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Die IG BILDENDE KUNST ist eine Interessenvertretung der bildenden Künstler_innen in Österreich. Wir initiieren kulturpolitische Debatten und intervenieren in Entscheidungsprozesse, die Auswirkungen auf Arbeit und Leben bildender Künstler_innen haben. Unsere Aktionsfelder sind Kunst, Politik, Service und Zeitung. Wir fordern: Freiheit der Kunst! Recht auf soziale Rechte! Bleiberecht für alle! Gleiche Rechte für alle!

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Ausschreibungsprojekt

THE REVOLUTION WILL BE TELEVISED (AND BROADCAST ON THE INTERNET)


Beteiligte Künstler_innen

Quistrebert Brothers (FR), James Brown (US), Simone Caneiro (AT/BR), Hélène van Duijne (SE/AT), Chilo Eribenne (UK/NG/AT), Karin Ferrari (IT), Karø Goldt (DE/AT), Viktor Kroell (AT), Fela Kuti (NG), Marina Gržinić/Aina Smid/Zvonka Simčič (SI), Marina Gržinić & Aina Smid (SI), Nino Stelzl (AT), Katharina Wagner (AT)

Kuratiert von Chilo Eribenne

Eröffnung: Dienstag, 6. Dezember 2011, 19 Uhr
Ausstellungsdauer bis 17. Februar 2012


Programme:

6th December 2011:
8 pm: Live performance – Stefan Reiser (AT)
8:30 pm: Youtube Laptop DJ set – Binår (DE/AT)

15th December 2011, 7 pm:
Discussion on politics in Iran – Zohreh Ali-Pahlavani (IR/AT)

21st January 2012, 10 am:
Special screening and brunch: Sounds Like a Revolution – Summer Love and Jane Michener

17th February 2012:
Special event at Ost Klub


The onset of The Revolution Will be Televised (and Broadcast on the Internet) dates back to the summer of 2010 when I’d completed a two year contract working as an assistant teacher. I’d experienced racial prejudice there and when I left, I felt a deep need for freedom that I wanted to express creatively. First of all, I devised a DJ set for my then radio show; it was a compilation of freedom songs mainly from the 1960’s featuring artists such as Nina Simone, Donny Hathaway and John Lennon. The proposal for this exhibition came next and somehow I wanted everyone to wake up from his or her own set of oppressive circumstances. I had this in mind as well as the impact of the recent demonstrations against the Iranian elections and the role social and digital media played, when I started to invite artists and musicians, filmmakers and intellectuals to contribute to a debate on freedom, protest, autonomy, state control , the control over mind and spirit and, of course, revolution.

So let’s call it Zeitgeist when we look at what has happened in the last twelve months, with 2011 matching and maybe even exceeding 1968 for global turmoil and protest, along with the new digital and media forms for facilitation as well as abuse of communication. The (mostly) video works in this exhibition highlight phenomena like the slumbering café societies that wear protest as a fashion, within the media of mind control, religion, pop culture, the internet, the exploitation of the “other” as well as the sexualisation of death, bad news and fear as a form of control. The works, performances and indeed discussions all point to the need for freedom and peace of mind. But how can we gain a clear idea of what that actually is – and thus prevent that the removal of the oppressor will only lead to another, but under a different name?

But then, is it all bad news, doom and gloom? In the documentary The Night James Brown Saved Boston, we see cynicism after the murder of civil rights activist Dr. Martin Luther King turn into a victory for peace as James Brown is put on the spot and required to keep unrest from downtown Boston with a performance of a lifetime.

In Decoloniality (Images of Struggle) by Marina Gržinić, Aina Smid and Simčič Simcic, we look more closely at the “other”, meaning persons outside of the G8 first world economy. As the artists put it: “In the film, there is a lot of confrontation and parallels drawn between Latin America and former Eastern Europe. The core of the video is the point of the instrumentalisation of life and resistance whilst questioning struggle and solutions to the neoliberal global capitalist exploitations.”

In another work by Marina Gržinić and Aina Smid, Naked Freedom: A Video in 3 Parts, 5 Sequences and 7 Takes, the viewer is directly confronted with the heart of postcolonial fear and philosophy: It is about how to prevent Africans from coming to Europe.

Afrobeat legend Fela Kuti’s political views and performances are encapsulated in the documentary Music Is The Weapon. “Fela was a brilliant musician, but in addition to this he offered a vision of a new Nigeria that was free of totalitarian control and promoted an African identity free from Western influence.”(IMDB.com) Directed by Jean-Jacques Flori.

Karø Goldt’s video Spot On – Spot Off confronts “economic, ecological, and socio-political problems in the mining areas of Central Africa. We could read about it in the newspapers. If we only wanted to.“ Whilst she questions the exploitation of a seemingly far off reality, the video of Viktor Thomas Kröll deals not only with information overload, especially in the realm of 24 hours news channels, but with the way bad news is interrupted by seemingly innocuous adverts in order that “people feel a media produced cosiness when they buy and use the products they have seen on screen.”

Both Karin Ferrari and Nino Stelzl explore the use of mind control. While Ferrari enters the world of Lady Gaga and decodes her hidden occult symbols, Stelzl’s paintings are based on Youtube footage depicting Anna Nicole Smith’s torment by a team of mind controllers.

The painting and video works by the emerging artists Quistrebert Brothers function both visually and hypnotically. Taking elements from the occult, their engaging videos employ simple techniques reminiscent of early avant-garde filmmaking. On the symbol of the All Seeing Eye, they remarked:“Our interest for this specific symbol emerged while we were doing a research on occultism and secret societies, starting with one of the most famous, and yet still very mysterious, the Freemasons (to which the Illuminati order is related). For us, this kind of mystical symbol encompasses both visual and conceptual qualities as a way to approach abstraction in our work. We used the All Seeing Eye for its formal simplicity, its rigorous geometrical structure to which we applied a negative dimension … While the Eye of Providence (on the $1 note) is the most famous cliché of Masonic and Illuminati conspiracy, we see it more as a potential for questioning basic kind of ontological (mystical?) issues, like the helplessness and fear of human consciousness when confronted with the unknown, hence the speculation the latter is subjected to.”

Also working in the realm of the supernatural, between the here and now, the virtual and the other side is Hélène van Duijne. Her work cleverly interplays these various entities, and when combined, in a cultural sense, highlights the syntax which subtly merges their original meanings. Levitation Part 3 points to the interrelationship between the digital media, psychics and the natural.

Katharina Wagner’s Revolution Training Kit pokes fun at the “gemuetlich” nature of the Viennese “The installation ‘Revolution Training Kit’ refers to the protests in Europe during the spring and summer of 2011 and reflects the occupation of the public space in the mode of a camp. First I developed the idea of a model camp kit so anyone can set up the camp at home and train for the revolution in his or her own living room. So my very first idea of it is related to a certain resignation and passivity in civil society. On the second level, my model camp kit became an installation in the public space, at Karlsplatz, where the only Austrian protest camp took place at the beginning of June. The repetition of the camp at the same place in miniature – or as a replay – questions the effectiveness of articulating dissens nowadays. Finally, the project concludes in a documentary video where the various associations are merged.”

No Horsing Around is a graphic work by cross-media artist Simone Carneiro. She parodies the England Riots by “basically juxtaposing the meaningful, violent and powerful with the blasé and superficial to accentuate the causes of said violent protests.”

Finally, my own contribution brings us back to the question of why this exhibition is taking place at all. Whole in Your Head is an homage to history and art history updating Jean-Jacques David’s The Death of Marat photographically. It is a call to the nations to wake up from the anaesthesia – the lobotomy has not taken place, but a revolution should! A performance by Stefan Reiser was inspired by this work and its debut will take place on the opening night of the exhibition.


Programme:

6th of December 2011, 8 pm:
ZERSÄTTIGUNG – a one man show by Stefan Reiser
He strains himself
He observes himself
He corrects himself
It becomes a habit
He flaunts himself
It strikes him no more
Utopia must be designed by him.

An interdisciplinary performance about the responsibility of a "zersättigten" individual who gradually loses his identity in the swamp of a media which is starved of reality. A vague sense of utopia in the space of “immediate perception” must be saved.


6th of December 2011, 8.30 pm till 10.30 pm:

Youtube DJ set by Binår playing your favourite revolution and protest songs.


15th December 2011, 7pm:

Discussion on politics in Iran – Zohreh Ali-Pahlavani (IR/AT)

Zohreh Ali-Pahlavani was born in Shiraz in Iran and came to live in Vienna in 1980 after the Islamic Revolution in Iran. She works for the “Chamber of Labour” as specialist in Migration Management and Integration of Migrants in Austria. She is also a lecturer at the “University of Applied Sciences” in Vienna. Zohreh Ali-Pahlavani’s native land will come under scrutiny, particularly in context of the interesting relationship between technological developments and the ancient civil and religious laws that govern it. How this clash of ideals affects the social and political structure of people’s daily lives, especially those of women, will come under the spotlight. Why did the peaceful demonstration against the election in 2009 become violent? Why were people shot and killed by the police? Why did Nada (the woman who was shot dead on camera, the footage of her death going viral on Youtube) become a global icon? How and why are the citizens in Iran suppressed and controlled by their government and how do the media and new forms of digital media, social networking platforms affect freedom of speech and movement for a people who by merely existing seems to be a threat to the government?

This will be a witty and interesting talk using video and photographic sources to support given arguments. There will also be a chance to put forward questions at the end for a lively debate. It is not to be missed!


21st of January 2012, 10 am:

Special Screening and Brunch: Sounds Like a Revolution – Summer Love and Jane Michener

I’m pleased to announce the screening of Summer Love and Jane Michener’s documentary Sounds Like a Revolution. “Focusing on the personal experiences of four independent musicians, the film portrays Michael Franti, Fat Mike, Paris, and Anti-Flag and a collection of live performances, political rallies, music videos and uncensored commentaries from Pete Seeger, The Dixie Chicks, David Crosby, Steve Earle, Jello Biafra, Ani DiFranco, Wayne Kramer (MC5) to Tom Morello (Rage Against the Machine) and more.” (source: Facebook community page).


17th of February 2012:

Special event at Ost Klub

Surprise acts singing your favourite freedom, protest and anti-war songs. Stay in touch on the website www.igbildendekunst.at or add our community page to your favourites www.facebook.com/pages/The-Revolution-Will-be-Televised-and-Broadcast-on-the-Internet/275905325767253 to keep up to date.

 

Katharina Wagner/ Revolution Training Kit/ 2011
Ausstellungsansicht/ Foto: Werner Prokop

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