Fremdkoerper catalog

  • Published on
    13-Mar-2016

  • View
    216

  • Download
    4

DESCRIPTION

International traveling exhibition: 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

Transcript

  • Fremdkrper 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 reected the topic treated in the project from their own perspec-tive. Against the background of mutual relationship of foreignness and integration the exhibition deals with the phenomena of politi-cal 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 (some-where 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 ve different places in East Europe, corresponding to the native countries of the partici-pants. 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 institu-tions taking part in the project.The exhibition in Berlin opens new dimensions, born in the pro-cess 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 redened 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 1Moscow, Russia, April May 2004, National Centre for Contemporary ArtsVitaly Patzukov Foreign Body as a model of a new ecology of culture 10

    Station 2Vilnius, Lithuania, August 2004, Intro GalleryArunas Spraunius The Etymology of Emigration 16

    Station 3Prague, Czech Republic, December 2004 January 2005, NoD GalleryZuzana Stefkov The tongue of a strange body 28

    Station 4Trnava, Slovak Republic, March April 2005, Center of Contemporary ArtsVladimir Beskid With strange art in a strange town ... 38

    Station 5Skopje, Republic of Macedonia, April May 2005, Museum of the City of SkopjeLazo Plavevski Rough Nuances 46

    ArtistsBasic Group and Guests 53

    Impressum 94

  • Jesper Alvaer (N/CZ)Jovan Balov (MK/D)Aristarkh Chernyshev & Vladislav Emov (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)Drte 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)

  • 8

    9S

    tati

    on

    1 /

    Mo

    scow

    / A

    pri

    l M

    ay 2

    004

    / N

    atio

    nal

    Cen

    tre

    for

    Co

    nte

    mp

    ora

    ry A

    rts

    (NC

    CA

    )

  • The sustaining of an artists 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 anothers culture and differ-ent national mentality, becoming a foreign body. Within this dialogical system of art co-ordinates the tense links appear between inner and outer, between artists 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 con-tinuity; the thickness of the big reality, which is always trying, as M. Heidegger wrote, to cap-ture 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 dened and sub-jected 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 behav-iour 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 diagno-sis, where the gap between a foreign body and a body of a matrix creates two situations: a situa-tion 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 conduc-tor even more than a matrix resident.By keenly and seismologically feeling the deep layers of anothers culture, and xing their hardly noticeable, tectonic movements, the par-ticipants of the project organically experience the potency of time, its conicts and changes, its inner senses. They are revealing in dialogues the degree of reection in which the foreign body is forming a new ecology of culture.

    Foreign Body as a model of a new ecology of culture

    Vitaly Patzukov

    10

    11

    Sta

    tio

    n 1

    / M

    osc

    ow /

    Ap

    ril

    May

    200

    4 / N

    atio

    nal

    Cen

    tre

    for

    Co

    nte

    mp

    ora

    ry A

    rts

    (NC

    CA

    )

  • - . , . , . - , , -, . , . -, , , , - , .

    - , -- , -- . , . . , - . - , - : . - , , , , , , . , - , , , , , .

    12

    13

    Sta

    tio

    n 1

    / M

    osc

    ow /

    Ap

    ril

    May

    200

    4 / N

    atio

    nal

    Cen

    tre

    for

    Co

    nte

    mp

    ora

    ry A

    rts

    (NC

    CA

    )

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

  • 14

    15

    Sta

    tio

    n 2

    / V

    ilniu

    s /

    Lit

    hu

    ania

    / A

    ugu

    st 2

    004

    / IN

    TR

    O

    Gal

    lery

  • 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 ats 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 ve balconies that can be seen, but obvi-ously 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 margin-alized, hidden ats not shown in ads or tourist brochures. Its possible that immigrants live in this block of ats. But anyway, why block of ats and not ashy Saint Paul?Muscovite Vladimir Sitnikov, currently residing in Kiel, offered the visual-linguistic mix Chlorix. Fragments of washing detergent ad slogans were put on fteen shirts hung in a row, or the very slo-gans themselves (the interpretation depends how

    developed the viewers market training is). The visual part is organized in such a way that all the sentences are followed by shots of a monument. These fteen ads are at the foot of the monu-ment, and on the pedestal stands a perfect, naked hero, sword in hand, bearing a belt that covers his genitals like a g 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/BetweenThe 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. Its normal to think they dont feel entirely at home in the West, and that their experience and mentality clash with the western way of doing things. Its not exactly a walk in the park, but this clash is connected with particular difculties in the ways of thinking. Its 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 pre-sented in the exhibition (two Lithuanians living in Amsterdam and calling themselves Geomatic

    The Etymology of Emigration

    Arunas Spraunius

    16

    17

    Sta

    tio

    n 2

    / V

    ilniu

    s / L

    ith

    uan

    ia /

    Au

    gust

    200

    4 / I

    NT

    RO

    Gal

    lery

  • showed one collection) that show how two iden-tities 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 ide-alism, 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 doesnt tolerate an unar-ticulated identity that is not sufcient 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.Theres an uncertainty as a result of this in-between existance. Not far from the centre of Dublin near Talbot and Amien streets are a few Lithuanian shops. On the weekend theres not just alot of Lithuanians, but also Latvians, Poles, and Russian speakers. In one of the shops theres a song playing by a well-known pop group in Lithuania about how great it is back at home. Lithuanians dont rush to buy Lithuanian prod-

    ucts, but look them over. They compare the products with similar products from the dis-count shops for example Lidl or Irish Tesco with a critical eye. Theres no lack of visitors, but while choosing theyre harping about the price, maybe even with a certain pre-determined rule. At rst 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 isnt just a few shops, but also a locally-published Lithuanian newspaper. Its full of editing and grammer mis-takes, which is symbolic in a way. Maybe theres no one to correct the mistakes, or maybe theres just no need, so the mistakes are ne for them.Its been more than a decade since our intellectu-als 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 whove been in Dublin for long time, 30 years ago the city was a backwards province of

  • Europe, and now its become a huge melting pot of consumers where times are changing and vari-ous nationalities and ethnicities live together.On the other hand, being in-between marks a very concrete psychological reality of the feelings Eastern Europeans have. Weve already reached that level where we each ght 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 chil-dren dont 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 nger on it, we need to correct it. But this idea doesnt really sink in......what can you do? In other words, this idea of a foreign body pulls us closer to the block ats of Hamburg.

    The End of the DramatizationThough there can be associations that are not

    concrete, there is a form to these games. Drte 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 half-nished products of the interior, or the interior of the games. Its in the etchings where we get an exterior that reminds one of a city plan or part of one, the truth from perspective. Its easy to see the trees, almost as if it was the aim to empha-size 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, its ne, 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 per-sonal story, made in this case, in an original genre. The fresco should intrigue the amateurs of psy-choanalysis the most, however, just the amateurs. Professionals wont stand there long with such explanations, because they dont have the right

    18

    19

    Sta

    tio

    n 2

    / V

    ilniu

    s / L

    ith

    uan

    ia /

    Au

    gust

    200

    4 / I

    NT

    RO

    Gal

    lery

  • 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 theres no urban-ism, 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 dis-cussed 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 Gapseviciuss work AMBII is a collection of nine videos. Its the lming 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 com-puter. 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 doesnt t here, because its connected to vitality, to life. For digital programmes, vitality doesnt matter. As Nietsche once said its too human. True, the philosopher certainly couldnt 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 nancing 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 lm which is shown to the public of Foreign Body. Everything is important in the lm: what is lmed, the music (done by the afore-mentioned Lithuanians of Geomatic) and also who is lming. In short, the introduc-tion is for those who plan on going on this get-ting-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 ts well: where the author came from, where he lives now, what kind of project he prepared, where he went, how much he lmed etc. In the art market, everything is important, not just the results, but how you got

  • them and your intentions for getting them. Maybe the participants of the Foreign body exhibit grasp the conditional, fashionable and thematic uctuations the best, since all live in the pragmatic West. This mixing has been happen-ing for a long time, which means that the East-West 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 turn-ing 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 eve-ryones 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, didnt 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, its 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 sym-bols 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 denes expression, at least the most accurate one.

    20

    21

    Sta

    tio

    n 2

    / V

    ilniu

    s / L

    ith

    uan

    ia /

    Au

    gust

    200

    4 / I

    NT

    RO

    Gal

    lery

  • Vizualinio meno projekte Svetimas knas, kurisLietuvoje realizuotas vilnikje galerijoje INTRO, iuo metu rodomas Bratislavoje, o vasar krau-stysis Prah, Alma Skersyt rodo publikai Ham-burgo daugiaaukio, nufotografuoto 2001 me-tais, fragment. Btent fragment, nermint joki natrali rib (daugiabuio atveju tai bt sienos). Viso labo 5 balkonai akivaizdu, kad j yra daug daugiau. K pastebi, iskiria ir kitiems rodo jauna lietuv 2001-j Hamburge? Ne res-pektabil, pirklik ir bankinik centr ar garsuj pramog rajon Sankt Paul alia uosto, taiau daugiabut, parat, btinai nutylim, aplenkiam reklamini bei turistini buklet. Labai tiktina, kad iame daugiabutyje gyvena imigrantai. Bet vis tiek, kodl ne reklaminis Sankt Paulis, o btent daugiabutis?Maskvietis Vladimiras Sitnikovas, gyvenantis Ki-lyje (Vokietija), pasil vizualin-lingvistin miks Chlorix. Penkiolikoje ant sienos sukabint mar-kinli linijiniu bdu idstyti skalbimo miltelio (tu paio Chlorix?) reklamins akcijos kio frag-mentai, o gal ir patys raktiniai, smogiamieji kiai (intepretacija priklauso nuo to, kiek paengs i-rtojo rinkodarinis iprusimas). Vizualin pus su-tvarkyta taip, kad visus tuos sakinius btinai lydi

    paminklo vaizdas. Taigi penkiolika pijaro akcij paminklo papdje. Ant postamento nuogas to-bulas herojus, su kardu rankoje, apsijuoss diru, kuris kaip gos lapas dengia genitalijas. Matyt, reikia suprasti sisibuojantys pijaro aidimai rsiai drovaus reimo papds likuiuose. Ms regione tai berods ironikai vadinama gyvja atmintimi.

    Gyvenimas tarp/tarp Absoliuti dauguma projekto Svetimas knas dalyvi ryt ir vidurio europieiai, ilgiau ar trumpiau, bet pastoviai gyvenantys Europoje vakarus nuo Elbs. prasta manyti, kad jie Vakaruose nesijau-ia visai kaip namie, kad j patirties, mentaliteto susidrimas su vakariei gyvenimo praktika nebtinai lengvas pasivaikiojimas, o susijs su tam tikrais mentaliniais sunkumais. Ne veltui svarstymai opozicijos rytai/vakarai tema bent Lietuvoje dar neinyksta tiek i iniasklaidins, tiek ir intelekualins apyvartos. Parodoje pateikta 11 konceptuali versij (du lietuviai, gyvenantys Amsterdame ir pasivadin grupe Geomatic, rod vien krin), kaip tie du identitetai sugyvena. Skirtumai, turintys esmini rang, gali slypti ir niuansuose. Juo labiau, kad tie nenuspjami, tar kime, potencialiai atviri identiteto raidos vari-antai, kuomet susiduria ar susitinka skirtingos patirtys, tapo vienu svarbiausi parodos ideologi-ni sand. Tam tikras idealizmas, susijs su asme-nins laisvs ir identiteto iekojimais, parodos da-

    Emigracijos etimologija

    Arnas Spraunius

  • lyviams ar daugeliui j lyg ir nesvetimas. Tik, atrodo, niekaip neapsisprendiama, jau galutinai atsisveikinti su tradicijos suformuotu savo asme-nybs turiniu ar j dar pasilaikyti. Globalizmas neartikuliuot, t.y., save nepakankamai tinka-mai pristatant tapatum nelabai pakenia. Anot Pierreo Bordieu, simbolini preki rinka jau seno-kai veikia nepriekaitingai. Be to, ir bsena tarp/tarp psichologikai ne pati smagiausia. Dl tos bsenos tarp/tarp nesmagumo. Netoli nuo Dublino centro, Talbot ir gretimoje Amien gatvse, yra pora lietuvik preki parduotuvi. Savaitgaliais ia ateina nemaai ne tik lietuvi, bet ir latvi, lenk, rusakalbi. Vienoje i parduotuvi sukama inomos lietuvi popgrups dainel apie tai, kaip yra gera tvynje. Lietuviai, jei galima taip pasakyti, gimtj maisto preki neskuba pirkti, jie jas apiri. Kritikai lygina su pigi Dubline veikiani prekybos tinkl (tarkime, Lidl ar Irish tesco) analogikomis prekmis. Lankytojo ne-trksta, taiau renkamasi labai priekabiai, gal net su tam tikra iankstine nepalankia nuostata. I pirmo vilgsnio gal atrodyt keistokai juk i tvyns, kuri u keturi tkstani kilometr ir i kurios teko ivaiuoti. Ir dar patriotiku popsu pastiprinta. Parduotuvi savininkams suktis turbt tenka nemenkai, norint ilaikyti t trap tautieio pasitikjim. Sakytum, ant ribos kad ateit ir galbt pirkt. Ms gaus Airijoje patvirtina ne tik pora krautuvi, bet ir ten leidiamas lietuvikas laikratis Lietuvis. Tiesa, su gausybe ne tik ko-

    rektros, bet ir raybos klaid. Irgi savaip sim-bolika. Galbt nra kam t klaid taisyti, o gal tiesiog nra poreikio ir su raybos klaidomis vie-tiniams tiks.Daugiau kaip deimtmet i pradi ms intelek-tual, dabar jau ir laikratinink varijuojama post-modernizmo svoka apibdina gyvenim, kuris ms dar nepasiek. Taip jau yra, kad visuotin gerov btinai lydi ir staigiai padidjs vartojimas. Dideli atlyginimai (pavyzdiui, Airijoje atlyginimo minimumas sudaro 270 eur u savait) pratur-tjusi al sutraukia minias imigrant, t didiul vairiataut mini vienija ir vartojimo galimybs. Pasak Dublino senbuvi, dar prie kokius tris-deimt meto is miestas buvo gdoka Europos provincija, dabar jis yra taps tikru miliniku vartojimo katilu, kur greta sukiojasi ir sugyvena paios vairiausios tautos ir rass. Kita vertus, tas tarp/tarp ymi ir labai konkreias psichologines ryt ypa j europiei psicho-logins savijautos realijas. Mes jau pasiekme t lyg, kuomet kaunams po vien, skrupulingai atidirbindami reikalingiems monms ir dantis sukand ksdami izofrenik, susidvejinus gy-venim (tokiame kontekste labai savotikai turt atrodyti nuosavo vaiko aukljimas: grs i darbo, kur stropiai ir iradingai pt migl publikai akis, jis/ji taigiai sako vaikeliui nemeluok). Ir btinai atsargai turime arba randame, kas tik patvirtina ms virtuozikum ieminink, durnel, ku-ris nervams neilaikius turi naivumo prabilti

    22

    23

    Sta

    tio

    n 2

    / V

    ilniu

    s / L

    ith

    uan

    ia /

    Au

    gust

    200

    4 / I

    NT

    RO

    Gal

    lery

  • apie teisingum ir po to kaip reikiant gauna per galv. Galbt net yra priverstas vienaip ar kitaip pasitraukti (yra gi toji statistika apie saviudybes). Tada, jau po visko, ateiname mes ir teisingai linguodami galvomis sakome: i ties, teisingai jis ia visk idst, reiks itaisyti. Bet ir nepasise-k mogui k padarysi... nekant metonimikai, Hamburgo daugiabutis ia labai vietoje, ms svetimas knas mus prie jo nete nea. Dramatizmo pabaigaNors galimos ir nelokalizuotos asociacijos, ai-dimai forma. Vokiet Diort Majer (Drte Meier) irtojams silo trij fotograj ir oforto (!) cikl. Nuotraukose lakonikas, konstruktyvus, nykus, skurdus, pozityvus etc. (pasak reklamos strategij, skurdas reikalauja ypa daug epitet) urbanizmas, tokie plaiaformaiai interjero ruoiniai. Arba post- interjero. Gi oforte regime eksterjer, tikrov i perspektyvos, primenani miesto ar jo dalies plan. Akivaizdiai, tarsi siekiant ypa pabrti, iskirti mediai. Jei vaizdai nuotraukose ir oforte disonuoja, ar gali tai reikti nostalgij? Bet kam tos prasms, brimas i j; yra, ir gerai, ir tegu bna. Vis dlto, kad konceptualistai dar plkiasi prie oforto, savotikai imponuoja, ir ia tinka iskirti dar vien pana Svetimo kno precedent. Ant galines INTRO sienos eksponuota eko Pavelo Formano freska Govermenica. Nei daugiau, nei maiau! Dar vienas konceptualistinis akibroktas (ar akibroktas konceptualizmui). Tai galbt per-

    sonalin istorija, atlikta iuo atveju savotikame anre. Psichoanalizs mgjus ji labiausiai ir tu-rt intriguoti, taiau tik mgjus. Profesionalai ties aikinimais ilgam nesustoja, nes neturi teiss prarasti tempo. J tikslas sugrinti kliento-paci-ento form, ir kuo greiiau. Dar vienas fotogranis ciklas Gintaro Daugirdo keturios nuotraukos, pavadinimu Be pavadinimo. Fotografuota atiaurioje, skurdioje (turiu galvoje gamt) vietovje, tikriausiai iem. kart jokio urbanizmo, taiau parodos visumos kontekste tas akivaizdiai iskirtas atiaurus skurdas su bent da-limi aptarto darbo, mano supratimu, akiviazdiai kalbasi.Ir pora tolimesni tiek technologiniu atlikimu, tiek ir ideologikai, tarkime, semantikos naikini-mo prasme darb. Mindaugo Gapeviiaus AMBII, kaip pats pavadino, devyni videolm komplektas. Filmavimo geograja nuo Laplandi-jos iki Venecijos. Ar is faktas k nors reikia, tarkime, krinio recepcijai iuo konkreiu atveju? Nieko. Veiksmo visom prasmm: tiek krinio ga-minimo, tiek jo demonstravimo vieta yra kompiu-teris. Tu, irtojau, turi galimyb aklinoje tyloje stebti, tarkime, ydr spalv, kurios intensyvu-mas ir kompoziciniai elementai pamau ar greiiau kinta laike. Kai kada judjimas ima gyti formas main, park, gyvatvors, debeso etc. Taiau jokios hierarchijos, ia nieks i nieko neatsiranda, tik kinta. Viskas, k regime monitoriuje, paklsta tam paiam nenumaldomam skaitmeniniam rit-

  • mui. Kakada, neatmenamais laikais, buvo toks odis mirgjimas, bet jis ia netinka, nes susi-js su vitalizmu, gyvenimu. Skaitmeninms prog-ramoms i vitalizm nusivilpt... Kaip sak F.Ny kitu atveju ... pernelyg mogika. Tiesa, pats losofas tikrai net numanyti negaljo, kad viskas pakryps visikai prieinga linkme, nei jis tikriau-siai vylsi. Romanas Minaevas, ivyks i Peterburgo ir dau- giau kaip 10 met gyvenantis Vakaruose, dabar Berlyne, prie kur laik vokieiams para pro-jekt ir gavo pinig pusmeio stauotei Kinijoje studijuoti ios alies kultr. Bdamas ten, susuko 30 minui paintin lm, kur ir pateik Svetimo kno publikai. Filme viskas svarbu tai, kas l-muojama, muzika (j dar mintieji Geomatic lietuviai), svarbus ir tas, kuris lmuoja. odiu, edukacija, tinkanti, tarkime, planuojantiems pain-tin kelion Kinij, galbt galvojantiems apie t daugiau nei Kin siena ar anchajaus prekybiniai rajonai. O parodos Svetimas knas kontekste tinka ir minta story i kur lmo autorius ivyko, kur dabar gyvena, kok projekt para, kur nu-vyko, kiek lmavo ir t.t. Meno rinkoje viskas yra svarbu ne tik rezultatai, bet ir jo siekimo bdai, ketinimai. Gali bti, jog parodos Svetimas knas dalyviai konjunktrinius, mados ir tematinius svyravimus kuo puikiausiai suvokia, juk visi gyvena prag-matikuose Vakaruose. Maiymasis seniausiai jau vyksta, opozicija Rytai/Vakarai globaliniu ma-

    stu tikrai nra kakaip ypatingai dramatika. Be abejo, mums ji aktuali, taiau ir Lietuvoje jau kai kada kvestionuojama (tarkime, Andriaus Bielskio rainiai Kultros baruose; paskutinis Ar bt galima isiversti be Vakar svokos? berods .m. nr.6). Tiesiog, iuolaikinio meno projektai vis daniau krypsta socialumo link, mentalitet, tra-dicij, idj margumynas neivengiamai patiria nuostolius del sklaidos simbolini preki rinkoje tempo. inoma, galima neksti modernizmo ir vartotoj, kuriais visi mes daugiau ar maiau esame, bukagalvikumo. Galima samprotauti, kad pasaulis, pradedant Didija prancz revoliucija, pasuko ne tuo keliu. Bet jis juo pasuko. Ir gintis galima tik iame kelyje ne nuo modernizmo ap-skritai, o nuo jo keliam pavoj sako vengr raytojas Peter Estarhazy (es Apie visk, apie niek). Kad ir kaip nostalgikai svajotume apie prasm, jai reikliai nurodoma privataus vartojimo vieta. Gi vieajame, vadinasi, ir meno rinkos gyvenime turbt neuilgo sulauksime laiko, kai, tarkime, Simboli odynas taps parankine kiekvieno pardavim vadybininko knyga, skirta ne perkeltins prasms studijoms, bet kaip rin-kodaros priemon. Nes rinka ir bus prasm, nu-statanti pai tiksliausi raik.

    24

    25

    Sta

    tio

    n 2

    / V

    ilniu

    s / L

    ith

    uan

    ia /

    Au

    gust

    200

    4 / I

    NT

    RO

    Gal

    lery

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

  • 26

    27

    Sta

    tio

    n 3

    / P

    ragu

    e /

    Cze

    ch R

    epu

    blic

    / D

    ecem

    ber

    J

    anu

    ary

    200

    4 /

    NO

    D G

    alle

    ry

  • Just as in all other international travelling exhi-bitions, the project Fremdkrper 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 esh which we employ in the process of articulation. In German, this ambiguity is lost. The project title Fremdkrper 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 eth-nologist Mary Douglas, whose study analyses the bonds between bodily pollution and the symbolic role of taboo. Douglas considers the body open-ings to be the most critical parts of the body, con-nected 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 ritu-als and also with the chauvinism of national states. This allows me to return to the character of the stranger-migrant, whose free movement under-mines the illusive homogenity of every commu-nity. 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 oating chunks of meat, whose origin and

    28

    29

    Sta

    tio

    n 3

    / P

    ragu

    e / C

    zech

    Rep

    ub

    lic /

    Dec

    emb

    er

    Jan

    uar

    y 20

    04 /

    NO

    D G

    alle

    ry

    The tongue of a strange body

    Zuzana Stefkov

  • 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 purication 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 expe-rience of the transfer of the Sudeten Germans. At the Fremdkrper 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 origi-nal curators concept. It was based on the idea that the experience of living in foreign conditions evokes sensitivity towards the specics of the new environment, in which I am trying to live as a for-eigner, 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 artis-tic community. His work for the Fremdkrper exhibition consisted of home videos lmed 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 sur-prising 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 environ-ment lled with prejudice, apathy and intellectual stereotypes. The work would not have been com-pleted 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 con-temporary 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

  • element is an object taken from its original con-text. 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 audi-ence 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, look-ing over ones shoulder...) and she documents it through her camera. She utilised the same prin-ciple in a squatter-like happening in the IKEA department store. Instead of utilising objects, here she took part herself. She lmed 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 articiality. The behaviour of an alien who decided to make herself com-fortable in a shopping centre, as if she was sitting in her own living room, is a parody on the mar-keting strategy, which encourages the shoppers to make themselves at home. The presence of the artists 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 com-mercial reasons that this intimacy claims the body of every hypothetical consumer.The concept of a strangers 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 dened the constitutive phase of the crea-tion of ones ego: he considered it to be the moment when the child identies 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 identication with some-thing which is not I. The deeper context of this problem had been hinted at by the French phi-losopher/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.

    30

    31

    Sta

    tio

    n 3

    / P

    ragu

    e / C

    zech

    Rep

    ub

    lic /

    Dec

    emb

    er

    Jan

    uar

    y 20

    04 /

    NO

    D G

    alle

    ry

  • Vznik projektu Fremdkrper provzelo mnostv peklad, jak tomu bv u kad putovn vstavy s mezinrodn ast. S vdomm toho jsem si dovoli-la vloit do titulu svho textu mal pekladatel-sk oek. V etin toti vraz jazyk zachovv ambivalenci, kterou v pekladu do nminy ztrc. Stejn jako anglick pojem tongue me bt pod-le kontextu ciz e i kusem masa, jeho pomoc slova artikulujeme. Nzev projektu Fremdkrper zase pedstavuje problm, pekldme-li jej do e-tiny. Dvoj mon vznam zde osciluje mezi tlem jakoto ivm organismem a neivm objektem (tlo/tleso). V tomto textu jsem se rozhodla pro vznam odkazujc k tlesnosti. lo mi o zd-raznn fyzick existence cizince a vtlenho as-pektu jeho ei. Ciz element nem v tomto spojen charakter abstraktnho nebo neivho pedmtu, ale vtlen bytosti, kter vstupuje do mho pros-toru a aktivn jej petv komunikac.Tlo pitom vnmm v souvislostech jeho souasn sociologicko-losock reexe jako tlo sociln, jeho vznam je utven v rmci obousmrnho procesu vmny mezi biologicky-fyzickm a so-

    Jazyk cizho tla

    Zuzana tefkov

    ciln-historickm. Chpeme-li zdnlivost tradin duality tla a kultury, vyno se doslovn smysl tla jako metafory spolenosti a spolenosti jako socilnho tla. V tomto kontextu je zajmav studie anglick etnoloky Mary Douglasov zabvajc se vazbami mezi tlesnm zneitnm a symbolickou funkc tabu. Za zvlt kritick partie tla, k nim se vztahuj mnoh tabu, povauje Douglasov tlesn otvory, kde dochz k vmn mezi vnitnm a vnj-m. Stejn tak je integrita spolenosti ohroena tam, kde se ztrcej hranice mezi vlastnm a cizm, a prv s tmto strachem ze ztrty spoleensk identity souvis kmenov tabu a rituly, stejn jako ovinismus nrodn denovanch stt. Tak se obloukem vracm k postav cizince-migranta, je-ho voln pohyb odkrv iluzornost homogenity kadho spoleenstv. Jak si Evropa uvdomuje st-le palivji, ani v naem svt zdrazujcm multi-kulturalismus nen cizinec jako cizinec. Turista nen imigrant a hrozba ztrty nrodn identity pat do arzenlu kad pravicov strany nap Evropskou uni. Nae sjednocen Evropa nen ani tak tavicm kotlem jako podezelm gulem s plavoucmi kusy masa, o jeho kvalit a pvodu toho pli nevd strvnci ani kuchai.V politickm slova smyslu se et umlci (ne)-ptomnost cizch tl na zem naeho sttu p-li nezabvaj, co patrn souvis s lehkost, s n

  • jsme ze sv historick pamti vytlaili kulturn purizaci esk spolenosti bhem 20. stolet. A u se jednalo o likvidaci id, odsun Nmc, nebo separaci Slovenska, ztrcelo nae prosted p-leitost k pochopen vlastn heterogenity. Vjimku z tto pznan strategie ignorovn pedstavuj umleck skupiny Rafani a Podebal, jejich prce se v minulosti dotkala traumatick zkuenosti vyhn-n sudetskch Nmc.Na prask vstav Fremdkrper vak mstn scnu nakonec zastupovali v echch ijc a pracujc cizinci. Touto volbou jsem se pokouela navzat na pvodn kurtorsk koncept, vychzejc z ped-pokladu, e zkuenost ivota v cizch podmnkch rozvj citlivost vi odlinostem novho prosted, v nm se jako cizinec um t, i vi kvalitm kul-tury, z n pochzm. lo mi o zachycen zkuenosti setkn s cizincem, jeho obnaenost v jazyce a dia-log, v nm se vyno zitek jinakosti. Jesper Alvaer a Magdalena Kwiatkowska dokumen-tuj rznmi prostedky svoji komunikaci s cizm prostedm. Akce a videa norskho umlce Jespera Alvaera, ijcho v Praze, dokldaj jeho soustavn zjem o pekraovn rmce umleck komunity. V dle urenm pro vstavu Fremdkrper zpracoval domc videa natoen pslunky nsk a viet-namsk komunity ijc v echch, kter pre-zentoval jako voln sesthan nalezen materil.

    Tato video-kol, odehrvajc se a na vjimky v eskch relich, ukzala pekvapivou blzkost i specinost mstn asijsk lidov kultury, exis-tujc vedle t esk bez hlubho vzjemnho kontaktu, v prosted plnm pedsudk, nezjmu a mylenkovch stereotyp. Nedlnou, i kdy nevi-ditelnou soust prce tvoilo zskvn materilu, pi kterm musel umlec pekonat jazykov ba-riry i ostraitost ze strany vietnamsk a nsk komunity a mnoh z dodavatel materilu rov-n pesvdit, e i takto me vypadat souasn umn. Za velk zadostiuinn povauji, e se n-kte z nich pili podvat na vernis.Polsk umlkyn Magdalena Kwiatkowska studuje v souasn dob na prask Akademii vtvarnch umn. V jejch poetickch intervencch odehrva-jcch se na ulici, v telefonn budce nebo v tramva-ji, je cizm tlesem pedmt, vytren ze svho pvodnho kontextu. Jej zsahy nejsou nijak efekt-n, ale vdy inn. Sk elektrickch rozvod polepen blou lepenkou vypad najednou jako lednika, interir tramvaje ztuln koberec a z te-lefonn budky se pidnm igelitovho zvsu stane improvizovan sprchov kout. Magdalen Kwiat-kowsk nejde o vslednou fotograi, ale o akci smujc k oiven vednho, o proces do nho zapojuje divka a iniciaci dialogu s prostedm, v nm se ona i divk nachzej. Jej akce potaj

    32

    33

    Sta

    tio

    n 3

    / P

    ragu

    e / C

    zech

    Rep

    ub

    lic /

    Dec

    emb

    er

    Jan

    uar

    y 20

    04 /

    NO

    D G

    alle

    ry

  • s fyzickou reakc (s odhrnutm zvsu, vkroenm na koberec, ohldnutm se), kterou dokumentuje prostednictvm svho fotoapartu. Stejn princip pouila ve squattersky ladn akci v prostorch obchodnho domu IKEA. Msto neivch objekt zapojila tentokrt sebe a pomoc skryt videoka-mery natela interakce s ostatnmi nvtvnky a zamstnanci. Jej zdnliv samozejmost obyvatel-ky naaranovanch pokojk zrove odhalila je-jich neobyvatelnost. Chovn vetelkyn, kter si udlala pohodl v obchodnm dom, jako by se-dla v soukrom obvku, paroduje marketingovou strategii vyzvajc potenciln zkaznky, aby se v ku-lisch ctili jako doma. Ptomnost tla umlkyn, neredukovatelnho na pedmt spoteby, pouka-zuje na prav dvody simulovan intimity, kter si z komernch dvod nrokuje tlo kadho hy-potetickho konzumenta. Koncept tla cizince tla toho druhho, jeho prostednictvm se dozvdme o vlastnch tlech a potamo o ns samch, nen nijak nov. Fran-couzsk losof Merleau Ponty postavil setkn s druhm, kter se svm tlem otevr tmu svtu jako j, proti argumentm vedoucm k solipsismu. Psychoanalytik Jacques Lacan zase oznail sebe-identikaci se zrcadlovm obrazem, tedy s onou postavou za zrcadlem, je dt myln ztoton se sebou, za konstitutivn stdium tvorby vlastnho ega.

    Nae pedstava identity J tak podle psychoanalzy vznik prostednictvm identikace s nm, co nen J. Na hlub rozmr tohoto problmu nar i francouzsky pc losofka/psychoanalytika bul-harskho pvodu Julia Kristeva, kdy v jedn ze svch vah o konceptu Druhho pe, e ivot s druhm, s cizincem, nm umouje zvaovat mo-nost (vlastnho) byt i nebyt Druhm. Postava cizince tedy obrac n pohled zptky k nm sa-motnm a zrove upozoruje na ptomnost Druhho v kadm z ns.

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

  • 36

    37

    Sta

    tio

    n 4

    / T

    rnav

    a /

    Slo

    vak

    Rep

    ub

    lic /

    Mar

    ch-A

    pri

    l 200

    5 /

    Cen

    ter

    of

    Co

    nte

    mp

    ora

    ry A

    rts

  • Michal Kocb 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. Todays visual art employs similar codes and messages: more ambigu-ity and doubts, more heterogeneity (perhaps lead-ing 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 situ-ation, the art could act as a defense syndrome it could strengthen immunity against ideological and media Phantomkrper. At the same time, art is often employed as some kind of Intel-virus with new message, different cultural meme and dif-ferent kind of thinking. There has to be something infectious in it. However, todays art is seen in the structure of Slovak state institutions as something undesirable as an alien body (Fremdkrper), 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 reections on todays world. This project is more than mutual communication (which is an idiotically popular phrase), it also offers a confrontation of diversied artists approaches and themes. Extreme appo-raches at this eld of Alien Bodies show in their works Kunst-fu and Geomatic. Kunst-fu shows a strange saucer-man made of bottles used for bot-tled fruit, this time repugnantly full of meat, sau-sages, beacon and other ingredients. In comparison, Lithuanian Geomatic deals with long-lasting prac-tices of mind control and mental douche (brain-washing). 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 geneti-cally unmodied artists. Somewhere in between these extremes stand photographs by Drte Meyer simple observations of unnished build-ings of unnished ideological projects of the other side of Germany. These works are viewed as para-sites, alien bodies or even idea-manipulations. The rest of exhibited works shows cultural and histori-

    38

    39

    Sta

    tio

    n 4

    / T

    rnav

    a / S

    lova

    k R

    epu

    blic

    / M

    arch

    -Ap

    ril 2

    005

    / Cen

    ter

    of

    Co

    nte

    mp

    ora

    ry A

    rts

    With strange art in a strange town ...

    Vladimir Beskid

  • cal stories: awareness of various systems of writing (R. Minaev, Z. Lednrov), interest in national iden-tity and icons (J. Balov, P. Forman, M. Gapeviius), 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 with-out 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 prod-ucts make together with their launching advertis-ing campaigns in media. Right next to the gure 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 exible 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 greet-ing, experiments, creation of website: www.bra3.org etc). Mr. Bra does not come up with new arti-fact, 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 gures (a woman and a dog with eyes xed on each other), the confron-tation 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 nding an alternative to gender models, views and narratives. After all, a dogs love also isnt what it used to be. Therefore, mutual cultural relations lead to mutants, hybrids, parasites, implants, aliens, trans-mutants, fragments.... The Kunst-fu Fremdkrper (Alien Body) gure could be regarded a frontman of the whole project. He is our hero. We dont need another hero (Barbara Kruger). Instructions for readers: Skip pathetic and incom-prehensible sentences. Ignore all confusion caus-ing bugs or viruses. Regard them as an ornament belonging to the works presented.

  • oraz viac sa ocitme v situcii s ciz enskou v cizm pokoji... ako trefne spieva Michal Kocb, o-raz viac dochdza k pestrmu mixovaniu znakov a symbolov, ku kreniu identt a hybridnosti nrod-nch truktr. Aktulne podoby vizulneho umenia tie pracuj s podobnm registrom kdov a sprv: viac pochybnosti a zneistenia, viac heterognnosti (mono cel umenotrasenie eARThquake). Prin-ame ich prve preto, aby sme boli ete istej a bezpenej, viac domestikovan v tomto cudzom svete. V danej situcii me umenie fungova aj ako obrann syndrm me posilni imunitu voi ideologickmu a medilnemu Phantomkrper-u. Pritom umenie samo asto vystupuje v polohe intel-vrusu, ktor nesie so sebou in informciu, odlin kultrny mm a myslenie. Mus ma v sebe aj nieo nkazliv. V sasnosti je vak cel aktulne umenie vnman v truktre naich ttnych intitci ako nieo neiadce ako Fremdkrper, ako implantt v tradinom kultrnom organizme. Intitcie s voi nemu akoby rezistentn, brnia sa a treba doda, e dos spene. Wir sind fremdARTig. Tento nomdsky projekt stredo- a vchodo-eurp-skych umelcov z Nemecka prina ist vzorku

    vizulneho wwwrusu (nieo medzi genetickm a digitlnym vrusom, medzi umeleckm a technologic-km vzorcom). Ten sa nsledne miea s mnohmi loklnymi variantmi a mutciami. Projekt ukazuje, e sasn umelci (aj tak ij medzi nami) vytvraj nielen svoje diela, morng tvarov, ale predovetkm prinaj jasn postoje, kritick odstup a reexiu, s nositemi inch spsobov uvaovania o dnenom svete.V tomto stretnut nejde len o vzjomn komunikciu (idiotsky obben slovo), ale aj o otvoren stret a konfrontciu monch umeleckch prstupov a tm. Krajn polohy na tomto Fremdkrper poli predstavuj realizcie skupn Kunst-fu a Geomatic. Najprv podivn ufnik od Kunst-fu zo zavracch ia, nechutne naplnen msom, prkami, slaninou a prsadami. Na druhej strane stoj litovsk zdruenie Geomatic, ktor sleduje dlhoron praktiky ovlda-nia mysle a mentlneho vymvania (mental douche). Otrven prostredie v telesnch aj duevnch procesoch, cudzie tel v naich telch aj mysliach. Od pesticdov k menticde: sme mono posledn geneticky neupravovan umelci. Stredn psmo medzi hraninmi polohami vykrvaj fotograe Drte Meyerovej stroh zznamy nedokonench stavieb nedokonench ideologickch projektov z druhej strany Nemecka. Tak vnmame rozptie predstavench diel: od parazitov, votrelcov a po ideo-manipulcie. alie prezentovan diela otvraj

    V cudzom meste s cudzm umenm...

    Vladimir Beskid

    40

    41

    Sta

    tio

    n 4

    / T

    rnav

    a / S

    lova

    k R

    epu

    blic

    / M

    arch

    -Ap

    ril 2

    005

    / Cen

    ter

    of

    Co

    nte

    mp

    ora

    ry A

    rts

  • vek kultrne a historick prbehy: uvedomenie si rozlinch systmov psma (R. Minaev, Z. Lednrov), zaoberanie sa vlastnou nrodnou identitou a jej ikonami (J. Balov, P. Forman, M. Gapeviius), ale aj menie osobn prbehy a citliv problmy (V. Sit-nikov, M. Juef, Mr. Bra, A. M. Chisa).Nakoko v domcom prostred nemme toko sk-senost s emigrantskm efektom, slovensk mlad vtvarnci/-ky prinaj in vtvarn softvr a dvaj ho do obehu bez antivrusovej ochrany. Platforma Kunst-fu (Erik Binder a Gabika Binderova) vtipne a tipavo napda konzum v potravinch aj v mdich. Oddychujci tunuk panik, zloen z erstvho nkupu lacnch akciovch potravn sved o monej kodlivosti potravn aj ich tartovacch kampan. Veda be ich video od anonyma s aktivistickm varovnm sloganom z rozmazanch tvri: Presta-te, toto je posledn varovanie.... Pripomna to anti-reklamn kampa, amatrske pirtske nahrvky od teroristickch skupn a ekologickch aktivistov, anarchistick nabranie sa do TV signlu. Ale my radi erieme chipsy aj televziu.V projekte Mr. B.R.A. 3.1. dvojica Marek Kvetan a Richard Fajnor pokrauje v budovan hybridnej identity imaginrneho umelca Mr. Bra. Vytvorenm jeho premenlivho pracovnho prostredia vnaj performatvnu intervenciu do socio-kultrneho pro- stredia. Ide o vlastn testovanie fungovania vt-varnho diania, o dlhodob laboratrnu skku

    s dokumentciou vetkch procesov (minul zz-namy, monitorovanie, prijmanie nvtev, vyko-nvanie pokusov, vytvorenie vlastnej webstrnky: www.bra3.org a pod.). Mr. Bra neprina hotov artefakt, ale vlastn sondny priestor, kde sa dielo zana interaktvne formova od vernise vstavy a overuje sa poas celho trvania projektu. Ako vak mme budova alter-ego, ke nemme vlastn.Krtka videosluka Anety Moniy Chisy je postaven na konfrontcii nielen dvoch postv (ena a leiaci pes si uprene pozeraj do o), ale aj dvoch sve-tov udskho a animlneho, citu a odcudzenia v urbnnom prostred, podporen dvomi odlinmi zvukovmi stopami. Prina tak melancholick, nostalgick pokus o monosti inch genderovch modelov, pohadov a narci. Ve u ani t psia ls-ka, nie je to o bvala.A tak z kultrnych mutual vzahov, vychdzaj viac mutanti, hybridi, paraziti, implantti, votrelci, transmutanti, fragmenti... Panik Kunst-fu Fremd-krper (cudzie telo) mohol by by frontmanom celho projektu. To je n hrdina. We dont need another hero (poda Barbary Krugerovej).

    Upozornenie pre itatea: Patetick a nezrozumiten vety pokojne vynechajte. Prpadne vetky tie mal psmenkov ervky, i vrusy ignorujte plne. Vnmajte ich ako ornament prezentovanch obrazov.

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

  • 44

    45

    Stat

    ion

    5 / S

    kopj

    e / R

    epub

    lic o

    f Mac

    edon

    ia /

    Apr

    il

    May

    200

    5 / M

    useu

    m o

    f the

    Cit

    y of

    Sko

    pje

  • Ones feeling of ones own foreignness, wherever this may be, is a universal condition it is prob-ably 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 codied 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 indica-tive in the context of the motive for this exhi-bition. 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 relation-ships. 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 nds rough. But these allu-sions to individual elements and their separation from the sum of events may be, or may be per-ceived as, a sort of a supercial and one dimen-sional layer that can slip into banality outside the context of other facts. The three Macedonian artists (Slavica Janelieva, Vana Uroevi and Jovan umkovski) 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. Reections of reality are inevita-ble anyway, and Foreign Body is a faithful devo-tee to reality.Janelievas work The Game is an object with which she enters the dimension of a live broad-cast of her own perception of international polit-ical 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 sacri-ce of pawns. Each piece, depending on its value, bears the symbol of a given country. The big play-ers in international politics are personied 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, Janelieva remarks. Her interest

    Rough Nuances

    Lazo Plavevski

    46

    47

    Stat

    ion

    5 / S

    kopj

    e / R

    epub

    lic o

    f Mac

    edon

    ia /

    Apr

    il

    May

    200

    5 / M

    useu

    m o

    f the

    Cit

    y of

    Sko

    pje

  • is focused on the victim, on the small pieces that may be sacriced by logic unknown or unclear to them or as it usually happens because of cir-cumstances that they cannot inuence 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 manifesta-tion of the being that seeks to perceive itself in realistic dimensions.Uroevis installation is in a similar search of certain real dimensions of the views she has had, but which constantly change their specic value. Phobias is a motif through which she constantly seeks to nd 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, ction, logical chronicles and absurd events entwine. The starting point for the conict that is to be resolved is the ction that a family, having left its native (former country) Bessarabia, has taken the insects from that region as a pre-cious 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, Uroevi 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 ow 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 umkovski has been focused on the social motives for his urban solu-tions. 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 exhibi-tion that is, the real care for this man who, in a renowned ne arts institution, was presented with an entire city of truly vast proportions and an appropriate ratio. My guess is that the humour

  • 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 atten-tion 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 par-tially akin and close to the Foreign Body. It is a form of care for the other expressed in concrete action.

    48

    49

    Stat

    ion

    5 / S

    kopj

    e / R

    epub

    lic o

    f Mac

    edon

    ia /

    Apr

    il

    May

    200

    5 / M

    useu

    m o

    f the

    Cit

    y of

    Sko

    pje

  • ^uvstvoto na sopstvenata tu|ost, bilo kade, e edna op{ta sostojba taa e verojatno simbol, nekade e 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

    Grubi nijansi

    Lazo Plavevski

    rom minText Box

    rom minText Box

    rom minText Box

    rom minText Box

  • 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 s se komlicira. Vo kontekstot na eden sli~en proekt Uro{evi} nagovestuva element koj mo`e da se odnesuva i za ova delo ... strav od 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 -

    Para Olimpiski igri Skopje 2052, se nao|a 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 Kostovski-None, 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 motiv za izlo`bata realnata gri`ata za ovoj ~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 mani-festacija (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.

    50

    5

    1St

    atio

    n 5

    / Sko

    pje

    / Rep

    ublic

    of M

    aced

    onia

    / A

    pril

    M

    ay 2

    005

    / Mus

    eum

    of t

    he C

    ity

    of S

    kopj

    e

    rom minText Box

    rom minText Box

    rom minText Box

    rom minText Box

  • ARTISTS: BASIC GROUP & GUESTS

  • 54

    55

    Jesper Alvaer (N/CZ)Collective non-hereditary memory. Video. 2004

    SO

    CIO

    -CU

    LTU

    RA

    L I

    NT

    EG

    RA

    TIO

    N

    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 clichs in order to redene reciprocal understanding.

    Jesper James Alvaer1973 born in Copenhagen, Denmark1991-1993 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

  • 56

    57

    Jovan Balov (MK/D)Barbargenie. Video. 2004In 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 ags of the region. Depending on the different territory claims on this area, the artist waves the respective ags, marking off the constant shift of the citys identity.

    GE

    OP

    OL

    ITIC

    AL

    AR

    RA

    NG

    EM

    EN

    T

    Jovan Balov1961 born in Skopje, Republic of Macedonia1981-1984 University of St. Cyril and Methodius, Faculty for History of Art and Archeology, Skopje, Republic of Macedonia1983-1987 University of St. Cyril and Methodius, Painting Department, Skopje, Republic of MacedoniaSince 1988 Member of the Association of Fine Artists of Macedonia

  • 58

    59

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

    IDE

    NT

    ITY

    SH

    IFT

    Aristarkh Chernyshev 1968 born in Voroshilovgrad, USSR 1991 Moscow State Technical University, Graduation1995 Residence at Academy of Arts, Berlin, Germany

    Vladislav Emov1964 born in Moscow, Russia1985 Moscow Automechanical Academy, Graduation1996 Residence at Academy of Arts, Berlin, Germany

  • 60

    61

    Aneta Mona Chisa (SK)Nostalgia isnt what it used to be. Video. 2004

    IDE

    NT

    ITY

    SH

    IFT

    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. Amplied 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 Chisa1975 born in Nadlak, Romania1994-2000 Academy of Fine Arts and Design Bratislava, SlovakiaSince 2000 Assistant Teacher, Department of New Media, Academy of Fine Arts Prague, Czech Republic

  • 62

    63

    Pavel Forman (CZ/D)Mural painting. 2004-2006Pavel Forman is a traveller, who creates his paintings wherever he goes. In this case he turns to his birth-place, near the Czech-German 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.

    EN

    CO

    UN

    TE

    RS

    WIT

    H H

    OS

    TIL

    E C

    ULT

    UR

    ES

    Pavel Forman1977 born in Bruntal, Czech Republic1997-2001 Palacky University, Olomouc, Czech Republic2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts Berlin, Germany

  • 64

    65

    Mindaugas Gapsevicius (LT/D)Ambii. Interactive installation. 2002The topic of Mindaugas Gapsevicius interactive work with Low-Fi videoclips reects the tradition of Lithuanian landscape painting. The spectators 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.

    +--------+---------------+----------+| 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 |+--------+---------------+----------+

    RE

    CO

    NS

    TR

    UC

    TE

    D R

    EM

    EM

    BR

    AN

    CE

    S

    Mindaugas Gapsevicius1974 born in Panevezys, Lithuania1997 Vilnius Academy of Fine Arts, BA degree 1998 Scholarship at Muthesius Academy of Fine Arts, Kiel, Germany1999 Vilnius Academy of Fine Arts, MA degree2000-2003 Assistant Media, Muthesius Academy of Fine Arts, Kiel, Germany2002-2004 Guest Lecturer, Institute for Art in Context, University of Fine Arts Berlin, Germany

  • 66

    67

    Geomatic (LT/NL)Control Agents. Audio insallation. 2002The work of Andrei Vasiliev und Serge Marinec (Geomatic) was born as a reaction to a mind-control program of the CIA, which makes it possible to conduct citizens behaviour by the direct inuence 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.

    ME

    DIA

    L T

    RU

    TH

    Serge Marinecborn 1968 in Vilnius, Lithuania

    Andrei Vasilievborn 1969 in Vilnius, Lithuania

    1999 Entered Apprentice, Ambient Landscapes Vol.2, Dark Duck Records2001 Control Agents, Triumvirate label2002 Soundtrack for video Written World

  • 68

    69

    Slavica Janeslieva (MK)The Game. Object. 2005In 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.

    GE

    OP

    OL

    ITIC

    AL

    AR

    RA

    NG

    EM

    EN

    T

    Slavica Janeslieva1973 born in Skopje, Republic of Macedonia1996 Academy of Fine Arts Skopje, Republic of Macedonia, BFA degree1998 Academy of Fine Arts Skopje, MFA degreeSince 1997 Member of the Association of Fine Artists of Macedonia

  • 70

    71

    Martin Juef (D)Magazin. Mixed media. 2004-2005An 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 dont 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.

    ME

    DIA

    L T

    RU

    TH

    Martin Juefborn 1966 in Berlin, Germany1986-1992 University of Fine Arts Berlin, Geramany, MFA degree2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

  • 72

    73

    Kunst Fu (SK)Alien Bodies. Objects. 2003The 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 lm shows activists, shouting: Stop! Its 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 Hna-Likier, Slovakia1991-1999 Academy of Fine Arts and Design, Bratislava, SlovakiaSince 2002 Assistant Teacher, Academy of Fine Arts and Design, Bratislava, Slovakia

    Gabika Binderovborn 1975 in Preov, Slovakia1996-2003 Academy of Fine Arts and Design Bratislava, Slovakia

    ME

    DIA

    L T

    RU

    TH

  • 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.

    SO

    CIO

    -CU

    LTU

    RA

    L I

    NT

    EG

    RA

    TIO

    N

    Magdalena Natalia Kwiatkowska1978 born in Poland1997-2001 Technical University, Department of Industrial Design, Koszalin, PolandSince 2001 Academy of Fine Arts, Prague, Czech Republic

  • 76

    77

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

    GE

    OP

    OL

    ITIC

    AL

    AR

    RA

    NG

    EM

    EN

    T

    Zorka Lednarova1976 born in Bratislava, Slovakia1995-2000 Academy of Fine Arts Bratislava, Slovakia1997-2004 Muthesius Academy of Fine Arts Kiel, Germany1998-1999 China Acedemy of Fine Arts, Hangzhou, China2003-2006 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

  • 78

    79

    Drte Mayer (D)

    Drte Meyer presents photos of abandoned places in East Germany, that had once opened a wide eld of possibilities but have now lost their original meaning. These are the places, where historical changes stratify over the modied 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, and remained as relics amid other various structures.

    RE

    CO

    NS

    TR

    UC

    TE

    D R

    EM

    EM

    BR

    AN

    CE

    S

    Hall of the Peoples Comunity, Adolf-Hitler-Platz, Weimar. Planning 1936-1942. UnnishedCongress Hall, Karl-Marx-Platz, Weimar, Planning 1946. UnnishedMulti-purpose Building , Karl-Marx-Platz, Weimar. Planning 1961-1976. UnnishedShopping-Center and Fun Park, Weimarplatz, Weimar. Planning 1999. UnnishedPhotographs, 2004

    Drte Meyer1969 born in Berlin, Germany1989-96 University of Fine Arts, Berlin, Germany, MFA degree2001-2002 Assistant Teacher, Bauhaus University Weimar, Germany1999-2000 Residence at Akademie Schloss Solitude, Stuttgart, GermanySince 2004 Postgraduate Studies, Institut for Art in Context, University of Fine Arts, Berlin, Germany

  • 80

    81

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

    EN

    CO

    UN

    TE

    RS

    WIT

    H H

    OS

    TIL

    E C

    ULT

    UR

    ES Roman Minaev 1970 born in St. Petersburg, Russia1994-2000 Muthesius Academy of Fine Arts, Kiel, Germany1998-1999 China Academy of Fine Arts, Hangzhou, China2000-2004 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

  • 82

    83

    Mr. Bra (SK)Mr. Bra. Work in progress. 2005In the work of a Slovak duet Mr. Bra (Marek Kvetan und Richard Fajnor) two personalities are fused to a hybrid identity of a ctional artist. By creating a exible 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 dont possess a notion of our own ego.

    Richard Fajnor1965 born in Skalica, Slovakia1989-1994 Pedagogical University Nitra, SlovakiaSince 1994 Lecturer, Department of Fine Arts, University of Technology Brno, Czech Republic1998 Residence at The School of The Art Institut of Chicago, Illionois, USA

    Marek Kvetan1976 born in Piestany, Slovakia1995-1999 Academy of Fine Arts and Design Bratislava, Slovakia1999 Technical University, Department of Fine Arts, Brno, Czech Republic2000 Residence at The Headlands Center for the Arts, Sausalito, USA

    IDE

    NT

    ITY

    SH

    IFT

  • 84

    85

    Vladimir Sitnikov (RUS/D)Chlorix. Interactive insallation. 2004In 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.

    SO

    CIO

    -CU

    LTU

    RA

    L I

    NT

    EG

    RA

    TIO

    N

    Vladimir Sitnikov1958 born in Moscow, Russia1973-1976 State Art School Moscow1979-1985 Moscow State University of Printing Arts, Faculty of Graphic Arts Design, Moscow, Russia1985-1988 Art Director, Publishing-Hous Kniga, Moscow, Russia 1988-1989 Artistic Director, Printing Studio Estampe, Moscow, RussiaSince 1992 Member of Moscow Artists UnionSince 1993 Member of International Arts FundSince 1996 Member of German Association of Artists

  • A photographic fragment of a tall house faade by Alma Skersyte could be transposed to any city. It shows us a marginalized glimpse at housing conditions, that does not conform to any tourists glance but turns peculiarities into everyday routines and thus accomplishes the break up of urban identity.

    86

    87

    Alma Skersyte (LT)

    IDE

    NT

    ITY

    SH

    IFT

    Alma Skersyte1975 born in Gedgaudziai, Lithuania1995-1996 Art School Telsiai, Department of Design, Lithuania 1996-2002 Academy of Fine Arts Vilnius, Department of Photography and Media Art, Lithuania

    A Detail. 2002 Hamburg. Slide projection. 2002

  • 88

    89

    Jovan Sumkovski (MK)

    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 ctional 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 Shumkovsky1962 born in Skopje, Republic of Macedonia1986 Academy of Fine Arts Skopje, BFA degree1999 Academy of Fine Arts Skopje, MFA degreeSince 2002 Professor, Academy of Fine Art Skopje

    SO

    CIO

    -CU

    LTU

    RA

    L I

    NT

    EG

    RA

    TIO

    N

    Paralympics-Skopje 2052. Object, Video. 2005

  • 90

    91

    Vana Urosevic (MK)Phobias. Installation. 2005The installation by Vana Urosevic describes a search of the real dimensions of things experienced. Thanks to constant modication of specic values, the work Phobias becomes a motif with which the artist tries to nd the reason of her own fascination with the past. In a story, rich in contents, ctional 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.

    RE

    CO

    NS

    TR

    UC

    TE

    D R

    EM

    EM

    BR

    AN

    CE

    S

    Vana Urosevic1961 born in Skopje, Republic of Macedonia1984 Belgrade Arts University, Serbia and Montenegro, Graduation 1987 Belgrade Arts University, Serbia and Montenegro, MFA degree1988 Study Trip to Academy of Fine Arts Venice, Italy

  • Fremdkrper ist ein internationales Ausstellungsprojekt, das Fremd-heit als soziokulturelles Phnomen im Rahmen der europischen Integrationsprozesse begreift.Initiiert und organisiert wurde die Ausstellung von in Berlin le-benden Knstler-Migranten osteuropischer Herkunft, die mit Knst-ler-Kollegen aus ihren jeweiligen Heimatlndern in einen Dialog treten, um gegenseitige Standpunkte ihrer kulturellen Identitt einer breiten ffentlichkeit vorzustellen. Das Ausstellungskonzept wurde durch die Teilnahme von zwei Berliner KnstlerInnen ergnzt, die die im Projekt behandelte Thematik aus ihrer Perspektive mit-reektieren.Vor dem Hintergrund des wechselseitigen Verhltnisses von Fremdheit und Integration verhandelt die Ausstellung Phnomene der politischen und sozialen Einordnung und deren Spielregeln, die Vernderungen geopolitischer Kartograen, die Konstruktion von Medienwahrheit und das Rekonstruieren von Erinnerung, sowie Idetittsverschiebun-gen in der Wahrnehmung fremder Kulturen.

  • Durch die individuelle Kunstsprache wird deutlich, wie die fest-gehaltene Zeit von Wandlungsprozessen, irgendwo zwischen dem noch nicht davon gekommen- und dem noch nicht ganz angekommen Sein, zum Merkmal einer unabhngigen Identitt wird. Die Ausstellung im Kunstraum Kreuzberg/Bethanien ist die Zusammen-fassung einer Reihe von Ausstellungen, die an fnf verschiedenen Stationen in Osteuropa, welche den Herkunftslndern der beteiligten Knstler-Migranten entsprechen, aufgefhrt worden sind. Dabei wurden in Zusammenarbeit mit Co-Kuratoren der an dem Projekt beteiligten Institutionen weitere Positionen ortsansssiger Knstler in das Ausstellungskonzept eingebaut.

  • Impressum

    This catalogue accompanies the traveling exhibition Fremdkrper

    Exhibiton ScheduleMoscow, Russia, National Centre for Contemporary ArtsApril May 2004Vilnius, Lithuania, Intro GalleryAugust 2004Prague, Czech Republic, NoD GalleryDecember 2004 January 2005Trnava, Slovak Republic, Center of Contemporary ArtsMarch April 2005Skopje, Republic of Macedonia, Museum of the City of SkopjeApril May 2005Berlin, Germany, Kunstraum Kreuzberg/BethanienJuni August 2006

    Exhibition ConceptZorka Lednarova, Roman Minaev

    Exhibition OrganizationIrina Gorlova, Moscow, RussiaVygandas Simbelis, Vilnius, LithuaniaZuzana Stefkova, Prag, Czech RepublicVladimir Beskid, Bratislava, Slovak RepublicLazo Plavevski, Skopje, Republic of MacedoniaStphane Bauer, Berlin, Germany

  • CatalogueFremdkrper

    ConceptVladimir Sitnikov, Roman Minaev

    Editorial WorkChris De Lutz, English

    TranslationsMasha Yufa, Russian-EnglishJayde Willis, Lithuanian-EnglishZuzana Stefkova, Czech-EnglishDana Pekarikova, Slovak-EnglishIlia Kitup, German-English

    PhotographyStefan Blazo, Tomas Cernisevas, Pavel Dvorak, Vlad Emov, Pavel Forman, Zorka Lednarova, Roman Minaev

    Catalogue DesignVladimir Sitnikov

    Printed inCzech Republic

  • Realized with the support of the Ministry of Culture of Slovak Republic.Realizovan s nannou podporou Ministerstva kultry Slovenskej republiky.

    Senatsverwaltung frWissenschaft,Forschung und Kultur

    Landeshauptstadt Kiel Kulturamt

    Museum of the City of Skopje

    Marli-Hoppe Kunststiftung.Kunstraum Kreuzberg / Bethanien.Gefrdert mit Mitteln der Senatsverwaltung fr Wissenschaft, Forschung und Kultur,Referat Stipendien und Projektfrderungen.