bĂ„de i och utanför USA. Bland annat tillĂ€ts kvarhĂ„llande pĂ„ obestĂ€md tid av icke-amerikaner misstĂ€nkta för terrorism och efterföljande rĂ€ttegĂ„ngar inför en militĂ€rkommission. I boken UndantagstillstĂ„ndet anvĂ€nder filosofen Giorgio Agamben sĂ„dana omstĂ€ndigheter, och liknande, för att beskriva hur utvidgningen av makten â undantagstillstĂ„ndet â erbjuder en viktig ledtrĂ„d för att förstĂ„ ett âalarmerande skifte i vĂ„r politiska geografiâ; ett skifte som riskerar att underminera vĂ„ra politiska institutioner och fĂ„ grĂ€nsen mellan diktatur och tyranni att bli suddig. Konsthistorikern Malcolm Bulls skriver: âEnligt Agamben har vi idag förflyttat oss frĂ„n Aten till Auschwitz: VĂ€stvĂ€rldens politiska modell utgörs nu av koncentrationslĂ€gret snarare Ă€n stadsstaten. Vi Ă€r inte lĂ€ngre medborgare utan fĂ„ngar, urskiljbara frĂ„n de intagna pĂ„ Guantanamo inte genom vĂ„r rĂ€ttsstatus utan endast pĂ„ grund av det faktum att vi Ă€nnu inte haft oturen att bli inspĂ€rrade â eller av misstag avrĂ€ttade av en missil frĂ„n ett obemannat stridsflygplan. [âŠ] Men trots att hans senaste exempel Ă€r hĂ€mtade frĂ„n kriget mot terrorismen sĂ„ Ă€r den politiska utveckling de representerar ingalunda specifik för USA under Bushs presidentskap. Det utgör en del av ett bredare spektrum av regerande i vilken den rĂ€ttsliga ordningen rutinmĂ€ssigt undantrĂ€ngs av undantagstillstĂ„ndet och dĂ€r mĂ€nniskor i allt större omfattning blir föremĂ„l för extrajudiciellt statsvĂ„ld.â 7 I Haruki Murakamis roman, Hard-boiled Wonderland and the End of the World, presenteras lĂ€saren för en fik11
Rethinking Dissent tiv men inte desto mindre verklighetstrogen plats: En âfullkomligt muromgĂ€rdadâ stad som âbara fĂ„glar kan ta sig frĂ„nâ. En plats skapad helt och hĂ„llet i huvudet pĂ„ bokens namnlösa huvudperson. Existensvillkoren innanför murarna beskrivs av portvakten i början av boken: â⊠muren Ă€r fullkomlig. SĂ„ inbilla dig ingenting. Ingen tar sig ut. [âŠ] Du mĂ„ste hĂ€rda ut. Om du hĂ€rdar ut ordnar sig allt. Ingen oro, inget lidande. Allt skingras. [âŠ] Detta Ă€r vĂ€rldens Ă€nde. Det Ă€r hĂ€r som vĂ€rlden tar slut. Det gĂ„r inte att komma lĂ€ngre.â 8 Denna vĂ€rldens Ă€nde som Murakami berĂ€ttar om Ă€r inte en apokalyptisk undergĂ„ng utan snarare ett sjĂ€lvkonstruerat, sjĂ€lvcentrerat tillstĂ„nd frĂ„n vilket man omöjligen kan fly, dĂ„ det Ă€r ett tillstĂ„nd skapat av en sjĂ€lv. Perfektion som permanent tillstĂ„nd uppstĂ„r hĂ€r till det höga priset av förlorat intellekt och förlorade minnen, samt till en total avsaknad av motsatser och motstĂ„nd, sĂ„ som kĂ€rlek och hat, drömmar och besvikelser, vilka alla mĂ„ste överges vid intrĂ€det genom stadens portar. Hur ska vi dĂ„ förhĂ„lla oss till vĂ„r egen verklighet? Utgör Murakamis muromgĂ€rdade stad en metafor för vĂ„rt samtida globala tillstĂ„nd? Eller Ă€r det snarare vĂ„r verklighet som erbjuder en metafor för Murakamis slutna vĂ€rld? Vilka verktyg kan hjĂ€lpa oss att förstĂ„ vĂ„r situation och skilja det ena frĂ„n det andra? Det Ă€r hĂ€r som vi menar att konstnĂ€rernas arbeten kommer in i bilden. (1.2) I Armando Lulajs video Living in Memory syns en femuddig stjĂ€rna brinna uppe pĂ„ ett berg i Tirana. StjĂ€rnan stĂ„r som ett minnesmonument över den en gĂ„ng sĂ„ vördade symbolen för den kommunistiska kampen för ett 12
Joa Ljungberg & Edi Muka bĂ€ttre samhĂ€lle och hur den kommit att förknippas med en grym historia av förföljelse och totalitarism. Verket prĂ€glas av en ritualistisk stĂ€mning, som om konstnĂ€ren tĂ€nt eld pĂ„ den femuddiga stjĂ€rnan i ett försök att rena symbolen frĂ„n dess vĂ„ldsamma historia. Den genom elden lysande stjĂ€rnan fungerar med sin korta och förbestĂ€mda livstid som symbol ocksĂ„ för den âwanna be a STARâ-kultur som frodas i vĂ„rt genommedialiserade samhĂ€lle. Vi bör dock undvika att lĂ€sa Living in Memory som en hyllning i den ena eller andra riktningen. Den brinnande stjĂ€rnan faller snart till marken, elden slocknar och kvar finns bara askan: Den fysiska askan frĂ„n elden, den symboliska askan av misslyckande och den levande askan som minnet av gamla maktstrukturer och nya. The stroll of the New Man av Tania Bruguera ligger nĂ€ra till hands. Verket refererar till den kubanska regimen som en gĂ„ng var starkt rotad i en ârenlĂ€rig, kommunistisk och jĂ€mlikhetsstrĂ€vande ideologiâ men som snart vridit utochin pĂ„ sig sjĂ€lv i kampen mot den globala kapitalismen. Bruguera anvĂ€nder sig hĂ€r av sin privilegierade position som internationellt berömd konstnĂ€r för att göra det möjligt för tvĂ„ inte lika privilegierade kubaner att för första gĂ„ngen i sitt liv resa utomlands. I sin projektbeskrivning skriver hon att The stroll of the New Man avslöjar en verklighet styrd av privilegier i ett âi teorinâ jĂ€mstĂ€llt samhĂ€lle: Att resa utgör ett privilegium och konstnĂ€rer Ă€r privilegierade eftersom de fungerar som âstarka bevis för den kulturella och intellektuella utvecklingen i det kubanska samhĂ€lletâ. Enligt konstnĂ€ren prĂ€glas dagens Kuba av en diskrepans mellan ideologin och dess implementering i vardagen. Denna diskrepans pĂ„verkar kubanerna negativt bĂ„de mentalt och ideo13
Rethinking Dissent logiskt och dömer revolutionens utopi att misslyckas. Visionen om den âNya mĂ€nniskanâ, kĂ€nnetecknad av en stark och ömsesidig hĂ€ngivenhet till samhĂ€llet, har satts Ă„t sidan till fördel för individen och dennes individuella projekt.9 Om det land, som pĂ„stĂ„r sig stĂ„ emot den globala kapitalismens frestelser för att vĂ€rna om jĂ€mlikhet, i realiteten Ă€r strikt hierarkiskt, har vi dĂ„ nĂ„got annat val Ă€n att acceptera att Ă€ven detta âstorartade jĂ€mstĂ€lldhetsprojektâ misslyckats pĂ„ samma sĂ€tt som de som föll i bitar i Ăsteuropa? Tvingas vi helt enkelt acceptera att det inte lĂ€ngre finns nĂ„gra alternativ? âMisslyckandetâ som fenomen Ă„terkommer i Fia-Stina Sandlunds verk: Ett idealistiskt försök och Rekonstruktionen av en aktion som aldrig blev av. Det förstnĂ€mnda utgör ett bildspel, uppbyggt kring en intervju med konstnĂ€ren sjĂ€lv. Vi hör henne granskande frĂ„ga sig sjĂ€lv till vilken grĂ€ns hon (vi) Ă€r villig att ta risker för att kĂ€mpa och försvara ideal. KonstnĂ€rens lugna sjĂ€lvrannsakan kretsar kring en aktion som hon planerat att utföra tillsammans med den danska fredsaktivisten Ulla RĂžder. En aktion riktad mot MĂŠrsk Mc-Kinney MĂžller, en, enligt de involverade, skrupelfri affĂ€rsman med kontakter högt uppe bĂ„de i regering och kungahus. Vid ett tillfĂ€lle, dĂ„ den planerade aktionen verkar kunna bli alltför riskabel, bestĂ€mmer sig konstnĂ€ren för att fundera ytterligare ett varv innan hon beslutar sig för att gĂ„ vidare. Historien utvecklar sig dock pĂ„ ett sĂ„dant sĂ€tt att de trots allt tvingas avstĂ„ frĂ„n att utföra aktionen. Ulla Ă€r mycket pĂ„passad av dansk polis och militĂ€r, nĂ€r dagen D nĂ€rmar sig försvinner hon och det visar sig att hon sitter i fĂ€ngelse. 14
Joa Ljungberg & Edi Muka Det följande videoklippet utgör en fortsĂ€ttning eller snarare, vilket titeln tydliggör, âen rekonstruktionâ av den aldrig utförda aktionen. Ulla RĂžder finns inte nĂ€rvarande som person utan istĂ€llet genom texten till Verdis opera Nebukadnessar, som hon metodiskt omarbetat till ett politiskt statement. MĂŠrsk Mc-Kinney MĂžller har investerat stora pengar i det danska operahuset och aktionen var dĂ€rför passande planerad att framföras som en operaakt. I rekonstruktionen ser vi sĂ„lunda en grupp operasĂ„ngare inlindade i blodiga bandage och sjungande Ullas kritiska budskap frĂ„n ett lastbilsflak. KonstnĂ€ren Ă€r hela tiden medveten om att detta enbart rör sig om en rekonstruktion och agerar dĂ€refter. Samma frĂ„gor tas upp och samma person kritiseras, men rekonstruktionen refererar lika mycket till den stora tomheten efter Ulla, hennes livsval, övertygelse och starka ideal. Refererande till sitt arbete som konstnĂ€r skriver Thomas Hirschorn: âJag vill arbeta i kaos för det Ă€r det enda sĂ€ttet att göra motstĂ„nd. Det utgör MotstĂ„nd mot Fakta, mot Information, mot Opinion. Konst Ă€r ett medel för motstĂ„nd, och det gör motstĂ„nd genom att vara konst. Det Ă€r vad som Ă€r vĂ€sentligt. Men det Ă€r ocksĂ„ det som Ă€r svĂ„rt för en konstnĂ€r: att fortsĂ€tta tro pĂ„ konstens grundlĂ€ggande motstĂ„nd och inte vĂ€nda sig till arkitektur, design, illustration eller mode.â 10 SĂ„ snart man kliver in i Hirschhorns installation, Concretion Re, slukar den en. VĂ„r perceptiva förmĂ„ga sviker oss och vi tvingas kĂ€mpa oss igenom verket. Rummet Ă€r gestaltat sĂ„ att vĂ„ra rörelser upphör att styras av vĂ„r egen fria vilja. UtvĂ€xter och hĂ„ligheter, deformerade kroppar, pornografiska bilder, bilder av tortyr, stympade 15
Rethinking Dissent kroppar; de finns överallt: framför dig, bakom dig, över dig och inom dig. Ju lĂ€ngre du stannar desto fasansfullare ter sig omgivningen. Det Ă€r som om att befinna sig i mĂ€nsklighetens eviga och avgrundsdjupa sĂ„r. Det som aldrig orsakades dĂ„ det alltid fanns och det som aldrig kommer att lĂ€ka dĂ„ det alltid kommer att finnas. Vad Ă€r Concretion Re? Ăr det vĂ„r vĂ€rsta mardröm gestaltad? Eller Ă€r det en implosion av den otaliga mĂ€ngd partiklar som tillsammans formar vĂ„r flytande förmedlade verklighet? För varje fasansfull detalj som passerar framför vĂ„ra ögon vĂ€xer kĂ€nslan av obehag. Ett obehag inför de grymheter som bilderna illustrerar men ocksĂ„ inför insikten om till vilken grĂ€ns vi kommit att bli passiva konsumenter av bilder, oavbrutet matade till oss genom massmedia, i en blandning av skrĂ€ck och skönhet. Som Bogdan Ghiu skriver om verket i sin text Concentration, Concretion Re (An Artistic Ambush): âGenom konstens intervention mottar betraktaren slutligen allting i en koncis, koncentrerad, om-konkretiserad form. Tar emot de mördade, mördande livsformerna. Detta hĂ€nder pĂ„ en emotionell nivĂ„ dĂ„ det inte finns nĂ„gon tid för intellektet att Ă„terhĂ€mta sig â teknologiskt vĂ„ld vĂ€nder sig mot vĂ€rldens invĂ€rtes, organiska sfĂ€r. Det finns inget att se, du har klivit in i konkrement, konkretion. Kropp för kropp, kropp pĂ„ kropp, kropp i kropp, vi Ă€r varandras extremiteter, tumörer. En definition av vĂ„rt samtida samhĂ€lle.â 11 En kĂ€nsla av förvirring kommer över en i mötet med de unga och vackra krigarna av AES+F. Hur ska man förhĂ„lla sig till dessa graciösa men farliga, gudomliga men samtidigt mĂ€nskliga varelser? Kan vi tillĂ„ta oss att förfö16
Joa Ljungberg & Edi Muka ras av deras skönhet eller bör vi kĂ€nna oro? Deras fysiska perfektion skapar en förpliktigande distans för vördnad, vilken förstĂ€rks ytterligare av det putsade bronsets glans. Vad gör de hĂ€r? Vad Ă€r de kapabla till? Med ett olympiskt lugn möter AHL Warriors oss som varelser frĂ„n framtiden, eller som komna direkt ur vĂ„r kollektiva fantasi, i sig djupt rotad i en blandning av gammal och ny sciencefictionkultur. Surrealistiska detaljer leder vĂ„ra associationer till en virtuell vĂ€rld och de ideala kropparnas renhet vĂ€cker tankar kring högteknologisk krigsföring dĂ€r fienden kan utplĂ„nas pĂ„ sĂ€kert avstĂ„nd frĂ„n krigets fasor och lidande. Lite lĂ€ngre bort i samma utstĂ€llningshall hörs en mjuk, trevande röst frĂ„n en flicka mumlande ord pĂ„ ett sprĂ„k hon inte förstĂ„r. Adel Abidin har i verket Common Vocabulary tagit sig an uppgiften att lĂ€ra flickan hennes modersmĂ„l, arabiska. Men han lĂ€r henne enbart de ord som kommit att bli vanligt förknippade med den av media förmedlade bilden av dagens Irak. Ord som âBombâ, âKidnappningâ, âFundamentalistâ, âExplosionâ ekar snart i vĂ„ra huvuden genom den lilla flickans ihĂ€rdiga försök att repetera dem med deras rĂ€tta uttal. Högen med papper pĂ„ golvet listar samtliga ord bĂ„de pĂ„ arabiska och pĂ„ engelska och fungerar pĂ„ sĂ„ sĂ€tt som en lĂ€nk mellan den lilla flickan och oss som betraktare. Högt upp pĂ„ vĂ€ggen i biennalens största utstĂ€llningssal projicerar Jenny Holzer sitt videoverk YOU WONâT BELIEVE THIS! Projektionen Ă€r uppbyggt av tidigare hemligstĂ€mplade amerikanska regeringsdokument. Handlingarna portrĂ€tterar âkriget mot terrorismensâ byrĂ„kratiska ansikte och dess offentliga presentation bely17
Rethinking Dissent ser komplicerade spĂ€nningar mellan sekretess och insyn. Trots dokumentens faktamĂ€ssiga karaktĂ€r, genomsyras verket av en pĂ„fallande mĂ€nsklig nĂ€rvaro. Denna nĂ€rvaro finns i spĂ„ren frĂ„n hĂ€nderna som skrivit dokumenten och frĂ„n hĂ€nderna som vid ett senare tillfĂ€lle mödosamt strukit över ord, meningar och inte sĂ€llan hela stycken dĂ€r innehĂ„llet ansetts alltför kĂ€nsligt för att offentliggöras. Den mĂ€nskliga nĂ€rvaron finns ocksĂ„ i de röster som beskriver de mest omĂ€nskliga handlingar och i de defensiva men hjĂ€lplösa försöken att framstĂ„ som just mĂ€nsklig, mitt i allt det omĂ€nskliga. Holzers videoprojektion skapar som en fond för Jane Alexanders skulpturala installation, Security/SĂ€kerhet. Ett dubbelt taggtrĂ„dsstĂ€ngsel inhĂ€gnar hĂ€r en liten anskrĂ€mlig varelse, till hĂ€lften mĂ€nniska, till hĂ€lften fĂ„gel. Varelsen stĂ„r pĂ„ en yta av sĂ„tt vete som gror och sedan dör. Runt omkring ligger handskar, skĂ€ror, och macheteknivar, traditionella emblem för jordbruksarbete men som idag frĂ€mst associeras till politik, revolution och konflikt. NĂ€rvaron av uniformklĂ€dda vĂ€ktare utanför stĂ€ngslet bidrar till en förvirring kring varelsens belĂ€genhet. Ăr hon skyddad eller fĂ€ngslad bakom stĂ€ngslet? Ăr det vi som genom stĂ€ngslet skyddas frĂ„n varelsen eller Ă€r det tvĂ€rtom hon som genom stĂ€ngslet skyddas frĂ„n oss? Ăven om Security/SĂ€kerhet refererar till Sydafrika i övergĂ„ngen frĂ„n apartheidsystemet fungerar verkets limboartade karaktĂ€r lika vĂ€l som en metafor för hur en vĂ€rld dĂ€r den symboliska och fysiska Murens fall (som skulle infria löftet om en ny och lysande framtid) kommit att ersĂ€ttas av en myriad av nya och betydligt mer sofistikerade murar och stĂ€ngsel. 18
Joa Ljungberg & Edi Muka (1.3) Mot slutet av Murakamis bok fĂ„r huvudpersonen vetskap om en möjlighet att fly den muromgĂ€rdade staden. NĂ€r han tillsammans med sin skugga (som representerar hans inre vĂ€sen) Ă€r i fĂ€rd att fly Ă€ndrar han sig plötsligt och bestĂ€mmer sig för att stanna kvar. I avskedet frĂ„n sin skugga sĂ€ger han: âJag har ett ansvar, jag kan inte försaka mĂ€nniskorna, platserna och sakerna som jag har skapat. Jag vet att jag gör dig illa. Och det Ă€r möjligt att jag gör mig sjĂ€lv illa. Men jag mĂ„ste genomleva konsekvenserna av mitt eget handlande. Det hĂ€r Ă€r min vĂ€rld. Muren finns hĂ€r för att innesluta mig, floden strömmar igenom mig, röken Ă€r jag som brinner. Jag mĂ„ste förstĂ„ varför.â 12 IstĂ€llet för att passivt acceptera Murakamis âEnd of The Worldâ, som ett slutgiltigt tillstĂ„nd dĂ€r förĂ€ndring inte lĂ€ngre Ă€r tĂ€nkbar, Ă€r det vĂ„r förhoppning att Rethinking Dissent ska inspirera till reflektion kring olika aspekter av detta muromgĂ€rdade universum. Ett universum som mĂ„nga av oss kollektivt tycks ha accepterat. TjugoĂ„tta konstnĂ€rer och konstnĂ€rsgrupper frĂ„n olika delar av vĂ€rlden hjĂ€lper oss att visualisera och konkretisera dess tillstĂ„nd samtidigt som de stĂ€ller frĂ„gor kring dess uppkomst och verkningar. Starka estetiska uttryck, processinriktade verk, befintliga verk liksom nyproducerade verk tar med oss pĂ„ en resa som kan liknas vid en sökning lĂ€ngs mentala stigar, hela tiden beroende av vĂ„rt aktiva inre engagemang.
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Virpi NÀsÀnen
âč
The 4th edition of Göteborg International Biennial for Contemporary Art we would like to warmly welcome you to the Göteborg International Biennial for Contemporary Art! Founded in year 2001, it now presents its 4th edition and offers an exciting start of the cultural season. In this publication (the biennial catalogueâs first part) you will find images and an introduction to the biennial exhibition: Rethinking Dissent â on the limitations of politics and the possibilities of resistance. A second part of the catalogue, including artistsâ texts and commissioned texts in critical theory, will be published in connection to a symposium held on the 13th of October 2007. Aiming at creating an interaction with the local art scene, the biennialâs curators Joa Ljungberg and Edi Muka, have invited locally based curators, artists and galleries to stage their own productions in dialogue with the biennial, using the theoretical platform of the biennial as a common starting point. These events are presented as Satellites and enclosed you will find information about their participating artists and curatorial frameworks. The biennial exhibition spreads to five venues in Gothenburg: Röda Sten, Röhsska museum, the Old Post Office, Göteborg Konsthall and the gallery Kaustik. The biennialâs satellites are presented in seven venues: 300m3 Art Space, Gallery Box, Galleri 54, Konstepidemin, Atalante, LĂ„dan/the mobile box and Galleri Rotor. As an important complement to its exhibitions, the biennial will offer a substantial pedagogical program in21
cluding artistsâ talks, guided tours, lectures and courses. Röda Sten Culture Association is the main organising party of the 4th edition of the Göteborg International Biennial for Contemporary Art, a decision taken by Gothenburgâs Culture Committee in May 2006. Welcome Virpi NĂ€sĂ€nen, Project Manager The 4th Edition of Göteborg International Biennial for Contemporary Art
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Joa Ljungberg & Edi Muka
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Rethinking Dissent â on the limitations of politics and the possibilities of resistance (1.1) âDissentâ can be described as a sentiment or philosophy of non-agreement or opposition to an idea (e.g. a governmentâs policies) or an organisation (e.g. a religious community or political party). Antonyms include assent, agreement and acceptance. âDissentâ may in some political systems be formally expressed through opposition politics, while politically repressive regimes may prohibit any form of dissent. Individuals who do not conform to or support the policies of certain states may be described as âdissidentsâ or in extreme cases, âenemies of the stateâ. 1 With the 4th edition of Göteborg International Biennial for Contemporary Art we wish to resume the important discussions about âthe condition of the politicalâ that so inspiringly formed the basis for Democracy Unrealized in Documenta xi year 2002. Where do we stand today, five years later? Our title, Rethinking Dissent, is meant to encourage reflection on the meaning of âDissentâ in a time characterized by the dominance of global capital, operating on a level above politics. A âscoundrel timeâ, according to the philosopher and sociologist Slavoj ĆœiĆŸek, when even the political left has adjusted to the functioning of a globalized market economy and thus ceased to offer any real political alternative.2 In the essay entitled Thanks â for Nothing! (published 23
Rethinking Dissent in the second part of the biennial catalogue), Jodi Dean, an author and professor of political science, discusses this supposed political impasse and rhetorically asks if âperhaps the most pathetic attribute of the Left today is its vigorous defence of the Rightâs most special treasure, liberal democracy?â 3 According to Dean there is no great difference between ĆœiĆŸekâs understanding of the âpost-political totality of global capitalâ and the conception of Empire 4 of the philosophers Michael Hardt and Antonio Negri: both regard the political space as threatened because of globalization. But whereas Hardt and Negri see the loss of the âautonomy of the politicalâ as an opportunity insofar as it provides an unforeseen possibility for a multitude of struggles and organisations to globally organise themselves against the supranational power structure, ĆœiĆŸek sees the same phenomenon as âprecisely that depolitization that forecloses any real, political challenge to globalizationâ.5 Accounting for ĆœiĆŸekâs conception of todayâs Left as sadly engaged in a never-ending process of resistance that could never seriously challenge the existing order (as it is part of it), Dean continues by explaining how today nationalism and religious and ethnic fundamentalism not only feed on the fears triggered by the increased closeness to the Other (brought on by globalization) but also constitute temptations in a longing to âfill inâ this absence of political alternatives and visions.6 Another characteristic of this âPostpoliticalâ time we are supposedly living in is the extent to which our lives and our understanding of the world are affected by a continuous state of war â a war that is widely present24
Joa Ljungberg & Edi Muka ed and explained to us as a clash between traditionalist Islamic fundamentalism and modern liberal democracy. Is this supposed ideological antagonism real? If not, what is this global war really about? Two months after the attacks on World Trade Center, President George W. Bush put his signature to the Patriot Act, enacting legislation which dramatically expanded the authority of U.S. law enforcement agencies, for the stated purpose of fighting terrorism in the United States and abroad. The act authorized, for example, the indefinite detention of non-citizens suspected of terrorist activities and their subsequent trials by a military commission. In State of Exception, the philosopher Giorgio Agamben uses such circumstances, and similar ones, to describe how the extension of power â or âstate of exceptionâ â offers an important clue in understanding an âalarming shift in political geographyâ; a shift that undermines our political institutions and blurs the border between democracy and tyranny. As the art historian Malcolm Bull points out: âFor Agamben we have moved from Athens to Auschwitz: the Westâs political model is now the concentration camp rather than the city state; we are no longer citizens but detainees, distinguishable from the inmates of Guantanamo not by any difference in legal status, but only by the fact that we have not yet had the misfortune to be incarcerated â or unexpectedly executed by a missile from an unmanned aircraft.â ⊠âBut although his recent examples come from the war on terror, the political development they represent is not, according to Agamben, peculiar to the United States under the Bush presidency. It is part of a wider range in governance in which the rule of law is routinely displaced 25
Rethinking Dissent by the state of exception, or emergency, and people are increasingly subject to extrajudicial state violence.â 7 In Haruki Murakamiâs novel, Hard-Boiled Wonderland and the End of the World, the reader is presented with an imaginary but nevertheless realistic place: a âperfectly walledâ city which âonly birds can clearâ; entirely created in the mind of the anonymous protagonist. The condition of existence within this wall is described in the words of the Gatekeeper at the beginning of the book: ââŠthe Wall is perfect. So forget any ideas you might have. Nobody leaves here.â ⊠âYou have to endure. If you endure, everything will be fine. No worry, no suffering. It all disappears ⊠This is the End of the World. This is where the world ends. Nowhere further to go.â 8 Murakamiâs End of the World is not an apocalyptic one. It is rather a self-constructed and self-centred state, from which it is impossible to escape, because it is, after all, living within oneâs own creation. Here an induced perfection â as an extended, permanent state â comes at the high price of departing from oneâs mind and memories and a non-existence of opposites and opposition, such as love and hatred, hope and disillusion, all of them works of the mind which one has to give up when passing through the Gate. How then are we to consider the reality of our time? Is this âwalled cityâ in Murakamiâs book a metaphor for our contemporary condition, or does our condition rather serve as a metaphor for Murakamiâs enclosed universe? What are the tools that can help us understand and distinguish what comes first and what is what? It is here, we believe, that the artistsâ works come into play. 26
Joa Ljungberg & Edi Muka (1.2) In Armando Lulajâs film, Living in Memory, a five pointed star can be seen burning upon a hilltop in Tirana. The burning star stands as a memorial over a once revered symbol of the struggle for an equal society that later became synonymous with a cruel history of suppression and persecution. There is a ritualistic feeling to the piece, as if the artist â through the act of burning â is attempting to purify the symbol from its violent history. The glitter of fire against the dark sky and the starâs short, predetermined life-span, functions equally well as a symbol of the âwanna be a STARâ culture that thrives through todayâs mediated society. The piece is not some kind of homage to either though. The star soon falls to the ground and the fire devours it completely, leaving behind only the ashes â physical ashes of fire, symbolic ashes of Failure, and living ashes of the Memory of old power structures replaced by new. The Stroll of the New Man by Tania Bruguera is related in content. At the heart of this piece is the transformation of the Cuban regime, once solidly rooted in âpure communist and egalitarian ideologyâ, into a system that is trying to survive at any cost in the face of global capitalism. For her piece Bruguera has used her privileged position as an international artist, to invite to Gothenburg two less privileged Cubans who have never before been abroad. In her project description, the artist states that The Stroll of the New Man reveals the reality of this âin theoryâ egalitarian society, as a society governed by privileges. To travel is an example of such a privilege and artists are privileged as they serve as evidence of the âcultural and intellectual development 27
Rethinking Dissent achieved by the Cuban societyâ. Contemporary Cuba is, according to the artist, pervaded by the discrepancy between ideology and its implementation in daily life. This discrepancy has a destructive impact on the spiritual and ideological condition of the Cuban subjects and âdooms to failure the Utopia promoted by the revolution.â The idea of the âNew Manâ, as characterised by a strong and reciprocal commitment to society, has been pushed aside, favouring instead the individual and his individual projects. 9 If a country that claims to resist the temptations of global capitalism in order to safeguard equality is in reality strictly hierarchical, do we then have any choice but to accept the failure of this âgreat egalitarian projectâ that already, and so spectacularly, disintegrated in Eastern Europe? Are we left to accept that there are no further alternatives? âFailureâ as a phenomenon is also central in Fia-Stina Sandlundâs pieces: An Idealistic Attempt and Reconstruction of an Action that Never Took Place. The first is constructed as an interview with the artist herself. We hear her ask herself to what extent she is (we are) prepared to take risks for the sake of âidealsâ. Her scrutiny circles around an action she was planning together with Ulla RĂžder, a Danish peace activist. The action was directed against MĂŠrsk Mc-Kinney MĂžller, according to the involved a shady person engaged in shady business and with contacts high up in the Danish government and royal family. At a moment when the situation becomes precarious, the artist decides to think twice before going ahead. The course of events impedes them nevertheless from carrying out the action. Ulla is increasingly 28
Joa Ljungberg & Edi Muka surveilled by Danish police and military and close to the date of the action, she suddenly disappears and it turns out that she is in prison. The second piece â as the title suggests â is a continuation or rather a âputting to lifeâ of the failed action. Ulla RĂžder is not present in person but instead through the lyrics of Verdiâs opera Nebuchadnezzar, which she has laboriously revised into a political statement. MĂŠrsk McKinney MĂžller has invested capital in the Danish opera house and the action was therefore suitably planned as an operatic act. In the reconstruction we see a group of opera singers, wrapped in blood-stained bandages, singing Ullaâs lyrics from the platform of a truck. All the time conscious that this is only a âstagingâ of the failed action, the artist acts it out accordingly. Addressing the same issues and the same person, as when it was first conceived, yet referring to the Great Absent in the part â Ulla, with her determination, conviction and ideals. Referring to his practice, Thomas Hirschhorn says: âI want to work in chaos for it is the only possible way to resist. It constitutes a Resistance to Facts, to Information, to Opinion. Art itself is a means of Resistance and it does resist because it is Art. That is what is essential. But that is also what is difficult for an Artist: to keep believing in Artâs constitutive resistance and not to turn to architecture, design, graphics or fashion.â 10 When entering Hirschhornâs Concretion Re, the piece immediately swallows you. Perceptive abilities melt down and you have to wrestle your way through the piece. The space is shaped in such way that moving inside it ceases to be a matter of the viewerâs free choice. 29
Rethinking Dissent Ingrowths and outgrowths, mutilated bodies, reference books and the incessant flurry of images, all are there: in front of you, under you, above you, and inside you. The longer you stay inside it the more unspeakable it becomes. It is as if entering humanityâs eternal and abysmal wound, the one that was never caused, because it was always there and will never heal, because it will always be there. What is Concretion Re? Is it our worst nightmare concretised, or is it an implosion of the myriad of particles that compose our liquefied mediated reality? With every gruesome detail paraded in front of our eyes, our uneasiness grows together with a sense of fear. This is not so much a fear of the cruelty illustrated by the images, as one that springs from the realization of the extent to which we have become mere passive consumers of images, fed to us incessantly by the mass media in a mixture of horror and beauty. As Bogdan Ghiu writes about the piece in his text Concentration, Concretion Re (An Artistic Ambush): âThrough the intervention of art, the spectator finally receives everything in a concise, concentrated, re-concreted manner. Receives the murdered, murderous forms of life. This happens on the level of senses because there is no time for the intellect to recover â technological violence addresses the visceral sphere of the world. There is nothing to see, you have simply entered concrescence, concretion. Body by body, body upon body, body in body, we are one-anotherâs excrescences, tumors. A definition of contemporary society.â 11 A feeling of perplexity is evoked by the young and beautiful warriors by AES+F. As a viewer one struggles 30
Joa Ljungberg & Edi Muka to identify oneâs feelings when faced with these gracious but dangerous, god-like but still human, potentially ferocious but calmly idyllic beings. Their physical perfection shines from them, creating the necessary distance for veneration which is enhanced further by the glimmer and shine of the polished bronze. Are we allowed to be seduced, or should we feel disquiet? Their science fiction like accessories draw our associations to the virtual world of computer games and their slick perfection evoke thoughts on todayâs high tech warfare that enables battles to be fought at a safe distance from the horrors and mess experienced by the âtargetâ. As creatures of the future, coming straight out of our collective imaginary, the AHL warriors face us in Olympian calmness. Why are they here? What are they capable of? A bit further ahead in the same exhibition hall we hear the soft and insecure voice of a little girl, mumbling words in a language she doesnât understand. In his work Common Vocabulary Adel Abidin has undertaken the task of teaching the girl (and us) her native language, Arabic. But he only teaches her words that have become synonymous with the mediated image of todayâs Iraq; âBombâ, âAbductionâ, âThiefâ, âExplosionâ. These and other words soon echo in our heads through the girlâs tedious attempts to repeat the words with the correct pronunciation. The pile of papers on the floor lists all the words in both English and Arabic, thus offering a link between the little girl on the screen and us as viewers. High up on the wall of the biennialâs largest exhibition hall, Jenny Holzer projects her piece YOU WONâT BELIEVE THIS! The piece is built up of recently declas31
Rethinking Dissent sified United States government documents, released under the Freedom of Information Act. The documents portray the bureaucratic face of the war against terrorism and their public presentation highlights the complex tension between secrecy and transparency. However matter of fact these documents appear, a strong human presence pervades the artwork. A presence felt through the traces of the hands that wrote the documents and through the traces of the hands that at a later stage tediously erased words, sentences and not infrequently full paragraphs, when the content was considered too sensitive to be made public. A presence felt furthermore, through the voices describing the most inhuman behaviour, and in defensive but helpless attempts to appear âhumanâ in the midst of inhumanity. From the height of the wall, Holzerâs projections overlook the installation, Security, by Jane Alexander. A double barbed wire fence here encloses a strange creature, half human, half bird. The creature stands on a rectangle where wheat grows and then dies. Around it lies gloves, sickles and machetes, long the traditional emblems of the farm worker but now more associated with politics, revolution and conflict. The presence of uniformed guards outside the fence, adds to the confusion about the creatureâs status, blurring the borders between protection and imprisonment. Is it we that are supposed to be protected from the creature, or is the creature supposed to be protected from us? Even if Security refers to post-apartheid South Africa, its state of limbo functions equally well as a metaphor over a time in which âThe Great Promiseâ, induced by the tearing down of the one symbolical and physical Wall, 32
Joa Ljungberg & Edi Muka has been replaced by a myriad of new and far more sophisticated walls and fences. (1.3) Towards the very end of Haruki Murakamiâs novel, the protagonist is presented with the chance to escape the walled city in which he is entrapped. But at the moment when he and his shadow (representing his mind) are about to leave, he suddenly changes his mind and decides to stay. In parting with his shadow he tells it: âI have responsibilities, I cannot forsake the people and places and things I have created. I know I do you a terrible wrong. And yes perhaps I wrong myself too. But I must see out the consequences of my own doings. This is my world. The Wall is here to hold me in, the River flows through me, the smoke is me burning. I must know why.â 12 Rather than passively accept the âEnd of the Worldâ as our ultimate state where change is unthinkable, it is our hope that Rethinking Dissent will encourage reflection on different aspects of this âuniverse inside the wallsâ to which many of us seem collectively to have assented. Twenty-eight artists and artistsâ groups from many different parts of the world will help us visualize and concretize it, while at the same time questioning the terms on which it exists. Strong aesthetic expressions combined with more process-based approaches; existing works as well as newly produced projects will together lead us on a journey that resembles tracing mental routes, always requiring our active participation and inner involvement.
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Bildreferenser 1 Adel Abidin, Common Vocabulary (videostill), 2006. Video och tryckta kort/video and printed cards. Courtesy konstnÀren/the artist. 2 Armando Lulaj, Living in Memory (videostill), 2004, video. Courtesy konstnÀren och/the artist and Artra Gallery, Milano. 3 Lamia Joreige, Objects of War 4 (videostill), 2006, video. Courtesy konstnÀren/the artist. 4 Mandana Moghaddam, Chelgis III* (videostill), 2006, video. Courtesy konstnÀren/the artist. 5 Lida Abdul, What we saw upon awakening (videostill), 2006, video. Courtesy konstnÀren och/artist and Giorgio Persano Gallery, Torino. 6
Sislej Xhafa, Khaleen (digital rendering), 2004-2007. HandvĂ€vd matta/hand-woven carpet 6 Ă2m. Courtesy konstnĂ€ren och/the artist and Magazzino dâArte, Rome.
7 PÄl Hollender, Clean (detalj/detail), 2007. Installation, blandteknik/mixed media. Courtesy konstnÀren/the artist. 8 Johan Zetterquist, Proposal No 5: Partly buried very tall buildings (detalj/detail), 2007. Installation, blandteknik/mixed media Courtesy konstnÀren och/the artist and Galleri Andréhn-Schiptjenko, Stockholm. 34
Picture references 9
Jane Alexander, Security/Segurança (detalj/detail), 2006. Installation, blandteknik /mixed media. Courtesy konstnÀren/the artist Foto/photo: Juan Guerra.
10 Melik Ohanian, Invisible Film (videostill), 2005. Videoinstallation/video installation. Courtesy konstnĂ€ren och/the artist and Galerie Chantal Crousel, Paris; Yvon Lambert Gallery, New York © Melik Ohanian, foto/photo © Melik Ohanian, Punishment Park © Peter Watkins 1971. 11 Lida Abdul, Brick sellers of Kabul* (videostill), 2006, video. Courtesy konstnĂ€ren och/the artist and Giorgio Persano Gallery, Torino. 12 Maria Heimer Ă kerlund, Exercis (videostill), 2005. Videoinstallation/video installation Courtesy konstnĂ€ren/the artist. 13 Adel Abidin, Common Vocabulary (detalj/detail), 2006. Video och tryckta kort/video and printed cards. Courtesy konstnĂ€ren/the artist. 14 Anri Sala, LĂ k-kat (videostill), 2004, video. Courtesy konstnĂ€ren och/the artist and Hauser and Wirth, ZĂŒrich, London; Marian Goodman Gallery, New York; Galerie Chantal Crousel, Paris.
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Bildreferenser 15 Anri Sala, LĂ k-kat (videostill), 2004, video. Courtesy konstnĂ€ren och/the artist and Hauser and Wirth, ZĂŒrich, London; Marian Goodman Gallery, New York; Galerie Chantal Crousel, Paris. 16
Catti Brandelius, Jag Àr Evert Taube, 2007. FÀrgfotografi/color photograph (del av projekt som Àven inkluderar performance, video m.m. /part of a project that also include performance, video and more). Courtesy konstnÀren/the artist. Foto/photo: Jessica Natasja Loutchko.
17 Mats Hjelm, How tables came to Umu Madu (videostill), 2007, video. Courtesy konstnÀren och/the artist and BrÀndström & Stene. Foto/ photo: Mats Hjelm &Annika Busch. Ljud/sound: Claes Herrlander. Redigering/editing: Mats Hjelm &Annika Busch. Medverkande/acting: Cardinal Mbiyu Chui. 18
Jane Alexander, Verity, Faith and Justice* (detalj/detail), 2006. Installation, blandteknik /mixed media. Courtesy konstnÀren/the artist. Foto/photo: Luke Tan.
19 Sislej Xhafa, Ceremonial Crying System PV * 2004. Installation, blandteknik/mixed media. Courtesy konstnĂ€ren och/the artist and Magazzino dâArte, Rome; Manfredi della Gherardesca, MDG Fine Arts, London.
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Picture references 20 Armando Lulaj, DeepEst sound/Common Assembly. Act 1 (detalj/detail), 2007. Video installation/video installation. Courtesy konstnĂ€ren/the artist. 21 Mats Hjelm, Fatherâs day at the Shrine of the Black* Madonna* (videostill), 2006, video. Courtesy konstnĂ€ren/the artist. Foto/photo: Mats Hjelm. Ljud/sound: Claes Herrlander, Jesper Johansson. Redigering/editing: Mats Hjelm, Annika Busch. Medverkande/acting: Jaramogi Menelik Kimathi, Holy Partiarch of the Pan African Orthodox Christian Church. 22 Ola Ă strand, Vinnarnas historia (detalj/detail), 2007. Installation, blandteknik/mixed media. Courtesy konstnĂ€ren/the artist. 23 Joanna Rytel, Ska vi leka doktor med din snopp? (detalj/detail), 2007, performance. Courtesy konstnĂ€ren/the artist. 24
Jane Alexander, Verity, Faith and Justice* (detalj/detail), 2006. Installation, blandteknik /mixed media. Courtesy konstnÀren/the artist. Foto/photo: Luke Tan.
25 Democracia, Charity* (videostill), 2006. Aktion och video/action and video. Courtesy konstnÀrerna och/the artists and Salvador Diaz Gallery, Madrid. 37
Bildreferenser 26 Santiago Sierra, Submission (Formerly Word of Fire), October 2006/March 2007, Anapra, Ciudad Juarez, Chihuahua, Mexico, 2007. Dokumentation av aktion, svartvita fotografier/documentation of action, black and white photographs. Courtesy konstnÀren och/the artist and Lisson Gallery. 27 Santiago Sierra, Submission (Formerly Word of Fire), October 2006/March 2007, Anapra, Ciudad Juarez, Chihuahua, Mexico, 2007. Dokumentation av aktion, svartvita fotografier/documentation of action, black and white photographs. Courtesy konstnÀren och/the artist and Lisson Gallery. 28 Lida Abdul, Brick sellers of Kabul* (videostill), 2006, video. Courtesy konstnÀren och/the artist and Giorgio Persano Gallery, Torino. 29 Jane Alexander, Security/Segurança, 2006. Installation, blandteknik/mixed media. Courtesy konstnÀren/the artist. Foto/photo: Juan Guerra. 30
Jenny Holzer, YOU WONâ T BELIEVE THIS! (detalj/detail), 2007. Dubbel videoprojektion /two channel video projection. Courtesy konstnĂ€ren/the artist. Medlem i BUS, Sverige/member of the Artists Rights Society (ARS), N.Y.
31 AES+F, Action Half Life warriors, 2005-2006. Skulpturgrupp/sculptural group, brons/bronze. Courtesy konstnÀrerna och/the artists and Tri umph Gallery, Moscow. Foto/photo: Vlad Loktev. 38
Picture references 32
Thomas Hirschhorn, Concretion Re (detalj/detail), 2007. Installation, blandteknik /mixed media. Courtesy konstnÀren och/the artist and Galerie Chantal Crousel, Paris. Foto/Photo: Romain Lopez.
33 Jenny Grönvall, Peggy Sue at Dunkers*, 2005. FÀrgfotografi/color photograph. Courtesy konst nÀren/the artist. Foto/photo: Jenny Grönvall. 34 Mandana Moghaddam, Chelgis I*, 2004. Installation, blandteknik/mixed media. Courtesy konstnÀren/the artist. Foto/Photo: Hatef. 35 Joanna Rytel, Att tÀnka tankar man inte vill tÀnka (detalj/detail), 2005, video. Courtesy konstnÀren /the artist. 36 Ola à strand, Vinnarnas historia (detalj/detail), 2007. Installation, blandteknik/mixed media Courtesy konstnÀren/the artist. 37 Mario Rizzi, Neighbours (videostill), 2007. Installation med sex videoprojektioner och ljud /six channel video projection and audio. Courtesy konstnÀren/the artist. 38
Democracia, All of you are guilty except me â memorial to suicide bomber, 2007. Skulptur med podium/sculpture with podium, polyester, granit/granite. Courtesy konstnĂ€rerna och/ the artists and Salvador Diaz Gallery, Madrid. 39
Bildreferenser 39 Melik Ohanian, September 11, 1974, Santiago Chile 2007*, 2007. Courtesy of Galerie Chantal Crousel, Paris; Yvon Lambert Gallery, New York. 40 Mario Rizzi, Neighbours (videostill), 2007 Installation med sex videoprojektioner och ljud /six channel video projection and audio. Courtesy konstnĂ€ren/the artist. 41 Jenny Holzer, YOU WONâ T BELIEVE THIS! (detalj/detail), 2007. Dubbel videoprojektion /two channel video projection. Courtesy konst nĂ€ren/the artist. Medlem i BUS, Sverige/Member of the Artists Rights Society (ARS), N.Y. 42
Thomas Hirschhorn, Concretion Re (detalj/detail), 2007. Installation, blandteknik /mixed media. Courtesy konstnÀren och/the artist and Galerie Chantal Crousel, Paris. Foto/Photo: Romain Lopez.
43 AES+F, Last Riot*, 2006. Digitalt collage /digital collage. Courtesy konstnĂ€rerna och/the artists and Triumph Gallery, Moscow. 44 Johan Zetterquist, Proposal No. 9 â Hole through the moon, 2007. Installation, blandteknik /mixed media. Courtesy konstnĂ€ren och/the artist and Galleri AndrĂ©hn-Schiptjenko, Stockholm. 40
Picture references 45 Maria Heimer à kerlund, Exercis (videostill), 2005. Videoinstallation/video installation. Courtesy konstnÀren/the artist. 46 Armando Lulaj, Reflections on black*, 2006. Svartvitt fotografi/black and white photograph. Courtesy konstnÀren och/the artist. 47 Fia-Stina Sandlund, Reconstruction of an action that never took place (videostill), 2007, video. Courtesy konstnÀren/the artist. 48 Fia-Stina Sandlund, Reconstruction of an action that never took place (videostill), 2007, video. Courtesy konstnÀren/the artist. 49 Hendrik Zeitler, utan titel, 2005-2006. C-print, Diasec. Courtesy konstnÀren/the artist. 50 Marianne Lindberg De Geer, Jan Alvermark NÄgra brev frÄn svenskar till kubaner (videostill), 2006. Ljudverk med video/audio piece with video. Courtesy konstnÀrerna/the artists. 51 Otto Karvonen, Fish with convictions*, 2006. Performance pÄ en marknad/performance at market, fiskar/fish, pappersskyltar/paper signs. Courtesy konstnÀren/the artist. 52 Fia-Stina Sandlund, Reconstruction of an action that never took place, 2007, video. Courtesy konst nÀren/the artist. 41
Bildreferenser 53 Hendrik Zeitler, Anne-Maren, 2004. C-print, Diasec. Courtesy konstnÀren/the artist. 54 Tania Bruguera in collaboration with Yalà Romagoza and Ezequiel Suårez, The stroll of the New Man (detalj/detail), 2007. Performance, kubaner födda efter 1959 reser för första gÄngen, flygbiljetter, presenter köpta under resan i Sverige, fotografier och videodokumentation/ Performance, Cubans born after 1959 that travel for the first time, flight tickets, gifts bought during stay in Sweden, photographs and video documentation. Courtesy konstnÀrerna och Göteborgs Internationella Konstbiennal/the artists and Göteborg International Biennial for Contemporary Art. 55 Jenny Grönvall, Peggy Sue at Dunkers*, 2005. FÀrgfotografi/color photograph. Courtesy konst nÀren/the artist. Foto/photo: Jenny Grönvall. *Works not shown in biennial.
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Picture references Works that are not illustrated but that are part of the exhibition: Jenny Grönvall, Tipspromenad, 2007. Blandteknik /mixed media. Courtesy konstnĂ€ren/the artist. Otto Karvonen, Test your Swedishness, 2007. Platsspecifik aktion i Göteborg/sitespecific action in Gothenburg. Courtesy konstnĂ€ren/the artist. Mandana Moghaddam, Chelgis V, 2007, installation. Courtesy konstnĂ€ren/the artist. Joanna Rytel, Utan titel, 2007. TvĂ„ fĂ€rgfotografier/two color photographs. Courtesy konstnĂ€ren/the artist. Fia-Stina Sandlund, The way of socialism, 2007. Ljud och text verk/sound and text piece. Courtesy konstnĂ€ren och SRc/the artist and SRc. Fia-Stina Sandlund, An idealistic attempt, 2007, video. Courtesy konstnĂ€ren/the artist. Johan Zetterquist, Proposal No. 12 â A monument expressing our European gratitude towards the United States of America for hosting the puritans, 2005, mixed media. Courtesy konstnĂ€ren och/the artist and Galleri AndrĂ©hn-Schiptjenko, Stockholm.
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In Dependence 300âm3 Art Space Datum/Date: 2007-08-25 â 2007-10-21 KonstnĂ€r/Artist: Hito Steyerl Curatorer, initiativtagare /Curators, Initiators: Marika Orenius, Jesper Toss I samband med Göteborgs 4:e Internationella Konstbiennal presenterar 300 m 3 Art Space den tyska filmskaparen och konstnĂ€ren Hito Steyerl. Hito Steyerls konstnĂ€rskap Ă€r mĂ„ngfasetterat och rör sig inom omrĂ„det postkolonial kritik och essĂ€isk dokumentĂ€r filmografi. Hennes arbeten befinner sig i grĂ€nslandet mellan film och konst, men ocksĂ„ mellan teori och praktik. Centrala teman i Hito Steyerls konst Ă€r feminism, migration, rasism och kulturell globalisering. Beslutet att bjuda in Hito Steyerl togs efter att Marika Orenius och Jesper Toss sett hennes verk November pĂ„ Viper-festivalen i Basel 2006. November Ă€r en film om en nĂ€rstĂ„ende vĂ€n, Andrea Wolf, som misstĂ€nktes för att vara kurdisk terrorist och medlem av Röda ArmĂ©fraktionen i Tyskland. För konstbiennalen arbetar Hito Steyerl med ett nytt verk med titeln In Dependence. In connection with the fourth Göteborg Inter national Biennial for Contemporary Art 300 m3 Art Space is presenting the German film-maker and artist Hito Steyerl. Hito Steyerlâs oeuvre is multifaceted and engages with the area of post-colonial criticism and essayistic documentary filmography. Her works exist in the grey zone between film and art, but also between theory and practice. Central 45
Satelliter themes in Hito SteyerlĂą€™s oeuvre are feminism, migration, racism and cultural globalization. The decision to invite Hito Steyerl was made after Marika Orenius and Jesper Toss had seen her work November at the Viper-festival in Baslel in 2006. November is a film about a close friend, Andrea Wolf, who was suspected of being a Kurdish terrorist and a member of the Red Army Faction in Germany. For the Biennial Hito Steyerl is creating a new work entitled In Dependence.
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Samtida konstvideo frĂ„n Argentina/ Contemporary video art from Argentina Atalante Datum/Date: 2007-11-14 KonstnĂ€rer/Artists: Gabriela Golder, Gaston Duprat and Mariano Cohn, Luciana Lamothe, Eugenia Calvo, Alicia Herrero. Curatorer, initiativtagare/Curators, Initiators: Kalle Brolin, Kristina MĂŒntzing. Den 14:e november presenteras utstĂ€llningen Samtida konstvideo frĂ„n Argentina pĂ„ Atalante, en av Göte borgs scener för samtida konst. UtstĂ€llningen Ă€r producerad av Kalle Brolin och Kristina MĂŒntzing. Under en vistelse i Buenos Aires har de samlat in videoverk av sex argentinska konstnĂ€rer av vilka de flesta direkt eller indirekt refererar till de nationella trauman som drabbat Argentina â dels militĂ€rregimens bortförande, tortyr och avrĂ€ttningar av 30 000 pĂ„stĂ„dda vĂ€nsteraktivister, dels den finansiella krisen 2001, vilken var resultatet av ett misslyckat experiment i extrem nyliberal ekonomisk politik. De konstverk som inte direkt skildrar dessa hĂ€ndelser, kan Ă€ndĂ„ lĂ€sas mot denna gemensamma politiska bakgrund. Visningen pĂ„ Atalante inleds med en kort introduktion till viktiga politiska hĂ€ndelser i Argentinas nĂ€rliggande historia. 47
Satelliter On 14 November there will be a presentation of the exhibition Contemporary video art from Argentina at Atalante, one of GÄĆteborgĂą€™s venues for contemporary art. The producers of this exhibition are Kalle Brolin and Kristina MÄĆșntzing. During a visit to Buenos Aires they have collected video works by six Argentine artists which mainly refer (directly or indirectly)to the national traumas that has afflicted Argentina. This includes the disappearances, torture and murder of 30,000 alleged supporters of the left, as well as the financial crisis of 2001, the outcome of a failed experiment in extreme neo-liberal economic policy. The works that do not directly depict these events can nevertheless be interpreted against this shared political background. The screening at Atalante will start with a brief introduction to significant political events in the recent history of Argentina.
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No black is not bright white Galleri Box & Galleri 54 Datum/Date: 2007-08-24 â 2007-09-23 KonstnĂ€rer/Artists: Steven Cairns, Rosie McGurn, Conal McStravick, Susan Lickley, Tam A. Curatorer, initiativtagare /Curators, Initiators: Styrelsen pĂ„ Galleri Box och Galleri 54. /The board of Galleri Box and Galleri 54. Galleri Box och Galleri 54 presenterar No black is not bright white, curerad av Transmission Gallery i Glasgow. Transmission Gallery har under mĂ„nga Ă„r fungerat som en förebild för konstnĂ€rsdrivna gallerier runt om i vĂ€rlden. Genom starka och engagerade utstĂ€llningar och evenemang har de lyckats behĂ„lla intresset och energin i gallerirummet. Med utgĂ„ngspunkt i biennalens teoretiska plattform har Transmission Gallery bjudit in fem Skottlandbaserade konstnĂ€rer att tillsammans skapa en utstĂ€llning för Galleri Box och Galleri 54:s utstĂ€llningsrum. Samtliga konstnĂ€rer kommer att visa nyproducerade verk. I samband med utstĂ€llningen arrangeras Ă€ven seminarier, filmvisningar, konstnĂ€rspresentationer och guidade visningar. Galleri Box and Galleri 54 are presenting No black is not bright white, under the curatorship of Transmission Galle-ry in Glasgow. For many years Transmission Gallery has functioned as a model for artist-run galleries all over the world. Its powerful and committed exhibitions and events have enabled it to succeed in maintaining interest 49
Satelliter and energy in the gallery. With the BiennialĂą€™s theoretical platform as its starting point, Transmission Gallery invited five artists based in Scotland to work together on the creation of an exhibition for Galleri Box and Galleri 54. All of the artists will be displaying newly-produced work. Seminars, film-screenings, presentations of the artists and guided tours will also be arranged in connection with the exhibition.
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Satellites
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Flexibility of a Syringe LĂ„dan/the mobile box NĂ„gra av de inbjudna konstnĂ€rerna/Some of the invited artists: Michael Edwards, Michael Eddy, Olle Essvik, Thora Gunnarsdottir, Oliver Heinzenberger, Laura Kuch, Nina Lassila, Elena Loukianova, Joel Nordqvists, Open (Anna Henriksson, Kamilla Levring), Lina Persson, Robertina Ć ebjani, Stina Ăsterberg. Curatorer, initiativtagare/Curators, Initiators: Goran Hassanpour, Mari Lagerquist, Nina Lassila, Lina Persson. En injektion sker pĂ„ en specifik plats i det offentliga stadsrummet. Verk visas, kommenteras och tvivel, trygghet och motsĂ€ttningar skapas. LĂ„dan/the mobile box Ă€r ett oberoende konstnĂ€rsdrivet galleri som opererar i Göteborgs stadsrum. I en tid dĂ„ det offentliga rummet krymper vill LĂ„dan/the mobile box fungera som en opĂ„litlig och oberĂ€knelig agent i den tillsynes givna stadsmiljön. Galleriet navigerar sina utstĂ€llningar genom att betrakta det offentliga livet som en flytande process och genom att betona möjligheterna att pĂ„verka. I samband med Göteborgs Internationella Konstbiennal presenterar LĂ„dan/the mobile box ett antal utstĂ€llningar under samlingsnamnet Flexibility of a Syringe. De inbjudna konstnĂ€rerna ges möjligheten att forma och omforma galleriet och beslutar ocksĂ„ om dess placering i staden. Ăven andra konstnĂ€rer (utöver de som 51
Satelliter Ă€r listade ovan) kommer under hela biennalperioden att erbjudas möjlighet att delta i projektet. An injection will be given at a specific location in one of the cityâs public places. Works will be exhibited, commented on and insecurity, doubt and disagreement created. LĂ„dan/the mobile box is an independent artist-run gallery that operates in public spaces in Göteborg. At a time when our public space is shrinking, LĂ„dan/the mobile box wants to act as an un-reliable and unpredictable agent in the public cityspace that we seem to consider can be taken for granted. The gallery navigates its exhibitions by observing public life as a process of flow and by stressing possibilities of influencing. In connection with Göteborg International Biennial for Contemporary Art LĂ„dan /the mobile box is presenting a number of exhibitions with the collective title Flexibility of a Syringe. The invited artists will be offered an opportunity to shape and reshape the gallery and will also decide where it is to be positioned in the city. The possibility to participate in the programme of LĂ„dan/the mobile box , will be offered also to other artists, not yet listed above, during the entire period of the biennial.
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Reworking Dissent Galleri Rotor Datum/Date: 2007-08-25 â 2007-09-16 Deltagare/Participants: Studenter och professorer frĂ„n Konsthögskolan Valand, Högskolan för fotografi, Carrara Academy of Fine Art, Bergamo, Italien och Tirana Academy of Fine Arts, Albanien. /Students and professors from the Valand Academy of Art, the University College of Photography, Carrara Academy of Fine Art, Bergamo, Italy and Tirana Academy of Fine Arts, Albania. KonstnĂ€rlig ledare/Artistic director: Stefano Romano, professor vid Carrara Academy of Fine Art. /Stefano Romano, Professor at Carrara Academy of Fine Art Studenter och professorer frĂ„n Tiranas konstakademi (Albanien) och Bergamos konstakademi (Italien) reser till Göteborg för att under tio dagar ta del av en workshop tillsammans med studenter och professorer frĂ„n Konsthögskolan Valand och Högskolan för fotografi. Workshopen har titeln Reworking Dissent och kommer att presenteras i form av en utstĂ€llning pĂ„ Galleri Rotor. KonstnĂ€rlig ledare Ă€r konstnĂ€ren och professorn Stefano Romano som tar biennalens teoretiska plattform som utgĂ„ngspunkt. Students and professors from the academies of art in Tirana (Albania) and Bergamo (Italy) will travel to Göteborg to spend ten days participating in a workshop together with students from the Valand Academy of Art 53
Satelliter and the University College of Photography. The title of the workshop is Reworking Dissent and its results will be presented in an exhibition at Galleri Rotor. The artistic leader is the artist and professor Stefano Romano who will base the workshop on the biennialĂą€™s theoretical platform.
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Listening Sites: Tracking Stories Konstepidemin Paviljong 10 Datum/Date: 2007-08-25 â 2007-11-25 KonstnĂ€rer/Artists: Andrea Wollensak, Brett Terry. Curator, initiativtagare /Curator, initiator: Berit Jonsvik. Med utstĂ€llningen Listening Sites: Tracking Stories av Andrea Wollensak och Brett Terry kan Konstepidemin visa ett platsspecifikt verk med Göteborg som utgĂ„ngspunkt. Under en kort stund nĂ€r mötet med det nya och okĂ€nda stĂ€lls emot tidigare erfarenheter, uppstĂ„r en möjlighet att formulera och gestalta nĂ„got tredje. Andrea Wollensak och Brett Terry ser pĂ„ oss och pĂ„ vĂ„ra platser med andra ögon, förundras eller kĂ€nner igen sig. De ger besökaren tillfĂ€lle att reflektera över det invanda och vĂ€lbekanta men introducerar samtidigt nya platser och berĂ€ttelser. Med en bakgrund i grafisk design och ny media anvĂ€nder Wollensak sig av GPS (Global Positioning System) och liknande tekniker för att undersöka kopplingar mellan plats, identitet och historia. Listening sites: Tracking Stories utgĂ„r frĂ„n Göteborg som portrĂ€tteras genom ljudberĂ€ttelser och anvĂ€ndning av GPS-teknik. The exhibition Listening Sites: Tracking Stories by Andrea Wollensak and Brett Terry allows Konstepidemin to display a site-specific work that takes Göteborg as its point of departure. For a brief period as the encounter with the 55
Satelliter new and unknown is opposed to earlier experiences, the possibility arises of formulating and giving shape to a third possibility. Andrea Wollensak and Brett Terry look at us and our localities with other eyes are amazed or identify with what they see. They offer the visitor the chance of reflecting over the customary and the well-known but while at the same time introduce introducing new localities and narratives. With a background in graphic design and the new media, Wollensak uses Global Positioning Systems (GPS) and similar technologies to explore the links between place, identity and history. Listening sites: tracking stories takes GàžŁàžteborg as its starting point and portrays it through sound narratives and the use of GPS technology.
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Bildreferenser/Picture references 56 Hito Steyerl, November, 2004, video. Courtesy och foto konstnĂ€ren/Courtesy and photo the artist. 57 Hito Steyerl, In Dependence, 2007, video. Courtesy och foto konstnĂ€ren/Courtesy and photo the artist. 58 Susan Lickley, Feud For Thought, 2004, video. Courtesy och foto konstnĂ€ren/Courtesy and photo the artist. 59 Andrea Wollensak, Listening Site #3: LinnĂ©gatan 2007. C-print (80Ă80 cm). Courtesy och foto konstnĂ€ren/Courtesy and photo the artist. 60 Alicia Herrero, Video archive from Elipse 2002-2004. Copyright, courtesy och foto konst nĂ€ren/Copyright, courtesy and photo the artist 61 Eugenia Calvo, Un Plan Ambicioso, 2006, video. Courtesy och foto konstnĂ€ren/Courtesy and photo the artist. 62 Technical drawing of LĂ„dan/the mobile box Designer Marcus Lagerquist, 2006. Courtesy Marcus Lagerquist. 63 Francesco Pedrini, Puzzle, 2005, mixed media. Courtesy konstnĂ€ren/the artist.
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Fotnoter 5. Dean, J. 2005 âZizek against Democracyâ, publicerad pĂ„: http://jdeanicite.typepad.com. 2007-06-26.
Rethinking Dissent Joa Ljungberg & Edi Muka Sidan 7 1. Merriam Websterâs Online Dictionary, www.m-w.com; Wikipedia, www.wikipedia.org; The American HeritageÂź Dictionary of the English Language, www.bartleby.com.
6. Dean, J. 2007 âThanks âfor Nothing!â, i katalogen till Göteborgs Internationella Konstbiennal, del 2, Elanders tryckeri Göteborg 2007.
2. Zizek, S. 2002 Welcome to the Desert of the Real, Verso; sv övers av Göran Dahlberg och Elin Talje, VÀlkommen till verklighetens öken, GlÀnta production och Vertigo förlag 2004.
7. Bull, M. 2004 âStates donât really mind their citizens dying (provided they donât all do it at once): they just donât like anyone else to kill themâ, i London Review of Books, Vol. 26 Nr. 24, 2004-12-16.
3. Dean, J. 2007 âThanks âfor Nothing!â, i katalogen till Göteborgs Internationella Konstbiennal, del 2, Elanders tryckeri Göteborg 2007.
8. Murakami, H. 1985 Sekai no owari to hùdo-boirudo wandùrando, Shinchosa, Tokyo, eng övers av Alfred Birnbaum, Hard-boiled Wonderland and the End of the World, Vintage, London 2003, s. 109.
4. Michael Hardts och Antonio Negris Imperiet beskriver vÄrt globala tillstÄnd som prÀglat av hur nationalstaterna förlorat sin suverÀna auktoritet till en överstatlig maktstruktur som de kallar Imperiet. Namnet Imperiet refererar till det romerska imperiet dÀr monarki, aristokrati och demokrati bakades samman till en suverÀn auktoritet. I dagens Imperium utgörs monarkin av Pentagon samt av överstatliga ekonomiska institutioner som WTO, VÀrldsbanken och IMF, medan dess aristokrati utgörs av en liten skara dominerande nationalstater samt av stora transnationella företag. Se vidare Hardt, N. och Negri, A. 2000 Empire, Harvard University Press 2000.
9. Bruguera, T. 2007 projektbeskrivning för âThe Stroll of the New Manâ, i katalogen till Göteborgs Internationella Konstbiennal, del 2, Elanders tryckeri, Göteborg 2007. 10. Hirschhorn, T. 2007 projektbeskrivning till âConcreation Reâ, i katalogen till Göteborgs Internationella Konstbiennal, del 2, Elanders tryckeri, Göteborg 2007. 11. Ghiu, B. 2007 Concentration, Concretion Re (An Artistic Ambush), publicerad i samband med Thomas Hirschhorns utstĂ€llning Concre-
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Footnotes tion Re pĂ„ Galerie Chantal Crousel, Paris 2007. 12. Murakami, H. 1985 Sekai no owari to hĂądo-boirudo wandĂąrando, Shinchosa, Tokyo, eng övers Alfred Birnbaum, Hard-boiled Wonderland and the End of the World, Vintage, London 2003, s. 399. Rethinking Dissent Joa Ljungberg & Edi Muka Sidan 21 1. Merriam Websterâs Online Dictionary, www.m-w.com; Wikipedia, www.wikipedia.org; The American HeritageÂź Dictionary of the English Language, www.bartleby.com. 2. ĆœiĆŸek, S. 2002 Welcome to the Desert of the Real, Verso; translated into Swedish by Göran Dahlberg and Elin Talje, VĂ€lkommen till verklighetens öken, GlĂ€nta production and Vertigo förlag 2004. 3. Dean, J. 2007 âThanks â for Nothing!â, in the catalogue of Göteborg International Biennial for Contemporary Art, part 2, Elanders tryckeri Göteborg 2007. 4. Michael Hardtâs and Antonio Negriâs Empire describes our global order as characterized by the nation-state losing its position of sovereign authority to a supranational power structure that they name Empire. The name Empire, refers to the ancient Roman Empire that combined â monarchy,
aristocracy and democracy â to a single sovereign rule. The monarchy of todayâs Empire is, according to Hardt and Negri, the Pentagon, as well as supranational economical institutions such as WTO, the World Bank and the IMF, while its aristocracy is shaped by a few dominant nationstates and major transnational corporations. See Hardt, N. and Negri, A. 2000 Empire, Harvard University Press 2000. 5. Dean, J. 2005 âĆœiĆŸek against Democracyâ, posted at: http://jdeanicite.typepad.com, 26-05-2007. 6. Dean, J. 2007 âThanks â for Nothing!â, in the catalogue of Göteborg International Biennial for Contemporary Art, part 2, Elanders tryckeri Göteborg 2007. 7. Bull, M. 2004 âStates donât really mind their citizens dying (provided they donât all do it at once): they just donât like anyone else to kill themâ, in London Review of Books, Vol. 26 No. 24, 16-12-2004. 8. Murakami, H. 1985 Sekai no owari to hĂądo-boirudo wandĂąrando, Shinchosa, Tokyo, translated into English by Alfred Birnbaum, Hard-boiled Wonderland and the End of the World, Vintage, London 2003, p. 109. 9. Bruguera, T. 2007 project description for âThe Stroll of the New Manâ, in the catalogue of Göteborg International Biennial for
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Fotnoter Contemporary Art, part 2, Elanders tryckeri Göteborg 2007. 10. Hirschhorn, T. 2007, Artistâs statement for the work Concretion Re, in the catalogue of Göteborg International Biennial for Contemporary Art, part 2, Elanders tryckeri Göteborg 2007. 11. Ghiu, B. 2007 Concentration, Concretion Re (An Artistic Ambush), published in connection to Thomas Hirschhornâs exhibition Concretion Re at Galerie Chantal Crousel, Paris 2007. 12. Murakami, H. 1985 Sekai no owari to hĂądo-boirudo wandĂąrando, Shinchosa, Tokyo, English translation by Alfred Birnbaum, Hardboiled Wonderland and the End of the World, Vintage, London 2003, p. 399.
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Kolofon Göteborgs 4:e Internationella Konstbiennal /Göteborg International Biennial for Contemporary Art 2007 Curatorer/Curators Joa Ljungberg, Edi Muka Huvudarrangör/Main organizer Röda Sten Kulturförening Röda Sten 1 414 51 Göteborg Sweden www.rodasten.com www.biennal.rodasten.com
Medarrangörer/Co-organizers Göteborgs Konsthall Röhsska museet HuvudfinansiÀrer /Main financing parties
Sponsorer/Sponsors
Director Röda Sten Mia Christersdotter Norman Projektledare/Project Manager Virpi NĂ€sĂ€nen UtstĂ€llningskoordinator /Production Coordinator Anna Frid Informationsansvarig /Information Officer Maria Rademark Pedagogikkoordinator /Pedagogical Coordinator Marie Bondeson Marknadsföringskoordinator /Marketing Coordinator Lina Burgman Teknikkoordinator /Technical Coordinator Roland Ăh
Med stöd av/Supported by ASFâThe Americanâ Scandinavian Foundation Avalon Hotel FRAMEâFinnish Fund for â Art Exchange Göteborg&Co NĂ€ringslivsgruppen Home Properties AB Kulturfonden för Sverige â och Finland Letterstedska föreningen SEACEXâSociedad Estatal para â la AcciĂłn Cultural Exterior Statens kulturrĂ„d Stiftelsen framtidens kultur Svenska Institutet
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Colophone VĂ€stra Götalandsregionen Wilhelm och Martina Lundgrens âunderstödsfond Göteborgs Internationella Konstbiennal vill tacka /Göteborg International Biennial of Contemporary Art wishes to thank Henrik Andersson Ana MarĂa Bermeo Chantal Crousel Jerker Eklund Andreas Forsner Mathilda Holmqvist Anna Hyltze Lene Crone Jensen Sami Kallio Erik Ljungberg Johanna Marström Andi Muka Mikael Nanfeldt Mario Rizzi Lisa Samuelsson Johan Sjöström PĂ„l Svensson Niklas Svenung Cecilia and Sara Tirelli Elisabet Udd Darren White
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