Fremdkoerper catalog

Fremdkörper is an international exhibition project which examines foreigness as a socio-cultural phenomenon in the context of the process of European integration.

The project was initiated and realized by a group of Berlin based artists, migrants of East-European descent, who together with their colleagues, artists from their respective native countries, commenced a dialogue. The concept of the exhibition was enlarged thanks to participation of two German artists, who in their works reflected the topic treated in the project from their own perspective.

Against the background of mutual relationship of foreignness and integration the exhibition deals with the phenomena of political and social arrangement and their rules of games, with the changes of geopolitical cartographies, structure of medial truth, reconstruction of remembrances, and with the shifts of identity in perception of alien cultures. An individual artistic language makes it clear how halted time of the process of changes (somewhere between the „not yet torn-away-from-the-old“ and „not-yet-

arrived-at-the new“) becomes a token of an independent identity, carried by a broadened perspective.

The exhibition in Kunstraum Kreuzberg/Bethanien in Berlin 24.6. – 6.8.2006 is the result and sizing up of a series of exhibitions, which have already took place at five different places in East Europe, corresponding to the native countries of the participants. In every case, up to three local artistcal positions were additionally included into the concept of the exhibition project, in cooperation with the co-curators from the cultural institutions taking part in the project.

The exhibition in Berlin opens new dimensions, born in the process of a whole raw of exhibitions, and presents an accumulation of viewpoints that not only concerns every single participant of this cultural dialogue but also causes an important discussion.

Its topic is whether European culture, as a mutual heritage, needs to be redefined anew, and whether it will eventually obliterate all traces of national diversity, or on the contrary, lead to a bright and varied future.

Content

Station 1 Moscow, Russia, April – May 2004, National Centre for Contemporary Arts Vitaly Patzukov “Foreign Body” as a model of a new ecology of culture 10 Station 2 Vilnius, Lithuania, August 2004, Intro Gallery Arunas Spraunius The Etymology of Emigration 16 Station 3 Prague, Czech Republic, December 2004 – January 2005, NoD Gallery Zuzana Stefková The tongue of a strange body 28 Station 4 Trnava, Slovak Republic, March – April 2005, Center of Contemporary Arts Vladimir Beskid With strange art in a strange town ... 38 Station 5 Skopje, Republic of Macedonia, April – May 2005, Museum of the City of Skopje Lazo Plavevski Rough Nuances 46 Artists Basic Group and Guests 53 Impressum 94

Jesper Alvaer (N/CZ) Jovan Balov (MK/D) Aristarkh Chernyshev & Vladislav Efimov (RUS) Aneta Mona Chisa (SK) Pavel Forman (CZ/D) Mindaugas Gapsevicius (LT/D) Geomatic (LT/NL) Slavica Janeslieva (MK) Martin Juef (D) Kunst Fu (SK) Magdalena Natalia Kwiatkowska (PL/CZ) Zorka Lednarova(SK/D) Dörte Mayer (D) Roman Minaev (RUS/D) Mr. Bra (SK) Vladimir Sitnikov (RUS/D) Alma Skersyte (LT) Jovan Sumkovski (MK) Vana Urosevic (MK)

STATION 1 / Moscow / Russia / April – May 2004 / National Centre for Contemporary Arts (NCCA)

Station 1 / Moscow / April – May 2004 / National Centre for Contemporary Arts (NCCA)

8–9

Station 1 / Moscow / April – May 2004 / National Centre for Contemporary Arts (NCCA)

10 – 11

Vitaly Patzukov “Foreign Body” as a model of a new ecology of culture

The sustaining of an artist’s personal perceptions while he/she is simultaneously dissolving in the actual universality of being has always been a major problem in the organics of artistic behaviour.

Its phenomenality gains new dimensions when artist is entering “another’s” culture and different national mentality, becoming a “foreign body”.

Within this dialogical system of art co-ordinates the tense links appear between inner and outer, between artist’s ability to build up a “new island” space of his own and prohibition functions of a “big” culture with its total “continental” forms.

The imagery and dramaturgy of this new space is determined by tradition and socio-cultural continuity; the thickness of the “big” reality, which is always trying, as M. Heidegger wrote, “to capture a foreign body”. The individuality of personal dimensions in these dialogical territories of art comes out in border situations, in an outlying area, in lacunas and “folds”. That is attending to the personal by suggesting it take the shelter or acceptance of conventional, strictly disciplined world.

In their projects each participant of the “Foreign Body” exhibition chooses a visual-intellectual

context of their own within the framework of rigidly motivated scheme, being defined and subjected not only by the culture-historical situation but also by their own psycho-mental features.

This way every project is becoming an “event” or an “occurrence”, described by the nonlinear logic of L. Wittgenstein. Naturally, in the “events” and “occurrences,” the strategy of artistic behaviour is getting a forced nature, and in its contours is reproducing the key features of the “foreign body” phenomenon. Its vectors are becoming a kind of a “continental residential” culture diagnosis, where the gap between a “foreign body” and a body of a matrix creates two situations: a situation of facing and a situation of existence. In both cases a creative person is facing nontransparent topology, inert material, alien rhythms, where space tips over a human being, forcing him to exist in passive voice and to become the conductor even more than a “matrix resident”.

By keenly and seismologically feeling the deep layers of “another’s” culture, and fixing their hardly noticeable, tectonic movements, the participants of the project organically experience the potency of time, its conflicts and changes, its inner senses. They are revealing in dialogues the degree of reflection in which the “foreign body” is forming a new ecology of culture.

Station 1 / Moscow / April – May 2004 / National Centre for Contemporary Arts (NCCA)

12 – 13

Виталий Пацюков

“Инородное тело” как модель новой экологии культуры

Сохранение собственного личностного переживания мира и одновременно растворение в его актуальной универсальности всегда остается основной проблемой в органике художественного поведения. Ее феноменальность приобретает новые измерения при вхождении художника в “чужую” культуру и в иную национальную ментальность, превращаясь в “инородное тело”. В этой диалогической системе художественных координат возникают напряженные связи между внутренним и внешним, между возможностями художника выстраивать свое “новое островное” пространство и функциями запрещения со стороны “большой” культуры и его тотальных “континентальных” форм. Образность и драматургия нового пространства детерминируются традицией и социокультурной непрерывностью, плотностью “большой” реальности, всегда стремящейся, как писал М. Хайдеггер, “овладеть инородным телом”. Индивидуальность личных измерений в этих диалогических территориях искусства раскрывается в пограничных ситуациях, на периферии, в лакунах и “складках”, что сопутствует личному, предлагая ему укрытие или принятие общепринятого, строго дисциплинированного мира. В своих проектах каждый из участников экспозиции “Инородное тело” выбирает свой

визуально-интеллектуальный контекст в рамках жестко мотивированной схемы, определяясь и опредмечиваясь не только культурно-исторической ситуацией, но и собственными психо-ментальными особенностями. Таким образом каждый проект становится “событием” или “случаем”, описанным нелинейной логикой Л. Витгенштайна. Естественно, что в “событиях” и “случаях” стратегия художественного поведения приобретает форсированный характер и в своих контурах воспроизводит ключевые признаки феномена “инородного тела”. Ее векторы превращаются в своеобразный диагноз “континентальной резидентской” культуры, где зияние между “инородным” телом и телом матрицы создает две ситуации: ситуацию предстояния и ситуацию экзистенции. В обеих ситуациях творческая личность встречается с непрозрачной топологией, инертной материей, с чужеродными ритмами, где пространство опрокидывается на человека, заставляя его существовать в страдательном залоге, и становится его проводником еще в большей степени, чем “матричный резидент”. Сейсмографически тонко ощущая глубинные слои “иной” культуры, фиксируя ее едва заметные тектонические сдвиги, участники проекта органически переживают потенцию времени, ее конфликты и перепады, ее внутренние смыслы, выявляя в диалогах ту степень рефлексии, где “инородное тело” формирует новую экологию культуры.

STATION 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

14 – 15

Arunas Spraunius

Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

16 – 17

The Etymology of Emigration

The visual art project “Foreign Body”, formerly on display in the gallery of the Intro club in Vilnius, and now showing in Bratislava, has photo fragments of block flats in Hamburg taken by Alma Skersyte in 2001. The exhibition is slated to move to Prague. It is precisely fragments which are not bound by any natural limits (in the case of a multi-storied house, they would be walls).There are just five balconies that can be seen, but obviously there are more. What do you notice that sets her apart and makes this young Lithuanian in 2001 Hamburg noticeable to others? Not a respectable, gleaming banking centre or the shopping district of Saint Paul near the harbour, but the multi-storied housing blocks, the marginalized, hidden flats not shown in ads or tourist brochures. It’s possible that immigrants live in this block of flats. But anyway, why block of flats and not flashy Saint Paul?

Muscovite Vladimir Sitnikov, currently residing in Kiel, offered the visual-linguistic mix “Chlorix”.

Fragments of washing detergent ad slogans were put on fifteen shirts hung in a row, or the very slogans themselves (the interpretation depends how

developed the viewer’s market training is). The visual part is organized in such a way that all the sentences are followed by shots of a monument.

These fifteen ads are at the foot of the monument, and on the pedestal stands a perfect, naked hero, sword in hand, bearing a belt that covers his genitals like a fig leaf. You see, one needs to understand that these so-called “advertisement” games are located in what remains of the former Soviet regime. This still shows up in our region in the ironically named form of “living memory”.

Life “Between/Between”

The majority of participants in the project “Foreign Body” are Eastern or Central Europeans who have been living continuously, for longer or shorter periods, in a Europe that lies west of the Elbe. It’s normal to think they don’t feel entirely at home in the West, and that their experience and mentality clash with the western way of doing things. It’s not exactly a walk in the park, but this clash is connected with particular difficulties in the ways of thinking. It’s not without reason that the discussion of the East-West theme, at least in Lithuania, will continue to remain in the news, as well as in the more intellectual journals and magazines. Eleven conceptual versions are presented in the exhibition (two Lithuanians living in Amsterdam and calling themselves “Geomatic”

showed one collection) that show how two identities “live together”.

Differences, which have a certain ranking in their essentialness, can be hidden in the nuances. The unpredictable direction in the development of identity, as difference experiences clash or meet, become one of the most important ideological components of the exhibit. A certain kind of idealism, connected with personal freedom and the search for identity, will be familiar to all, or at least most of the participants. But it seems that no one ever decides whether to say goodbye to personal nature that is formed by tradition or hold on to it. Globalism doesn’t tolerate an unarticulated identity that is not sufficient enough to show others. According to Pierre Bordieu, the symbolic market of products has been working imperfectly for a long time. On top of that, this “in-between” existence is psychologically not the nicest state to be in.

There’s an uncertainty as a result of this inbetween existance. Not far from the centre of Dublin near Talbot and Amien streets are a few Lithuanian shops. On the weekend there’s not just alot of Lithuanians, but also Latvians, Poles, and Russian speakers. In one of the shops there’s a song playing by a well-known pop group in Lithuania about how great it is back at home.

Lithuanians don’t rush to buy Lithuanian prod-

ucts, but look them over. They compare the products with similar products from the discount shops for example Lidl or Irish Tesco with a critical eye. There’s no lack of visitors, but while choosing they’re harping about the price, maybe even with a certain pre-determined rule. At first glance it may seem strange; someone who just came from home, which is 4,000 kilometers away, and then this feeling is strengthened by patriotic pop music. The shop owners need to work hard but also want to hold on to a fragile belief in the nation. The owners hope that people will come and maybe buy something. Our plenty isn’t just a few shops, but also a locally-published Lithuanian newspaper. It’s full of editing and grammer mistakes, which is symbolic in a way. Maybe there’s no one to correct the mistakes, or maybe there’s just no need, so the mistakes are fine for them.

It’s been more than a decade since our intellectuals began discussing a post-modern society, but this society has yet to reach us (since increased consumerism certainly goes hand in hand with societal well-being). Big salaries (for example, the minimum wage in Dublin is 270 euros a week) draw many immigrants to richer countries, and this huge group of various nationalities is united by the possibilities of consumption. According to those who’ve been in Dublin for long time, 30 years ago the city was a backwards province of

18 – 19 Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

Europe, and now it’s become a huge melting pot of consumers where times are changing and various nationalities and ethnicities live together.

On the other hand, being “in-between” marks a very concrete psychological reality of the feelings Eastern Europeans have. We’ve already reached that level where we each fight by ourselves and work for those who employ us and are deemed as needed, while we grind our teeth, living a schizophrenic double life (for example, the way we raise our children seems to characterize this rather well: coming back from work, where we diligently and resourcefully pull the wool over the eyes of others, we then instruct our children “don’t lie to others”). And it is we, unable to handle our own stress, who are naive enough to speak about justice and how people should get what they deserve. Maybe one is even forced by one way or another to escape (which is why there is such a high rate of suicides). Then after everything, we shake our heads “in the right way” and say: he really put his finger on it, we need to correct it. But this idea doesn’t really sink in...... what can you do? In other words, this idea of a “foreign body” pulls us closer to the block flats of Hamburg.

The End of the Dramatization

Though there can be associations that are not

concrete, there is a form to these games. Dörte Meier offered visitors a cycle containing three photos and etchings, with the etchings a rather “traditional” art piece compared to what is on display in the show. An urbanism with many faces is shown in the photos – laconic, constructive, grim, destitute, positive, etc. (according to good ad strategy, misery demands many labels). They are wide-framed shots that represent the halffinished products of the interior, or the interior of the games. It’s in the etchings where we get an exterior that reminds one of a city plan or part of one, the truth from perspective. It’s easy to see the trees, almost as if it was the aim to emphasize them and set them apart. If feelings go into the views in the photos and etchings, does this mean we feel a sort of nostalgia? But why should we try to explain or guess what these feelings stand for? If there is anything, it’s fine, just let it be. On the back wall of the Intro club there was a fresco named “Govermenica” from Czech artist Pavel Forman, which was an unexpected surprise.

It is yet another conceptual surprise (or rather a surprise for conceptualism). This may be a personal story, made in this case, in an original genre.

The fresco should intrigue the amateurs of psychoanalysis the most, however, just the amateurs.

Professionals won’t stand there long with such explanations, because they don’t have the right

to lose their tempo. Their aim is to return the client-patient relationship to art, and the faster the better.

Yet another photography cycle contains four photos by Gintaras Daugirdas named “Nameless”.

They were taken in a severe and miserable place, probably in winter. This time there’s no urbanism, but in the context of the whole exhibit this severe and distinct misery cycle “speaks with”, to my understanding, a part of the other already discussed works.

There are a few works that go “beyond”, both in their technical execution as well as in the sense that semantics are “wiped out”. Mindaugas Gapsevicius’s work “AMBII” is a collection of nine videos. It’s the filming of the geographical landscape between Lapland and Venice. Does this mean something, for instance, that there is a recipe for creation in this case? No. The place of action – in all respects, both in the making of the work as well as in its demonstration – is the computer. You, the viewer, have the chance to watch a blue colour, for example, which has an intensity and compositional elements that change time at a quicker or slower speed in a tight silence. At some point, forms begin to take shape, such as parks, cars, hedges, clouds, etc. However, there is no hierarchy, no order. Here nothing cannot just appear out of nowhere, just change. Everything

we see on the monitor obeys the same relentless digital rhythm. Sometime, long ago, there was a word called “shimmering”, but it doesn’t fit here, because it’s connected to vitality, to life. For digital programmes, vitality doesn’t matter. As Nietsche once said “it’s too human”. True, the philosopher certainly couldn’t have known that everything would go in a direction opposite the one he had probably hoped for.

Roman Minaev, who left St. Petersburg and has been living in the West for more than 10 years, and is now based in Berlin, wrote a project awhile ago and got financing from the German state to be an intern for half a year in China and to study Chinese culture. While there, he made a 30 minute introductory film which is shown to the public of “Foreign Body”. Everything is important in the film: what is filmed, the music (done by the afore-mentioned Lithuanians of “Geomatic”) and also who is filming. In short, the introduction is for those who plan on going on this “getting-to-know trip” to China, for those who think about China as more than just the Great Wall or Shanghai shopping districts. In the context of the “Foreign Body” exhibit, this story fits well: where the author came from, where he lives now, what kind of project he prepared, where he went, how much he filmed etc. In the art market, everything is important, not just the results, but how you got

20 – 21 Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

them and your intentions for getting them.

Maybe the participants of the “Foreign body” exhibit grasp the conditional, fashionable and thematic fluctuations the best, since all live in the pragmatic West. This “mixing” has been happening for a long time, which means that the EastWest opposition is not especially dramatic when looking on a global scale. Without a doubt, it is very real for us, however in Lithuania some doubt has crept in (for example, an article by Andrius Bielskis in the cultural journal “Kulturos Barai” had the title “Can One Do Without the Concept of the West?”) Simply, contemporary art is turning more and more towards a medley of societal aspects, mentalities, and ideas and this medley is unavoidably impoverished as a result of the media which crams these “symbolic goods” down everyone’s throat. Of course, one cannot just detest modernism and the stupidity of consumers, which we all, more or less, are.“One can reason, that the world, starting from the French Revolution, didn’t take that road. But it was changed. And we can only defend ourselves on this road – not from modernism in general, but from the threats it causes,” said Hungarian writer Peter Eszterhazy (About Everything, About Nothing). However nostalgic we may long for meaning, it’s place is shown by private consumption. In public life as in the life of the art market, soon the time will

come when, for instance, the dictionary of symbols will become a handbook for every salesman which will be used not for studying abstract ideas but for marketing. The market will be that which defines expression, at least the most accurate one.

Arūnas Spraunius Emigracijos etimologija

Vizualinio meno projekte “Svetimas kūnas”, kuris Lietuvoje realizuotas vilniškėje galerijoje INTRO, šiuo metu rodomas Bratislavoje, o vasarį kraustysis į Prahą, Alma Skersytė rodo publikai Hamburgo daugiaaukščio, nufotografuoto 2001 metais, fragmentą. Būtent fragmentą, neįrėmintą jokių natūralių ribų (daugiabučio atveju tai būtų sienos). Viso labo 5 balkonai – akivaizdu, kad jų yra daug daugiau. Ką pastebi, išskiria ir kitiems rodo jauna lietuvė 2001-ųjų Hamburge? Ne respektabilų, pirklišką ir bankinišką centrą ar garsujį pramogų rajoną Sankt Paulį šalia uosto, tačiau daugiabutį, paraštę, būtinai nutylimą, aplenkiamą reklaminių bei turistinių bukletų. Labai tikėtina, kad šiame daugiabutyje gyvena imigrantai. Bet vis tiek, kodėl ne reklaminis Sankt Paulis, o būtent daugiabutis?

Maskvietis Vladimiras Sitnikovas, gyvenantis Kilyje (Vokietija), pasiūlė vizualinį-lingvistinį miksą “Chlorix”. Penkiolikoje ant sienos sukabintų marškinėlių “linijiniu” būdu išdėstyti skalbimo miltelio (tu pačio “Chlorix”?) reklaminės akcijos šūkio fragmentai, o gal ir patys “raktiniai, smogiamieji” šūkiai (intepretacija priklauso nuo to, kiek pažengęs žiūrėtojo rinkodarinis išprusimas). Vizualinė pusė sutvarkyta taip, kad visus tuos sakinius būtinai lydi

paminklo vaizdas. Taigi penkiolika “pijaro” akcijų paminklo papėdėje. Ant postamento – nuogas tobulas herojus, su kardu rankoje, apsijuosęs diržu, kuris kaip figos lapas dengia genitalijas. Matyt, reikia suprasti – įsisiūbuojantys “pijaro” žaidimai rūsčiai drovaus režimo papėdės likučiuose. Mūsų regione tai berods ironiškai vadinama “gyvąja atmintimi”.

Gyvenimas “tarp/tarp”

Absoliuti dauguma projekto “Svetimas kūnas” dalyvių – rytų ir vidurio europiečiai, ilgiau ar trumpiau, bet pastoviai gyvenantys Europoje į vakarus nuo Elbės. Įprasta manyti, kad jie Vakaruose nesijaučia visai kaip namie, kad jų patirties, mentaliteto susidūrimas su vakariečių gyvenimo praktika – nebūtinai “lengvas pasivaikščiojimas”, o susijęs su tam tikrais mentaliniais sunkumais. Ne veltui svarstymai opozicijos rytai/vakarai tema bent Lietuvoje dar neišnyksta tiek iš žiniasklaidinės, tiek ir intelekualinės apyvartos. Parodoje pateikta 11 konceptualių versijų (du lietuviai, gyvenantys Amsterdame ir pasivadinę grupe “Geomatic”, rodė vieną kūrinį), kaip tie du identitetai “sugyvena”.

Skirtumai, turintys esminių rangą, gali slypėti ir niuansuose. Juo labiau, kad tie nenuspėjami, tar kime, potencialiai “atviri” identiteto raidos variantai, kuomet susiduria – ar susitinka – skirtingos patirtys, tapo vienu svarbiausių parodos ideologinių sandų. Tam tikras idealizmas, susijęs su asmeninės laisvės ir identiteto ieškojimais, parodos da-

22 – 23 Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

lyviams – ar daugeliui jų – lyg ir nesvetimas. Tik, atrodo, niekaip neapsisprendžiama, jau galutinai atsisveikinti su tradicijos suformuotu savo asmenybės turiniu ar jį dar “pasilaikyti”. Globalizmas neartikuliuotą, t.y., save nepakankamai tinkamai pristatantį tapatumą nelabai pakenčia. Anot Pierre’o Bordieu, simbolinių prekių rinka jau senokai veikia nepriekaištingai. Be to, ir būsena “tarp/ tarp” psichologiškai ne pati smagiausia.

Dėl tos būsenos “tarp/tarp” nesmagumo. Netoli nuo Dublino centro, Talbot ir gretimoje Amien gatvėse, yra pora lietuviškų prekių parduotuvių.

Savaitgaliais čia ateina nemažai ne tik lietuvių, bet ir latvių, lenkų, rusakalbių. Vienoje iš parduotuvių sukama žinomos lietuvių popgrupės dainelė apie tai, kaip yra gera tėvynėje. Lietuviai, jei galima taip pasakyti, gimtųjų maisto prekių neskuba pirkti, jie jas apžiūri. Kritiškai lygina su pigių Dubline veikiančių prekybos tinklų (tarkime, “Lidl” ar “Irish tesco”) analogiškomis prekėmis. Lankytojo netrūksta, tačiau renkamasi labai priekabiai, gal net su tam tikra išankstine nepalankia nuostata.

Iš pirmo žvilgsnio gal atrodytų keistokai – juk iš tėvynės, kuri už keturių tūkstančių kilometrų ir iš kurios teko išvažiuoti. Ir dar patriotišku popsu pastiprinta. Parduotuvių savininkams suktis turbūt tenka nemenkai, norint išlaikyti tą trapų tautiečio pasitikėjimą. Sakytum, ant ribos – kad ateitų ir galbūt pirktų. Mūsų gausą Airijoje patvirtina ne tik pora krautuvių, bet ir ten leidžiamas lietuviškas laikraštis “Lietuvis”. Tiesa, su gausybe ne tik ko-

rektūros, bet ir rašybos klaidų. Irgi savaip simboliška. Galbūt nėra kam tų klaidų taisyti, o gal tiesiog nėra poreikio – ir su rašybos klaidomis vietiniams tiks.

Daugiau kaip dešimtmetį iš pradžių mūsų intelektualų, dabar jau ir laikraštininkų varijuojama postmodernizmo sąvoka apibūdina gyvenimą, kuris mūsų dar nepasiekė. Taip jau yra, kad visuotinę gerovę būtinai lydi ir staigiai padidėjęs vartojimas.

Dideli atlyginimai (pavyzdžiui, Airijoje atlyginimo minimumas sudaro 270 eurų už savaitę) į praturtėjusią šalį sutraukia minias imigrantų, tą didžiulę įvairiatautę minią vienija ir vartojimo galimybės.

Pasak Dublino senbuvių, dar prieš kokius trisdešimt meto šis miestas buvo gūdoka Europos provincija, dabar jis yra tapęs tikru milžinišku vartojimo katilu, kur greta sukiojasi ir sugyvena pačios įvairiausios tautos ir rasės.

Kita vertus, tas “tarp/tarp” žymi ir labai konkrečias psichologines rytų – ypač jų – europiečių psichologinės savijautos realijas. Mes jau pasiekėme tą lygį, kuomet kaunamės po vieną, skrupulingai atidirbinėdami reikalingiems žmonėms ir dantis sukandę kęsdami šizofrenišką, susidvejinusį gyvenimą (tokiame kontekste labai savotiškai turėtų atrodyti nuosavo vaiko auklėjimas: grįžęs iš darbo, kur stropiai ir išradingai pūtė miglą publikai į akis, jis/ji įtaigiai sako vaikeliui – nemeluok). Ir būtinai atsargai turime – arba randame, kas tik patvirtina mūsų virtuoziškumą – iešmininką, “durnelį”, ku-ris nervams neišlaikius turi naivumo prabilti

apie teisingumą ir po to kaip reikiant gauna per galvą. Galbūt net yra priverstas vienaip ar kitaip pasitraukti (yra gi toji statistika apie savižudybes).

Tada, jau po visko, ateiname mes ir “teisingai” linguodami galvomis sakome: iš tiesų, teisingai jis čia viską išdėstė, reiks ištaisyti. Bet ir nepasisekė žmogui – ką padarysi... Šnekant metonimiškai, Hamburgo daugiabutis čia labai vietoje, mūsų “svetimas kūnas” mus prie jo nešte neša.

Dramatizmo pabaiga

Nors galimos ir nelokalizuotos asociacijos, žaidimai forma. Vokietė Diortė Majer (Dörte Meier) žiūrėtojams siūlo trijų fotografijų ir oforto (!) ciklą.

Nuotraukose – lakoniškas, konstruktyvus, nykus, skurdus, pozityvus etc. (pasak reklamos strategijų, skurdas reikalauja ypač daug epitetų) urbanizmas, tokie plačiaformačiai interjero ruošiniai. Arba postinterjero. Gi oforte regime eksterjerą, tikrovę iš perspektyvos, primenančią miesto ar jo dalies planą. Akivaizdžiai, tarsi siekiant ypač pabrėžti, išskirti medžiai. Jei vaizdai nuotraukose ir oforte disonuoja, ar gali tai reikšti nostalgiją? Bet kam tos prasmės, būrimas iš jų; yra, ir gerai, ir tegu būna. Vis dėlto, kad konceptualistai dar plūkiasi prie oforto, savotiškai imponuoja, ir čia tinka išskirti dar vieną panašų “Svetimo kūno” precedentą. Ant galines INTRO sienos eksponuota čeko Pavelo Formano freska “Govermenica”. Nei daugiau, nei mažiau! Dar vienas konceptualistinis akibrokštas (ar – akibrokštas konceptualizmui). Tai galbūt per-

sonalinė istorija, atlikta šiuo atveju savotiškame žanre. Psichoanalizės mėgėjus ji labiausiai ir turėtų intriguoti, tačiau – tik mėgėjus. Profesionalai ties aiškinimais ilgam nesustoja, nes neturi teisės prarasti tempo. Jų tikslas – sugrąžinti klientopaci-ento formą, ir kuo greičiau.

Dar vienas fotografinis ciklas – Gintaro Daugirdo keturios nuotraukos, pavadinimu “Be pavadinimo”.

Fotografuota atšiaurioje, skurdžioje (turiu galvoje gamtą) vietovėje, tikriausiai žiemą. Šįkart – jokio urbanizmo, tačiau parodos visumos kontekste tas akivaizd˛iai išskirtas atšiaurus skurdas su bent dalimi aptarto darbo, mano supratimu, akiviazd˛iai “kalbasi”.

Ir pora “tolimesnių” – tiek technologiniu atlikimu, tiek ir ideologiškai, tarkime, semantikos “naikinimo” prasme – darbų. Mindaugo Gapševičiaus “AMBII”, kaip pats pavadino, – devynių videofilmų komplektas. Filmavimo geografija – nuo Laplandijos iki Venecijos. Ar šis faktas ką nors reiškia, tarkime, kūrinio recepcijai šiuo konkrečiu atveju?

Nieko. Veiksmo – visom prasmėm: tiek kūrinio gaminimo, tiek jo demonstravimo – vieta yra kompiuteris. Tu, žiūrėtojau, turi galimybę aklinoje tyloje stebėti, tarkime, žydrą spalvą, kurios intensyvumas ir kompoziciniai elementai pamažu ar greičiau kinta laike. Kai kada judėjimas ima įgyti formas – mašinų, parkų, gyvatvorės, debeso etc. Tačiau – jokios hierarchijos, čia nieks iš nieko neatsiranda, tik kinta. Viskas, ką regime monitoriuje, paklūsta tam pačiam nenumaldomam skaitmeniniam rit-

24 – 25 Station 2 / Vilnius / Lithuania / August 2004 / INTRO Gallery

mui. Kažkada, neatmenamais laikais, buvo toks žodis – “mirgėjimas”, bet jis čia netinka, nes susijęs su vitalizmu, gyvenimu. Skaitmeninėms programoms i vitalizmą nusišvilpt... Kaip sakė F.Nyčė kitu atveju – “... pernelyg žmogiška”. Tiesa, pats filosofas tikrai net numanyti negalėjo, kad viskas pakryps visiškai priešinga linkme, nei jis tikriausiai vylėsi.

Romanas Minaevas, išvykęs iš Peterburgo ir daugiau kaip 10 metų gyvenantis Vakaruose, dabar – Berlyne, prieš kurį laiką vokiečiams parašė projektą ir gavo pinigų pusmečio stažuotei Kinijoje studijuoti šios šalies kultūrą. Būdamas ten, susuko 30 minučių pažintinį filmą, kurį ir pateikė “Svetimo kūno” publikai. Filme viskas svarbu – tai, kas filmuojama, muzika (ją darė minėtieji “Geomatic” lietuviai), svarbus ir tas, kuris filmuoja. Žodžiu, edukacija, tinkanti, tarkime, planuojantiems pažintinę kelionę į Kiniją, galbūt galvojantiems apie šį tą daugiau nei Kinų siena ar Šanchajaus prekybiniai rajonai. O parodos “Svetimas kūnas” kontekste tinka ir minėta story – iš kur filmo autorius išvyko, kur dabar gyvena, kokį projektą parašė, kur nuvyko, kiek filmavo ir t.t. Meno rinkoje viskas yra svarbu – ne tik rezultatai, bet ir jo siekimo būdai, ketinimai.

Gali būti, jog parodos “Svetimas kūnas” dalyviai konjunktūrinius, mados ir tematinius svyravimus kuo puikiausiai suvokia, juk visi gyvena pragmatiškuose Vakaruose. “Maišymasis” seniausiai jau vyksta, opozicija “Rytai/Vakarai” globaliniu ma-

stu tikrai nėra kažkaip ypatingai dramatiška. Be abejo, mums ji aktuali, tačiau ir Lietuvoje jau kai kada kvestionuojama (tarkime, Andriaus Bielskio rašiniai “Kultūros baruose”; paskutinis – “Ar būtų galima išsiversti be Vakarų sąvokos?” berods š.m. nr.6). Tiesiog, šiuolaikinio meno projektai vis dažniau krypsta socialumo link, mentalitetų, tradicijų, idėjų margumynas neišvengiamai patiria nuostolius del sklaidos “simbolinių prekių” rinkoje tempo. Žinoma, galima nekęsti modernizmo ir vartotojų, kuriais visi mes – daugiau ar mažiau – esame, bukagalviškumo. Galima samprotauti, kad pasaulis, pradedant Didžiąja prancūzų revoliucija, pasuko ne tuo keliu. Bet jis juo pasuko. Ir gintis galima tik šiame kelyje – ne nuo modernizmo apskritai, o nuo jo keliamų pavojų – sako vengrų rašytojas Peter Estarhazy (esė “Apie viską, apie nieką”). Kad ir kaip nostalgiškai svajotume apie prasmę, jai reikliai nurodoma privataus vartojimo vieta. Gi viešajame, vadinasi, ir meno rinkos gyvenime turbūt neužilgo sulauksime laiko, kai, tarkime, “Simbolių žodynas” taps parankine kiekvieno pardavimų vadybininko knyga, skirta ne perkeltinės prasmės studijoms, bet kaip rinkodaros priemonė. Nes rinka ir bus prasmė, nustatanti pačią tiksliausią raišką.

STATION 3 / Prague / Czech Republic / December – January 2004 / NOD Gallery

Station 3 / Prague / Czech Republic / December – January 2004 / NOD Gallery

26 – 27

Zuzana Stefková

Station 3 / Prague / Czech Republic / December – January 2004 / NOD Gallery

28 – 29

The tongue of a strange body

Just as in all other international travelling exhibitions, the project Fremdkörper was inevitably accompanied by a number of translated texts.

Knowing this, I have dared to choose a title which constitutes a challenge for translators. In Czech, the expression “tongue” is as ambiguous as in English – it could mean both foreign language and the piece of flesh which we employ in the process of articulation. In German, this ambiguity is lost.

The project title “Fremdkörper” is problematic, on the other hand, when translated into Czech.

Its meaning oscillates between the body as a living organism, and a non-living body or object. In this article, I have chosen the meaning “living body”.

I wanted to emphasise the physical existence of a stranger and the materialised aspect of his/her mother tongue. The foreign element does not have, in this context, the character of an abstract or non-living object – it is rather an incarnation of a human being, who enters my personal space and transforms it through communication.

In the context of contemporary socio-philosophic discourse, I perceive the body as a social entity, whose meaning emerges from the interaction of

the bio-physical and socio-historical. Once we come to understand the illusive character of the traditional duality of body and culture, the literal sense of body as a metaphor of society and of society as a metaphor of body emerges. In this context, I shall mention the study of a British ethnologist Mary Douglas, whose study analyses the bonds between bodily pollution and the symbolic role of taboo. Douglas considers the body openings to be the most critical parts of the body, connected with a number of taboos, since it is here, where the exchange between the inner and the outer takes place. In a similar fashion, the integrity of a society is endangered precisely in the places where the boundaries between our own and the foreign loose their clarity. This fear of loss of our social identity is linked with tribe taboos and rituals and also with the chauvinism of national states.

This allows me to return to the character of the stranger-migrant, whose free movement undermines the illusive homogenity of every community. As Europe has painfully come to realise, even in our multicultural world strangers are not all equal. A tourist is not a migrant, and the threat of “national identity loss” is a part of rhetoric of every right-wing party across the European Union.

Our united Europe is not really a melting pot, but rather a saucer full of suspicious-looking goulash with floating chunks of meat, whose origin and

quality is unknown both to the cooks and to its consumers.

In the political sense, Czech artists are not very much concerned about the presence (or rather, the absence) of foreign bodies on our territory. This probably has to do with the surprising ease, with which we have erased the cultural “purification” of the Czech society in the 20th century from our national memory. No matter if we talk about the annihilation of Jews, the transfer of Germans or the separation of Slovakia, our environment had always lost a chance to understand its own heterogeneity.

One exception to this strategy of ignorance are two artistic groups – Rafani and Podebal. In the past, their work had touched upon the traumatic experience of the transfer of the Sudeten Germans.

At the Fremdkörper exhibition in Prague the local scene was, in the end, represented by foreigners who live and work in the Czech Republic. I have made this choice in an attempt to follow the original curator’s concept. It was based on the idea that the experience of living in foreign conditions evokes sensitivity towards the specifics of the new environment, in which I am trying to live as a foreigner, and also towards the qualities of the culture of my origin. I wanted to grasp the experience of encountering a stranger, his exposure to language, and the dialogue in which the experience of being different emerges. Jesper Alvaer and Magdalena

Kwiatkowska document in various ways their communication with strange environment. The happenings and videos of Norwegian artist Jesper Alvaer, living in Prague, document his persistent attempts to breach the framework of the artistic community. His work for the Fremdkörper exhibition consisted of home videos filmed by the members of Chinese and Vietnamese community in the Czech Republic. He presented the videos as found and freely processed material. This video collage, which, apart from a few exceptions, took place in the Czech environment, shows the surprising proximity and yet oddity of the local “Asian folk culture”. It exists side to side with the Czech one without any deeper contact, in an environment filled with prejudice, apathy and intellectual stereotypes. The work would not have been completed without the invisible process of collecting the material. During this process, the artist had to break the language barrier and the wariness of the Vietnamese and Chinese communities, and he also had to persuade many of the “suppliers” that contemporary art may take on even such form. The fact that some of them came to see the exhibition opening I consider to be a great achievement.

The Polish artist Magdalena Kwiatkowska at the moment studies at the Academy of Visual Arts in Prague. Her poetic encounters take place on the street, in a phone box or on the tram. The strange

30 – 31 Station 3 / Prague / Czech Republic / December – January 2004 / NOD Gallery

element is an object taken from its original context. Her interferences are sober, yet effective.The power distribution box covered with white tape suddenly resembles a refrigerator, once carpeted, the interior of a tram seams pleasant and cosy, and a phone box turns into a shower box with the aid of a plastic shower sheet. Magdalena Kwiatkowska does not care for the resulting photograph, but for the happening aimed at changing the ordinary. She is concerned with the process in which the audience takes part; she provokes a dialogue with the environment surrounding her and the audience.

Her happenings count on a physiological reaction (drawing the curtain, stepping on the carpet, looking over one’s shoulder...) and she documents it through her camera. She utilised the same principle in a squatter-like happening in the IKEA department store. Instead of utilising objects, here she took part herself. She filmed her interactions with the shoppers and employees with a hidden camera. At the same time, her seemingly natural behaviour of an inhabitant of the little arranged rooms uncovered their artificiality. The behaviour of an “alien” who decided to make herself comfortable in a shopping centre, as if she was sitting in her own living room, is a parody on the marketing strategy, which encourages the shoppers to “make themselves at home”. The presence of the artist’s body, which cannot be reduced to a dispos-

able object of everyday use, points to the genuine reasons for the simulated intimacy. It is for commercial reasons that this intimacy claims the body of every hypothetical consumer.

The concept of a stranger’s body, the body of “the other”, which is foreign to us and through which we learn about our own bodies and about our own selves, is not new. Merleau-Ponty had dealt with the embodied existence of “the other” in his phenomenological contemplations. By stressing that “the other” opens through his body to the same world as I do, Merleau-Ponty fought against the ideas of solipsism. The psychoanalyst Jacques Lacan defined the constitutive phase of the creation of one’s ego: he considered it to be the moment when the child identifies itself, wrongly, with the person “behind the mirror”, that is, with its mirror image. Thus, our image of the identity of “I” emerges from the identification with something which is not “I”. The deeper context of this problem had been hinted at by the French philosopher/psychoanalyst of Bulgarian descent, Julia Kristeva. In one of her essays on the concept of the Other, she says that a life with the other, with a stranger, enables us to contemplate the possibility of our being or not being “the other”.The stranger thus turns our attention back to ourselves and at the same time, he points to the presence of “the other” in every one of us.

Zuzana Štefková Jazyk cizího těla

Vznik projektu Fremdkörper provázelo množství překladů, jak tomu bývá u každé putovní výstavy s mezinárodní účastí. S vědomím toho jsem si dovolila vložit do titulu svého textu malý překladatelský oříšek. V češtině totiž výraz “jazyk” zachovává ambivalenci, kterou v překladu do němčiny ztrácí.

Stejně jako anglický pojem “tongue” může být podle kontextu cizí řečí i kusem masa, jehož pomocí slova artikulujeme. Název projektu “Fremdkörper” zase představuje problém, překládáme-li jej do češtiny. Dvojí možný význam zde osciluje mezi tělem jakožto živým organismem a neživým objektem (“tělo”/”těleso”). V tomto textu jsem se rozhodla pro význam odkazující k tělesnosti. Šlo mi o zdůraznění fyzické existence cizince a vtěleného aspektu jeho řeči. Cizí element nemá v tomto spojení charakter abstraktního nebo neživého předmětu, ale vtělené bytosti, která vstupuje do mého prostoru a aktivně jej přetváří komunikací.

Tělo přitom vnímám v souvislostech jeho současné sociologicko-filosofické reflexe jako tělo sociální, jehož význam je utvářen v rámci obousměrného procesu výměny mezi biologicky-fyzickým a so-

ciálně-historickým. Chápeme-li zdánlivost tradiční duality těla a kultury, vynoří se doslovný smysl těla jako metafory společnosti a společnosti jako sociálního těla.V tomto kontextu je zajímavá studie anglické etnoložky Mary Douglasové zabývající se vazbami mezi tělesným znečištěním a symbolickou funkcí tabu. Za zvláště kritické partie těla, k nimž se vztahují mnohá tabu, považuje Douglasová tělesné otvory, kde dochází k výměně mezi vnitřním a vnějším. Stejně tak je integrita společnosti ohrožena tam, kde se ztrácejí hranice mezi vlastním a cizím, a právě s tímto strachem ze ztráty společenské identity souvisí kmenová tabu a rituály, stejně jako šovinismus národně definovaných států. Tak se obloukem vracím k postavě cizince-migranta, jehož volný pohyb odkrývá iluzornost homogenity každého společenství. Jak si Evropa uvědomuje stále palčivěji, ani v našem světě zdůrazňujícím multikulturalismus není cizinec jako cizinec. Turista není imigrant a hrozba ztráty “národní identity” patří do arzenálu každé pravicové strany napříč Evropskou unií. Naše sjednocená Evropa není ani tak tavicím kotlem jako podezřelým gulášem s plavoucími kusy masa, o jehož kvalitě a původu toho příliš nevědí strávníci ani kuchaři.

V politickém slova smyslu se čeští umělci (ne)přítomností cizích těl na území našeho státu příliš nezabývají, což patrně souvisí s lehkostí, s níž

32 – 33 Station 3 / Prague / Czech Republic / December – January 2004 / NOD Gallery

jsme ze své historické paměti vytlačili kulturní “purizaci” české společnosti během 20. století. Ať už se jednalo o likvidaci Židů, odsun Němců, nebo separaci Slovenska, ztrácelo “naše” prostředí příležitost k pochopení vlastní heterogenity. Výjimku z této příznačné strategie ignorování představují umělecké skupiny Rafani a Podebal, jejichž práce se v minulosti dotýkala traumatické zkušenosti vyhná-ní sudetských Němců.

Na pražské výstavě Fremdkörper však místní scénu nakonec zastupovali v Čechách žijící a pracující cizinci.Touto volbou jsem se pokoušela navázat na původní kurátorský koncept, vycházející z předpokladu, že zkušenost života v cizích podmínkách rozvíjí citlivost vůči odlišnostem nového prostředí, v němž se jako cizinec učím žít, i vůči kvalitám kultury, z níž pocházím. Šlo mi o zachycení zkušenosti setkání s cizincem, jeho obnaženost v jazyce a dialog, v němž se vynoří zážitek jinakosti.

Jesper Alvaer a Magdalena Kwiatkowska dokumentují různými prostředky svoji komunikaci s cizím prostředím. Akce a videa norského umělce Jespera Alvaera, žijícího v Praze, dokládají jeho soustavný zájem o překračování rámce umělecké komunity.

V díle určeném pro výstavu Fremdkörper zpracoval domácí videa natočená příslušníky čínské a vietnamské komunity žijící v Čechách, která prezentoval jako volně sestříhaný nalezený materiál.

Tato video-koláž, odehrávající se až na výjimky v českých reáliích, ukázala překvapivou blízkost i specifičnost místní “asijské lidové kultury”, existující vedle té české bez hlubšího vzájemného kontaktu, v prostředí plném předsudků, nezájmu a myšlenkových stereotypů. Nedílnou, i když neviditelnou součást práce tvořilo získávání materiálu, při kterém musel umělec překonat jazykové bariéry i ostražitost ze strany vietnamské a čínské komunity a mnohé z “dodavatelů materiálu” rovněž přesvědčit, že i takto může vypadat současné umění. Za velké zadostiučinění považuji, že se někteří z nich přišli podívat na vernisáž.

Polská umělkyně Magdalena Kwiatkowska studuje v současné době na pražské Akademii výtvarných umění. V jejích poetických intervencích odehrávajících se na ulici, v telefonní budce nebo v tramvaji, je cizím tělesem předmět, vytržený ze svého původního kontextu. Její zásahy nejsou nijak efektní, ale vždy účinné. Skříň elektrických rozvodů polepená bílou lepenkou vypadá najednou jako lednička, interiér tramvaje zútulní koberec a z telefonní budky se přidáním igelitového závěsu stane improvizovaný sprchový kout. Magdaleně Kwiatkowské nejde o výslednou fotografii, ale o akci směřující k oživení všedního, o proces do něhož zapojuje diváka a iniciaci dialogu s prostředím, v němž se ona i divák nacházejí. Její akce počítají

s fyzickou reakcí (s odhrnutím závěsu, vkročením na koberec, ohlédnutím se), kterou dokumentuje prostřednictvím svého fotoaparátu. Stejný princip použila ve squattersky laděné akci v prostorách obchodního domu IKEA. Místo neživých objektů zapojila tentokrát sebe a pomocí skryté videokamery natáčela interakce s ostatními návštěvníky a zaměstnanci. Její zdánlivá samozřejmost obyvatelky naaranžovaných pokojíků zároveň odhalila jejich neobyvatelnost. Chování “vetřelkyně”, která si udělala pohodlí v obchodním domě, jako by seděla v soukromí obýváku, paroduje marketingovou strategii vyzývající potenciální zákazníky, aby se v kulisách cítili “jako doma”. Přítomnost těla umělkyně, neredukovatelného na předmět spotřeby, poukazuje na pravé důvody simulované intimity, která si z komerčních důvodů nárokuje tělo každého hypotetického konzumenta.

Koncept těla cizince – těla toho druhého, jehož prostřednictvím se dozvídáme o vlastních tělech a potažmo o nás samých, není nijak nový. Francouzský filosof Merleau Ponty postavil setkání s druhým, který se svým tělem otevírá témuž světu jako já, proti argumentům vedoucím k solipsismu.

Psychoanalytik Jacques Lacan zase označil sebeidentifikaci se zrcadlovým obrazem, tedy s onou postavou “za zrcadlem”, jež dítě mylně ztotožní se sebou, za konstitutivní stádium tvorby vlastního ega.

Naše představa identity Já tak podle psychoanalýzy vzniká prostřednictvím identifikace s něčím, co není Já. Na hlubší rozměr tohoto problému naráží i francouzsky píšící filosofka/psychoanalytička bulharského původu Julia Kristeva, když v jedné ze svých úvah o konceptu Druhého píše, že život s druhým, s cizincem, nám umožňuje zvažovat možnost (vlastního) bytí či nebytí Druhým. Postava cizince tedy obrací náš pohled zpátky k nám samotným a zároveň upozorňuje na přítomnost Druhého v každém z nás.

STATION 4 / Trnava / Slovak Republic / March - April / 2005 / Center of Contemporary Arts

Station 4 / Trnava / Slovak Republic / March-April 2005 / Center of Contemporary Arts

36 – 37

Vladimir Beskid

Station 4 / Trnava / Slovak Republic / March-April 2005 / Center of Contemporary Arts

38 – 39

With strange art in a strange town ...

Michal Kocáb sings in his song “with a stranger in a strange room...” and this situation becomes even more frequent; the more we mix signs and symbols, the more we mix identities and the more we make hybrids of national structures. Today’s visual art employs similar codes and messages: more ambiguity and doubts, more heterogeneity (perhaps leading to an eARThquake). We employ these in order to assure ourselves and to become safe, to become domesticated in this strange world. In such a situation, the art could act as a defense syndrome – it could strengthen immunity against ideological and media “Phantomkörper”. At the same time, art is often employed as some kind of “Intel-virus” with new message, different cultural “meme” and different kind of thinking. There has to be something infectious in it. However, today’s art is seen in the structure of Slovak state institutions as something undesirable – as an alien body (Fremdkörper), as something implanted into traditional cultural system.

Institutions are resistant to it, and what is more, they successfully defend against it. Wir sind fremdARTig. This nomadic project by Central and East European artists from Germany introduces a sample of visual

virus (something between genetic and digital virus, somewhere between artistic and technologic formula). Consequently, it gets mixed with other local variations and mutations. The project shows that contemporary artists (yes – they exist too) besides creating works and morphing of designs, show their attitudes, criticism and reflections on today’s world. This project is more than mutual communication (which is an idiotically popular phrase), it also offers a confrontation of diversified artists’ approaches and themes. Extreme apporaches at this field of Alien Bodies show in their works Kunst-fu and Geomatic. Kunst-fu shows a strange saucer-man made of bottles used for bottled fruit, this time repugnantly full of meat, sausages, beacon and other ingredients. In comparison, Lithuanian Geomatic deals with long-lasting practices of mind control and “mental douche” (brainwashing). Poisoned environment regarding physical and mental processes, alien bodies in our own bodies and minds. From pesticide to “menticide” (mental genocide): perhaps we are the only genetically unmodified artists. Somewhere in between these extremes stand photographs by Dörte Meyer – simple observations of unfinished buildings of unfinished ideological projects of the other side of Germany. These works are viewed as parasites, alien bodies or even idea-manipulations. The rest of exhibited works shows cultural and histori-

cal stories: awareness of various systems of writing (R. Minaev, Z. Lednárová), interest in national identity and icons (J. Balov, P. Forman, M. Gapševičius), petty private stories and problems (V. Sitnikov, M. Juef, Mr. Bra, A.M. Chisa).

Because we do not have such experience with effects of (im)migration in Slovakia, our young visual artists employ different visual software without any “anti-virus” protection. Kunst-fu (Erik and Gabika Binder) shows witty and juicy inveighing against co-ops – regarding food-stuffs as well as media. “Resting fatty”, consisting of cheap food, bears evidence of possible harm that these products make together with their launching advertising campaigns in media. Right next to the figure is a video made by “anonymous”. The video shows activist warnings shouted by blurred faces: “Stop!

This is the last warning...!”. It bears resemblance to anti-advertising campaigns, amateur recordings of terrorists and environmental activists, anarchistic TV signal interruption. The thing is – we love both the chips and the television.

Marek Kvetan and Richard Fajnor in their project Mr. B.R.A. 3.1. keep on building hybrid identity of imaginary artist – Mr. Bra. Through creating his flexible working environment they managed to bring performance intervention into social/cultural environment. The project is an investigation into functioning of the creative environment, a long-

lasting laboratory test with documentation of all the processes (records, monitoring, visitors greeting, experiments, creation of website: www.bra3. org etc). Mr. Bra does not come up with new artifact, however, he has his own sounding, where the work interaction takes shape from the opening on and is later tested during the project. The question is – how are we to develop an alter-ego, when we do not have our own ego?

A short video-loop by Aneta Mona Chisa is based on the confrontation of two figures (a woman and a dog with eyes fixed on each other), the confrontation of two worlds – human and animal, emotions and alienation in an urban space supplemented by two different sound tracks. In so doing the artist comes up with a melancholic, nostalgic attempt at finding an alternative to gender models, views and narratives. After all, a dog’s love also isn’t what it used to be.

Therefore, “mutual” cultural relations lead to mutants, hybrids, parasites, implants, aliens, transmutants, fragments.... The Kunst-fu “Fremdkörper (Alien Body)” figure could be regarded a frontman of the whole project. He is our hero. “We don’t need another hero” (Barbara Kruger).

Instructions for readers: Skip pathetic and incomprehensible sentences. Ignore all confusion causing bugs or viruses. Regard them as an ornament belonging to the works presented.

Vladimir Beskid

Station 4 / Trnava / Slovak Republic / March-April 2005 / Center of Contemporary Arts

40 – 41

V cudzom meste s cudzím umením...

Čoraz viac sa ocitáme v situácii “s cizí ženskou v cizím pokoji...” ako trefne spieva Michal Kocáb, čo-raz viac dochádza k pestrému mixovaniu znakov a symbolov, ku kríženiu identít a hybridnosti národných štruktúr. Aktuálne podoby vizuálneho umenia tiež pracujú s podobným registrom kódov a správ: viac pochybnosti a zneistenia, viac heterogénnosti (možno celé umenotrasenie eARThquake). Prinášame ich práve preto, aby sme boli ešte istejší a bezpečnejší, viac domestikovaní v tomto cudzom svete. V danej situácii môže umenie fungovať aj ako obranný syndróm – môže posilniť imunitu voči ideologickému a mediálnemu “Phantomkörper”-u.

Pritom umenie samo často vystupuje v polohe “intelvírusu”, ktorý nesie so sebou inú informáciu, odlišný kultúrny “mém” a myslenie. Musí mať v sebe aj niečo nákazlivé. V súčasnosti je však celé aktuálne umenie vnímané v štruktúre našich štátnych inštitúcií ako niečo nežiadúce – ako Fremdkörper, ako implantát v tradičnom kultúrnom organizme. Inštitúcie sú voči nemu akoby rezistentné, bránia sa – a treba dodať, že dosť úspešne. Wir sind fremdARTig. Tento nomádsky projekt stredo- a východo-európskych umelcov z Nemecka prináša istú vzorku

vizuálneho wwwírusu (niečo medzi genetickým a digitálnym vírusom,medzi umeleckým a technologickým vzorcom). Ten sa následne mieša s mnohými lokálnymi variantmi a mutáciami. Projekt ukazuje, že súčasní umelci (aj takí žijú medzi nami) vytvárajú nielen svoje diela, morfing tvarov, ale predovšetkým prinášajú jasné postoje, kritický odstup a reflexiu, sú nositeľmi iných spôsobov uvažovania o dnešnom svete.

V tomto stretnutí nejde len o vzájomnú komunikáciu (idiotsky obľúbené slovo), ale aj o otvorený stret a konfrontáciu možných umeleckých prístupov a tém. Krajné polohy na tomto Fremdkörper poli predstavujú realizácie skupín Kunst-fu a Geomatic.

Najprv podivný ufónik od Kunst-fu zo zaváracích fliaš, nechutne naplnený mäsom, párkami, slaninou a prísadami. Na druhej strane stojí litovské združenie Geomatic, ktoré sleduje dlhoročné praktiky ovládania mysle a “mentálneho vymývania” (mental douche).

Otrávené prostredie v telesných aj duševných procesoch, cudzie telá v našich telách aj mysliach.

Od pesticídov k “menticíde”: sme možno poslední geneticky neupravovaní umelci. Stredné pásmo medzi hraničnými polohami vykrývajú fotografie Dörte Meyerovej – strohé záznamy nedokončených stavieb nedokončených ideologických projektov z druhej strany Nemecka. Tak vnímame rozpätie predstavených diel: od parazitov, votrelcov až po ideo-manipulácie. Ďalšie prezentované diela otvárajú

veľké kultúrne a historické príbehy: uvedomenie si rozličných systémov písma (R. Minaev, Z. Lednárová), zaoberanie sa vlastnou národnou identitou a jej ikonami (J. Balov, P. Forman, M. Gapševičius), ale aj menšie osobné príbehy a citlivé problémy (V. Sitnikov, M. Juef, Mr. Bra, A. M. Chisa).

Nakoľko v domácom prostredí nemáme toľko skúseností s emigrantským efektom, slovenskí mladí výtvarníci/-čky prinášajú iný výtvarný softvér a dávajú ho do obehu bez “antivírusovej” ochrany. Platforma Kunst-fu (Erik Binder a Gabika Binderova) vtipne a štipľavo napáda konzum – v potravinách aj v médiách.

Oddychujúci tučnučký panáčik, zložený z čerstvého nákupu lacných akciových potravín svedčí o možnej škodlivosti potravín aj ich štartovacích kampaní.

Vedľa beží ich video od “anonyma” s aktivistickým varovným sloganom z rozmazaných tvári: “Prestaňte, toto je posledné varovanie...”. Pripomína to antireklamnú kampaň, amatérske pirátske nahrávky od teroristických skupín a ekologických aktivistov, anarchistické nabúranie sa do TV signálu.Ale my radi “žerieme” chipsy aj televíziu.

V projekte Mr. B.R.A. 3.1. dvojica Marek Kvetan a Richard Fajnor pokračuje v budovaní hybridnej identity imaginárneho umelca Mr. Bra. Vytvorením jeho premenlivého pracovného prostredia vnášajú performatívnu intervenciu do socio-kultúrneho prostredia. Ide o vlastné testovanie fungovania výtvarného diania, o dlhodobú laboratórnu skúšku

s dokumentáciou všetkých procesov (minulé záznamy, monitorovanie, prijímanie návštev, vykonávanie pokusov, vytvorenie vlastnej webstránky: www.bra3.org a pod.). Mr. Bra neprináša hotový artefakt, ale vlastný sondážny priestor, kde sa dielo začína interaktívne formovať od vernisáže výstavy a overuje sa počas celého trvania projektu. Ako však máme budovať alter-ego, keď nemáme vlastné.

Krátka videoslučka Anety Moniy Chisy je postavená na konfrontácii nielen dvoch postáv (žena a ležiaci pes si uprene pozerajú do očí), ale aj dvoch svetov – ľudského a animálneho, citu a odcudzenia v urbánnom prostredí, podporené dvomi odlišnými zvukovými stopami. Prináša tak melancholický, nostalgický pokus o možnosti iných genderových modelov, pohľadov a narácií. Veď už ani tá psia láska, nie je to čo bývala.

A tak z kultúrnych “mutual” vzťahov, vychádzajú viac mutanti, hybridi, paraziti, implantáti, votrelci, transmutanti, fragmenti... Panáčik Kunst-fu “Fremdkörper (cudzie telo)” mohol by byť frontmanom celého projektu. To je náš hrdina. “We don´t need another hero” (podľa Barbary Krugerovej).

Upozornenie pre čitateľa: Patetické a nezrozumiteľné vety pokojne vynechajte.

Prípadne všetky tie malé písmenkové červíky, či vírusy ignorujte úplne. Vnímajte ich ako ornament prezentovaných obrazov.

STATION 5 / Skopje / Republic of Macedonia / April – May / 2005 / Museum of the City of Skopje

Station 5 / Skopje / Republic of Macedonia / April – May 2005 / Museum of the City of Skopje

44 – 45

Lazo Plavevski

Station 5 / Skopje / Republic of Macedonia / April – May 2005 / Museum of the City of Skopje

46 – 47

Rough Nuances

One’s feeling of one’s own foreignness, wherever this may be, is a universal condition – it is probably a symbol; perhaps it is a sign (even a “brand”) of the modern circumstances. In short, for quite some time now, it has been a universal place that has codified the relationships between life and the life of art – which is at the same time so banal and proverbial, and so real and insolvable.

The environment of the Macedonian artists who take part in the “Foreign Body” project is indicative in the context of the motive for this exhibition. It is in the midst of an active turmoil of accepting the other in all the segments of life: in politics, media, institutions.... in mutual relationships. There is a tectonic change that, due to the decades-long respite, may bring about or is already bringing about unwanted distortions. If we perceive identity as a relation, and if the relation is undergoing change, then this uncertainty may bring about, or is already bringing about, a period in which identity perceives itself as a “Foreign Body”. Accepting the other and otherness must give rise to changes in whoever accepts. Basically, this position is neither new nor unknown to this environment. It has become used to this position

and it may be that underneath all those anxieties and uncertainties there are merely nuances that the “Foreign Body” finds rough. But these allusions to individual elements and their separation from the sum of events may be, or may be perceived as, a sort of a superficial and one dimensional layer that can slip into banality outside the context of other facts. The three Macedonian artists (Slavica Janešlieva,Vana Urošević and Jovan Šumkovski) were neither pushed into stepping out of the horizon of their artistic thought nor did they intend to do so when they contributed to this project. Reflections of reality are inevitable anyway, and “Foreign Body” is a faithful devotee to reality.

Janešlieva’s work “The Game” is an object with which she enters the dimension of a live broadcast of her own perception of international political events. It is a kind of a “three-dimensional poster” – a chessboard that is at the same time a world map where the chess pieces have been aligned in a way that suggests a massive sacrifice of pawns. Each piece, depending on its value, bears the symbol of a given country. The big players in international politics are personified by the “strong” pieces, while the small ones are the pawns. “Chess is a game that requires one to take account of many combinations and matches, and to predict results,” Janešlieva remarks. Her interest

is focused on the victim, on the small pieces that may be sacrificed by logic unknown or unclear to them or – as it usually happens – because of circumstances that they cannot influence and which inevitably put them in a subordinate role. When the position you are in is potentially one of being a victim, the legitimacy of the community begins to assume the form of an oxymoron; it perceives itself as a “rough nuance” in the line of delicately nuanced diplomatic moves. “The Game” is a work without nuances; it does not have “rough nuances” either; it is a black-and-white manifestation of the being that seeks to perceive itself in realistic dimensions.

Urošević’s installation is in a similar search of certain real dimensions of the views she has had, but which constantly change their specific value.

“Phobias” is a motif through which she constantly seeks to find solutions to her own fascinations, but the works she creates continue to wash her up on unknown shores. In this attempt, she builds a textual story rooted in the past, in her parents and close relatives, and in the sequence of this story fact, fiction, logical chronicles and absurd events entwine.The starting point for the conflict that is to be resolved is the fiction that a family, having left its native (former country) Bessarabia, has taken the insects from that region as a precious memento of the life spent in it. The bugs

symbolise fear and the way it is handled, which should be some sort of a way of overcoming it... but from here everything gets more complicated.

In the context of a similar project, Urošević hinted of an element that could apply to this work as well – “fear of memories, but also fear of the loss of those memories...” The circular flow of these phobias produces works with a somatic effect.

In these real phenomena from her own works, within herself or in her audience, she looks for the way to her own body.

For quite some time now Šumkovski has been focused on the social motives for his urban solutions. Essentially, his work for this exhibition, entitled “Paralympics – Skopje 2052”, draws on, or extends the course of the context from his installations/ambiences “Night Visions” from 1998/99 and R=1:2 R=1:200 from 2004. In the former he challenges the Olympic circles, while the latter deals with his early childhood friend Novica Kostovski-None, a disabled person whose ratio in comparison to other people is 1:2. A number of rough metaphors could be discerned in the project which was intended to veil, dim or entirely eliminate the basic motive for the exhibition – that is, the real care for this man who, in a renowned fine arts institution, was presented with an entire city of truly vast proportions and an “appropriate” ratio. My guess is that the humour

48 – 49 Station 5 / Skopje / Republic of Macedonia / April – May 2005 / Museum of the City of Skopje

and the wittiness, partly existing in the previous projects, will be clearly visible in this work – a number of people will be asked what they think about this evidently infeasible event (the footage from the survey will be shown behind the great model of the stadium envisaged for the event). If the presumption is accepted that the main forms of humour – the rough metaphors used in R=1:2 R=1:200 – are only a screen needed to conceal the reality of the care for the disabled, then in this case too the main purpose is to draw attention to this group of people. Projects of this kind, partially close to relational aesthetics, constitute not only a tendency to accept otherness but also a concrete step in overcoming conditions partially akin and close to the “Foreign Body”. It is a form of care for the other expressed in concrete action.

Lazo Plavevski

Grubi nijansi

^uvstvoto na sopstvenata tu|ost, bilo kade, e edna – taa e verojatno simbol, nekade e op{ta sostojba – znak (pa duri e i “brend”) na sovremenite sostojbi.

Nakratko, ve}e eden dolg period, taa e op{to mesto koe gi kodira relaciite me|u `ivotot i `ivotot na umetnosta – – vo isto vreme tolku banalen i poznat i tolku realen i narazre{liv.

Okru`uvaweto na makedonskite umetnici koi participiraat vo proektot “Tu|o telo” e mnogu indikaktivno vo kontekstot na motivot za ovaa izlo`ba. Toa se nao|a vo aktivno previrawe vo prifa}aweto na drugiot na site poliwa od `ivotot: vo politikata, vo mediumite, vo instituciite ... vo me|usebnite odnosi. Toa e edna tektonska promena koja poradi deceniskoto odlagawe mo`e da donese, ili nosi, nesakani iskrivuvawa. Ako identitetot go razbirame kako nekoja relacija, a relacijata se nao|a vo proces na promeni, toga{ ovaa neizvesnost mo`e da predizvika, ili predizvikuva, period vo identitetot koj sebe se do`ivuva kako “Tu|o telo”. Prifa}aweto na drugiot i drugosta mora da predizvika promeni kaj onoj koj toa go ~ini. Vo osnova vakvata pozicija ne e nitu nova, nitu e nepoznata na ovaa sredina. Taa na nea e naviknata i, mo`no e, vo pozadinata na site tie nemiri i neizvesnosti da postojat samo nijansi koi se “grubi” za “Tu|oto telo”.

No, vakvite spomnuvawa na edine~ni elementi i nivnoto izdvojuvawe od zbirot na slu~uvawata,

mo`at da se do`iveat ili da bidat nekoj povr{inski, ednodimenzionalen, sloj koj von kontekstot od ostanatite fakti mo`e realno da lizga kon banalnosta. Trojcata makedonski umetnici (Slavica Jane{lieva, Vana Uro{evi} i Jovan [umkovski), nitu samite imaa nekoi nameri, nitu pak im be{e sugerirano vo svoite prilozi kon ovoj proekt da pristapat von horizontot na nivnite avtorski razmisluvawa. Refleksiite od stvarnosta se i onaka neodminlivi, a “Tu|oto telo” e nejzin postojan sledbenik.

“The Game”, deloto na Jane{lieva, e objekt so koj taa vleguva vo dimenzijata na direkten prenos na sopstvenite do`ivuvawa na me|unarodnite politi~ki slu~uvawa.

Toa e svoeviden “trodimenzionalen plakat” –– {ahovska tabla koja istovremeno e i karta na svetot po koja se rasporedeni {ahovski figuri vo pozicija koja nagovestuva golemi `rtvuvawa na piunite. Sekoja figura vo zavisnost od nejzinata vrednost go nosi znakot na odredena zemja. Golemite akteri od me|unarodnata politika se imenuvani vo “jakite” figuri, a melite zemji se pionite. “[ahot e igra vo koja treba da se imaat vo predvid mnogu kombinacii, partii i da se predvidat rezultatite”, zabele`uva Jane{lieva. Nejziniot fokus na interes e koncentriran kon `rtvata, kon malite akteri koi mo`at da bidat `rtvuvani od logika koja nim im e nepoznata, nedovolno jasna ili kako {to voobi~aeno se slu~uva – – poradi sostojba vrz koja ne mo`at da vlijaat, a koja neminovno gi postavuva vo podreden odnos. Vo slu~aj koga sostojbata vo koja se nao|ate e pozicija na potencijalna `rtva, legitimitetot na zaednicata po~nuva da dobiva forma na oksimoron, taa sebe se do`ivuva kako

50 – 51 Station 5 / Skopje / Republic of Macedonia / April – May 2005 / Museum of the City of Skopje

“gruba nijansa” vo nizata od vnimatelno nijansirani diplomatski potezi. “The Game” e delo vo koe nema nijansi, nema nitu “grubi nijansi”, toa e crno-bela manifestacija na subjektot koj saka sebe da se do`ivee vo realni dimenzii.

Instalacijata na Uro{evi} e vo sli~na potraga po odredeni realni dimenzii na stravovite koi gi imala ili gi poseduva vo momentot, no koi postojano ja menuvaat specifi~nata vrednost.

“Fobii” e motiv so koj taa postojano se obiduva da najde razre{uvawe na sopstvenite fascinacii, no delata koi gi sozdava postojano ja prefrluvaat na nepoznati bregovi. Vo ovoj obid taa gradi tekstualna prikazna vtemelena na minatoto, na nejzinite roditeli i bliski rodnini, vo ~ij sled se prepletuvaat fakti i fikcii, logi~ni hroniki i apsurdni postapki. Fikcijata deka edno semejstvo pri napu{taweto na rodnata (porane{na dr`ava) Besarabija, kako vredno se}avawe na `ivotot pominat vo nea gi nosi so sebe insektite od toa podra~je e pojdovnata to~ka na konfliktot koj treba da bide razre{en. Buba~kite go simboliziraat stravot i soo~uvaweto so niv, {to bi trebalo da pretstavuva nekoja nasoka za negovoto nadminuvawe ... a ponatamu sé se komlicira. Vo kontekstot na eden sli~en proekt Uro{evi} nagovestuva element – “... strav od koj mo`e da se odnesuva i za ova delo – se}avawata, no strav i od gubeweto na tie se}avawa ...”. Kru`niot tek na vakvite fobii producira dela so somatski efekt. Vo tie realni pojavi od sopstvenite dela, kaj nea ili kaj publikata, taa go bara patot kon sopstvenoto telo. [umkovski e ve}e podolg period koncentriran vrz socijalnite pobudi za negovite urbani re{enija.

Vo osnova, negovoto delo za ovaa izlo`ba -

– Skopje 2052”, se nao|a ”Para Olimpiski igri – vo kontinuitet ili ja prodol`uva nasokata na kontekstot od negovite instalacii/ambienti “No}ni vizii” od 1998/99. i R=1:2 R=1:200 od 2004. Vo prvata se problematiziraa Olimpiskite krugovi, a vo vtorata stanuva{e zbor za eden negov prijatel od ranata mladost, Novica KostovskiNone, invalid ~ij razmer vo odnos so ostanatite lu|e e 1:2. Vo proektot mo`ea da se pronajdat pove}e grubi metafori ~ija cel be{e da se maskira, zamagli odnosno sosema da se otstrani osnovniot – realnata gri`ata za ovoj motiv za izlo`bata – ~ovek na koj vo renomirana likovna institucija mu se podaruva cel eden grad so navistina golemi dimenzii i so “prigoden” razmer. Pretpostavuvam deka komikata i duhovitosta, delumno prisutni i vo predhodnite proekti, vo ova delo }e bidat jasno prisutni – – pogolem broj lu|e }e bidat anketirani {to mislat za edna realno neizvedliva manifestacija (video materijalite od anketata se proektiraat vo pozadinata na golemata maketa na stadionot koj bi trebalo za taa prilika da bide izgraden). Ako se prifati pretpostavkata deka vladea~kite formi na humor, tie grubi metafori primeneti vo R=1:2 R=1:200 se samo paravan, koj e potreben za sokrivawe na realnosta na gri`ata za hendikepiranite, toga{ i vo ovoj slu~aj glavnata cel e naso~uvawe na vnimanieto kon ovaa grupa lu|e. Vakvite proekti, delumno bliski na relacionata estetika, ne se samo tendencija za prifa}awe na drugosta, tuku se i konkreten ~in vo nadminuvaweto na sostojbite delumno sli~ni i delumno bliski na “Tu|oto telo”. Toa e forma na gri`a za drugiot, izrazena vo konkretna akcija.

ARTISTS: BASIC GROUP & GUESTS

SOCIO-CULTURAL INTEGRATION

54 – 55

Jesper Alvaer (N/CZ)

Collective non-hereditary memory.Video. 2004 In his video Jesper Alvaer shows the phenomena of everyday life of the Vietnamese community in Prague. The material, produced by the community members and worked up by the artist, opens a space to a viewer for interpersonal and intercultural dialogue. It offers a glimpse at cultural clichés in order to redefine reciprocal understanding.

Jesper James Alvaer 1973 born in Copenhagen, Denmark 1991-1993 University of Oslo, History of Ideas, Foundation Course, Norway 1991-1993 Ecole Brousse,Visual Communication, Montpellier, France 1994-1995 Cooper Union School of Art, New York, U.S.A. 2000-2001 Residence at Center of Contemporary Art, Kitakyushu, Japan 2002-2003 Academy of Fine Arts, Prague, Czech Republic

GEOPOLITICAL ARRANGEMENT

56 – 57

Jovan Balov (MK/D)

Barbargenie.Video. 2004 In 2000, on a hill over Skopje, the capital of Macedonia, a monument to Peace was erected, in form of a cross, that can be seen from any spot in the city. Against the background of this symbolism, Jovan Balov stages a patriotic performance with all the relevant national flags of the region. Depending on the different territory claims on this area, the artist waves the respective flags, marking off the constant shift of the city’s identity.

Jovan Balov 1961 born in Skopje, Republic of Macedonia 1981-1984 University of St. Cyril and Methodius, Faculty for History of Art and Archeology, Skopje, Republic of Macedonia 1983-1987 University of St. Cyril and Methodius, Painting Department, Skopje, Republic of Macedonia Since 1988 Member of the Association of Fine Artists of Macedonia

IDENTITY SHIFT

58 – 59

Aristarkh Chernyshev / Vladislav Efimov (RUS) Bubbles. Interactive installation. 2003 Artists from Moscow,Vlad Efimov & Aristarch Chernyshev, play an interactive game and give the spectator the possibility to complete their artwork. The protagonists of this amusing sideshow, projected on the screen, are inflated with an air-pump until they start floating. It’s an event that can be repeated over and over again.

Aristarkh Chernyshev 1968 born in Voroshilovgrad, USSR 1991 Moscow State Technical University, Graduation 1995 Residence at Academy of Arts, Berlin, Germany Vladislav Efimov 1964 born in Moscow, Russia 1985 Moscow Automechanical Academy, Graduation 1996 Residence at Academy of Arts, Berlin, Germany

IDENTITY SHIFT

60 – 61

Aneta Mona Chisa (SK) Nostalgia isn’t what it used to be.Video. 2004 In the video loop by Anetta Mona Chisa communication between a woman and a dog is based on a literal transposition of human qualities to the animal. Amplified with two accompanying musical pieces, a dialogic relationship produces the effect of an identity shift by means of two projections, running side by side.

Aneta Mona Chisa 1975 born in Nadlak, Romania 1994-2000 Academy of Fine Arts and Design Bratislava, Slovakia Since 2000 Assistant Teacher, Department of New Media, Academy of Fine Arts Prague, Czech Republic

ENCOUNTERS WITH HOSTILE CULTURES

62 – 63

Pavel Forman (CZ/D) Mural painting. 2004-2006 Pavel Forman is a traveller, who creates his paintings wherever he goes. In this case he turns to his birth-place, near the CzechGerman border, where naive art once ourished in witty symbiosis with socialist realism. The artist pathetically traces the ideologies, that are for him omnipresent, and mocks them with the help of portable decorations from everyday culture.

Pavel Forman 1977 born in Bruntal, Czech Republic 1997-2001 Palacky University, Olomouc, Czech Republic 2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts Berlin, Germany

RECONSTRUCTED REMEMBRANCES

64 – 65

Mindaugas Gapsevicius (LT/D) Ambii. Interactive installation. 2002 The topic of Mindaugas Gapsevicius‘ interactive work with Low-Fi videoclips reflects the tradition of Lithuanian landscape painting. The spectator’s attention is captured by the moving landscape images and unclear outlines of objects.

The work consists of 9 videoclips that can be activated by pressing a respective key (1 to 9). When the keys remain unpressed, the images change themselves automatically with help of a random generator.

Mindaugas Gapsevicius 1974 born in Panevezys, Lithuania 1997 Vilnius Academy of Fine Arts, BA degree 1998 Scholarship at Muthesius Academy of Fine Arts, Kiel, Germany 1999 Vilnius Academy of Fine Arts, MA degree 2000-2003 Assistant Media, Muthesius Academy of Fine Arts, Kiel, Germany 2002-2004 Guest Lecturer, Institute for Art in Context, University of Fine Arts Berlin, Germany

+--------+---------------+----------+ | nr.key | clip | duration | +--------+---------------+----------+ | 0 | title.img | 00:03 | | 1 | sky.mov | 04:44 | | 2 | landscape.mov | 05:51 | | 3 | road.mov | 16:25 | | 4 | sea.mov | 16:05 | | 5 | dunes.mov | 07:34 | | 6 | seashore.mov | 13:55 | | 7 | water.mov | 08:15 | | 8 | cross.mov | 18:37 | | 9 | seascape.mov | 15:02 | +--------+---------------+----------+

MEDIAL TRUTH

66 – 67

Geomatic (LT/NL)

Control Agents. Audio insallation. 2002 The work of Andrei Vasiliev und Serge Marinec (Geomatic) was born as a reaction to a mindcontrol program of the CIA, which makes it possible to conduct citizens‘ behaviour by the direct influence of their subconscious processes on the neuron level. Titles like “Implanted Thoughts” or “Auxiliary Transmitter” build a guiding thread for a musical interpretation full of different associations.

Serge Marinec born 1968 in Vilnius, Lithuania Andrei Vasiliev born 1969 in Vilnius, Lithuania 1999 “Entered Apprentice”, Ambient Landscapes Vol.2, Dark Duck Records 2001 “Control Agents”, Triumvirate label 2002 Soundtrack for video “Written World”

GEOPOLITICAL ARRANGEMENT

68 – 69

Slavica Janeslieva (MK) The Game. Object. 2005 In the work of Macedonian artist Slavica Janeslieva a political power-struggle was staged as a game for adults. “The Game” is chess game, where the map of the world is used instead of a chess board. Every chess-man corresponds to a certain political value and is named after a national state: USA, Russia, Germany, etc.

Slavica Janeslieva 1973 born in Skopje, Republic of Macedonia 1996 Academy of Fine Arts Skopje, Republic of Macedonia, BFA degree 1998 Academy of Fine Arts Skopje, MFA degree Since 1997 Member of the Association of Fine Artists of Macedonia

MEDIAL TRUTH

70 – 71

Martin Juef (D)

Magazin. Mixed media. 2004-2005 An x-ray or ultrasound image of the sediments in our collective image reservoir – MAGAZIN releases again what has been exposed to looks and taken away from seeing as an interpretation directive. The procedure seems quite paradoxical: If there were clear copies before, I now have diffusing layers of interwoven messages. But while the clear transfer pictures don’t clarify anything anymore – at the most only harden things a lot – the MAGAZIN itself opens up to the hissing, thus revealing the view on the sediments of our image reality again.

Martin Juef born 1966 in Berlin, Germany 1986-1992 University of Fine Arts Berlin, Geramany, MFA degree 2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

MEDIAL TRUTH

72 – 73

Kunst Fu (SK)

Alien Bodies. Objects. 2003 The artistic group Kunst-Fu (Erik Binder und Gabika Binderova) produces objects, which are built of cheap goods. The artists humorously “conceal” the possible damages that consumption of these goods may cause, in connection with their advertising in the media. Side by side with the objects, an amateur video film shows activists, shouting: “Stop! It’s the last warning!” The video cut reminds us of an account on anti-advertising campaigns, environmental activists or terrorist groups.

The conclusion is: “We like both, chips and television”.

Erik Binder born 1974 at Hnúšťa-Likier, Slovakia 1991-1999 Academy of Fine Arts and Design, Bratislava, Slovakia Since 2002 Assistant Teacher, Academy of Fine Arts and Design, Bratislava, Slovakia Gabika Binderová born 1975 in Prešov, Slovakia 1996-2003 Academy of Fine Arts and Design Bratislava, Slovakia

SOCIO-CULTURAL INTEGRATION

74 – 75

Magdalena Natalia Kwiatkowska (PL/CZ) Untitled, Photographs, 2004 A Polish artist living in Prague, Magdalena Natalia Kwiatkowska, documents unusual situations, which happen when hostile-looking objects of private use are integrated into public spaces. A rug, for example, that once decorated a living room, causes confusion when taken to a tram, or plastic curtains turn telephone booths into shower cubicles. The artist provokes reactions of casual passers-by and their involvement into private situations, that were shifted to public contexts.

Magdalena Natalia Kwiatkowska 1978 born in Poland 1997-2001 Technical University, Department of Industrial Design, Koszalin, Poland Since 2001 Academy of Fine Arts, Prague, Czech Republic

GEOPOLITICAL ARRANGEMENT

76 – 77

Zorka Lednarova(SK/D) Signs & Locations. Digital print. 2004 In her cartographic work “Signs & Locations” Zorka Lednarova analyzes formation of borders, in which cultural and political aspects are manipulated by the means of twelve officially used national writing systems. She shows the difference between geopolitical and cultural borders, by making references to mixed realities in the expansion of cultures.

Zorka Lednarova 1976 born in Bratislava, Slovakia 1995-2000 Academy of Fine Arts Bratislava, Slovakia 1997-2004 Muthesius Academy of Fine Arts Kiel, Germany 1998-1999 China Acedemy of Fine Arts, Hangzhou, China 2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

RECONSTRUCTED REMEMBRANCES

78 – 79

Dörte Mayer (D)

Hall of the People’s Comunity, Adolf-Hitler-Platz, Weimar. Planning 1936-1942. Unfinished Congress Hall, Karl-Marx-Platz, Weimar, Planning 1946. Unfinished Multi-purpose Building , Karl-Marx-Platz, Weimar. Planning 1961-1976. Unfinished Shopping-Center and Fun Park, Weimarplatz, Weimar. Planning 1999. Unfinished Photographs, 2004 Dörte Meyer presents photos of abandoned places in East Germany, that had once opened a wide field of possibilities but have now lost their original meaning.

These are the places, where historical changes stratify over the modified usage; places that have outlived their time and are now in decay. They have failed to be realized as ideas or projects, or to be completed, Dörte Meyer and remained as relics amid other various structures.

1969 born in Berlin, Germany

1989-96 University of Fine Arts, Berlin, Germany, MFA degree 2001-2002 Assistant Teacher, Bauhaus University Weimar, Germany 1999-2000 Residence at Akademie Schloss Solitude, Stuttgart, Germany Since 2004 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

ENCOUNTERS WITH HOSTILE CULTURES

80 – 81

Roman Minaev (RUS/D) Written World.Video. 2001 In his video Roman Minaev tells a story about Marco Polo who, according to written records, was the first to have brought evidences of Chinese culture to Europe. The film, created as a pseudo-documentary, is focused on the attitude to a hostile culture and shows exclusively Chinese characters – a hostilelooking occurrence, whose existence for inexplicable reason was not mentioned in the notes of the famous discoverer.

Roman Minaev 1970 born in St. Petersburg, Russia 1994-2000 Muthesius Academy of Fine Arts, Kiel, Germany 1998-1999 China Academy of Fine Arts, Hangzhou, China 2000-2004 Assistant Teacher and Project Coordinator, Muthesius Academy of Fine Arts, Kiel, Germany 2001-2004 Postgraduate Studies, Institute for Art in Cotext, University of Fine Arts, Berlin, Germany

IDENTITY SHIFT

82 – 83

Mr. Bra (SK)

Mr. Bra. Work in progress. 2005 In the work of a Slovak duet Mr. Bra (Marek Kvetan und Richard Fajnor) two personalities are fused to a hybrid identity of a fictional artist.

By creating a flexible working atmosphere, the duet manages to achieve performative intervention into the socio-cultural environment. Their project bears a strong resemblance to an enduring laboratory test, where all the processes are documented. Mr. Bra does not present any artifacts, moreover, the question arises, whether an alter ego can be developed, if we don’t possess a notion of our own ego.

Richard Fajnor 1965 born in Skalica, Slovakia 1989-1994 Pedagogical University Nitra, Slovakia Since 1994 Lecturer, Department of Fine Arts, University of Technology Brno, Czech Republic 1998 Residence at The School of The Art Institut of Chicago, Illionois, USA Marek Kvetan 1976 born in Piestany, Slovakia 1995-1999 Academy of Fine Arts and Design Bratislava, Slovakia 1999 Technical University, Department of Fine Arts, Brno, Czech Republic 2000 Residence at The Headlands Center for the Arts, Sausalito, USA

SOCIO-CULTURAL INTEGRATION

84 – 85

Vladimir Sitnikov (RUS/D) Chlorix. Interactive insallation. 2004 In his installation “Chlorix” Vladimir Sitnikov stages a loose play on human relationships. The exhibition visitors are urged to borrow an audioguide and a T-shirt. The T-shirts are printed with excerpts from a non-existing book. Through the headphones one can hear deliberately incongruous texts, that are arranged in form of travel notes.

Vladimir Sitnikov 1958 born in Moscow, Russia 1973-1976 State Art School Moscow 1979-1985 Moscow State University of Printing Arts, Faculty of Graphic Arts Design, Moscow, Russia 1985-1988 Art Director, Publishing-Hous Kniga, Moscow, Russia 1988-1989 Artistic Director, Printing Studio “Estampe”, Moscow, Russia Since 1992 Member of Moscow Artists Union Since 1993 Member of International Arts Fund Since 1996 Member of German Association of Artists

IDENTITY SHIFT

86 – 87

Alma Skersyte (LT)

A Detail. 2002 Hamburg. Slide projection. 2002 A photographic fragment of a tall house façade

by Alma Skersyte could be transposed to any city. It shows us a marginalized glimpse at housing conditions, that does not conform to any tourist’s glance but turns peculiarities into everyday routines and thus accomplishes the break up of urban identity.

Alma Skersyte 1975 born in Gedgaudziai, Lithuania 1995-1996 Art School Telsiai, Department of Design, Lithuania 1996-2002 Academy of Fine Arts Vilnius, Department of Photography and Media Art, Lithuania

SOCIO-CULTURAL INTEGRATION

88 – 89

Jovan Sumkovski (MK)

Paralympics-Skopje 2052. Object,Video. 2005 In his installation “Paralympics – Skopje 2052” Jovan Sumkovsky presents a monstrous architectural project as a possibility of social intervention. The model of a stadium was designed for fictional Paralympics in Skopje in 2052. Some passers-by were questioned upon their opinion concerning the planned event and the result was documented on video. Jovan Sumkovsky in advance accepts a seemingly impossible result and thus achieves irritation in the area of social engagement.

Jovan Shumkovsky 1962 born in Skopje, Republic of Macedonia 1986 Academy of Fine Arts Skopje, BFA degree 1999 Academy of Fine Arts Skopje, MFA degree Since 2002 Professor, Academy of Fine Art Skopje

RECONSTRUCTED REMEMBRANCES

90 – 91

Vana Urosevic (MK)

Phobias. Installation. 2005 The installation by Vana Urosevic describes a search of the real dimensions of things experienced. Thanks to constant modification of specific values, the work “Phobias” becomes a motif with which the artist tries to find the reason of her own fascination with the past.

In a story, rich in contents, fictional and real chronicles are interwoven. In the plot, insects, who have brought their ancestors in a trunk from Bessarabia, become a starting point of a symbolic escape, that solves the cause of nostalgia.

Vana Urosevic 1961 born in Skopje, Republic of Macedonia 1984 Belgrade Arts University, Serbia and Montenegro, Graduation 1987 Belgrade Arts University, Serbia and Montenegro, MFA degree 1988 Study Trip to Academy of Fine Arts Venice, Italy

Fremdkörper ist ein internationales Ausstellungsprojekt, das Fremdheit als soziokulturelles Phänomen im Rahmen der europäischen Integrationsprozesse begreift.

Initiiert und organisiert wurde die Ausstellung von in Berlin lebenden Künstler-Migranten osteuropäischer Herkunft, die mit Künstler-Kollegen aus ihren jeweiligen Heimatländern in einen Dialog treten, um gegenseitige Standpunkte ihrer kulturellen Identität einer breiten Öffentlichkeit vorzustellen. Das Ausstellungskonzept wurde durch die Teilnahme von zwei Berliner KünstlerInnen ergänzt, die die im Projekt behandelte Thematik aus ihrer Perspektive mitreflektieren.

Vor dem Hintergrund des wechselseitigen Verhältnisses von Fremdheit und Integration verhandelt die Ausstellung Phänomene der politischen und sozialen Einordnung und deren Spielregeln, die Veränderungen geopolitischer Kartografien, die Konstruktion von Medienwahrheit und das Rekonstruieren von Erinnerung, sowie Idetitätsverschiebungen in der Wahrnehmung fremder Kulturen.

Durch die individuelle Kunstsprache wird deutlich, wie die festgehaltene Zeit von Wandlungsprozessen, irgendwo zwischen dem “noch nicht davon gekommen-” und dem “noch nicht ganz angekommen Sein”, zum Merkmal einer unabhängigen Identität wird.

Die Ausstellung im Kunstraum Kreuzberg/Bethanien ist die Zusammenfassung einer Reihe von Ausstellungen, die an fünf verschiedenen Stationen in Osteuropa, welche den Herkunftsländern der beteiligten Künstler-Migranten entsprechen, aufgeführt worden sind. Dabei wurden in Zusammenarbeit mit Co-Kuratoren der an dem Projekt beteiligten Institutionen weitere Positionen ortsansässiger Künstler in das Ausstellungskonzept eingebaut.

Impressum

This catalogue accompanies the traveling exhibition Fremdkörper Exhibiton Schedule Moscow, Russia, National Centre for Contemporary Arts April – May 2004 Vilnius, Lithuania, Intro Gallery August 2004 Prague, Czech Republic, NoD Gallery December 2004 – January 2005 Trnava, Slovak Republic, Center of Contemporary Arts March – April 2005 Skopje, Republic of Macedonia, Museum of the City of Skopje April – May 2005 Berlin, Germany, Kunstraum Kreuzberg/Bethanien Juni – August 2006 Exhibition Concept Zorka Lednarova, Roman Minaev Exhibition Organization Irina Gorlova, Moscow, Russia Vygandas Simbelis,Vilnius, Lithuania Zuzana Stefkova, Prag, Czech Republic Vladimir Beskid, Bratislava, Slovak Republic Lazo Plavevski, Skopje, Republic of Macedonia Stéphane Bauer, Berlin, Germany

Catalogue FremdkĂśrper Concept Vladimir Sitnikov, Roman Minaev Editorial Work Chris De Lutz, English Translations Masha Yufa, Russian-English Jayde Willis, Lithuanian-English Zuzana Stefkova, Czech-English Dana Pekarikova, Slovak-English Ilia Kitup, German-English Photography Stefan Blazo, Tomas Cernisevas, Pavel Dvorak,Vlad EďŹ mov, Pavel Forman, Zorka Lednarova, Roman Minaev Catalogue Design Vladimir Sitnikov Printed in Czech Republic

Realized with the support of the Ministry of Culture of Slovak Republic.

Realizované s finančnou podporou Ministerstva kultúry Slovenskej republiky.

Marli-Hoppe Kunststiftung.

Kunstraum Kreuzberg / Bethanien.

Gefördert mit Mitteln der Senatsverwaltung für Wissenschaft, Forschung und Kultur, Referat Stipendien und Projektförderungen.

Senatsverwaltung für Wissenschaft, Forschung und Kultur

Museum of the City of Skopje

Landeshauptstadt Kiel – Kulturamt