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Auction of Himmel Pimmel

Monday 1st of November 2010, 6:30pm
Cultural Center REX, Jevrejska 16, Belgrade
Guest: Michel Chevalier

6:30pm – Presentation of the video installation by Michel Chevalier
Pudel Art Basel (Remix) & Die Versteigerung von Himmel Pimmel
7:30pm Public meeting with member of TARGET: AUTONOPOP Michel
Chevalier and discussion about presented work and his/their practice
in Hamburg.

You are kindly invited to join discussion.
Moderator: Vladan Jeremic

Q: Is the I.S. an artistic movement?
A: A major part of the situationist critique of the society of the spectacle consists in showing to what extent contemporary artists, insofar as they have turned away from the wealth of breakthroughs present in (if not fully developed during) the period 1910-1925, mostly relegate themselves to doing art like one does business."
–Michèle Bernstein, J.V. Martin, Jan Srijbosch, Raoul Vaneigem
Le Questionnaire
in: Internationale Situationniste # 9, August 1964.

Pudel Art Basel (Remix)
A Sunday afternoon in August, 2009: in a crowd one sees Chanel and Yves Saint Laurent sunglasses, Louis Vuitton and Prada bags, a famous colllector who is active in the neoliberal FDP. One saunters on the grounds of the trendy club near the river while works of rising stars and local heroes who have made it big on the art market are auctioned off by a well-known entertainer. Eleven months after the financial crash, social hierarchies are stably in place.
But wait! This auction is for the benefit of a supposedly anti-gentrification initiative... what reality are we in, here? "The art market against gentrification: is that at all possible?" asks one of the hosts. Yes, indeed, for between the self-celebratory art and the "politics" the space for Kulturpolitk is nothing but a vacuum.

Die Versteigerung von Himmel Pimmel
A documentation of the auction of the Jonathan Meese/Daniel Richter painting "Himmel Pimmel" at Pudel Art Basel, August 30th, 2009.

TARGET: AUTONOPOP
Has something fundamental changed in the art world in the last few years? Or, let's say: since the '70s, since the outset of western capitalism's ongoing crisis? Have mechanisms set in that narrow the range of what artists/critics/curators can do?

«target: autonopop» answers yes to all these questions and takes aim at the commercial art gallery circuit, the art-institutional context and their commodities. Safe generalizations that spare people's feelings and preserve comfortable arrangements are not on the agenda; instead: a regularly updated process in which art is 'consumed' in a different way.

Since 2003, «target: autonopop» has examined the articulation between the market/gallery and institutional spheres, their cooptational and coercive instances, their aversion to any critique which has real consequences.
Visual, social and historical investigations supplement a project which is not merely theoretical: to retrace and critique the art-circuits tacit dogmas, such as ambivalence and non-oppositionality. On the curatorial and production level, «target: autonopop» has been fostering and generating activity which avails itself to exactly those 'inartistic', unambiguous and frontal means when necessary, be it in an art or a non-art context. We do our best to share our ideas and approach with each different audience we address. In so doing, we differentiate between productive tools and tools for analysis.

One productive tool is our «target: autonopop» open mic. which is held every January. Topics, questions and a microphone are the ingredients for a public discussion, in which any and all may add their input to the ensuing chain of statements.
Another productive tool is the "unlimited liability" shop, open every summer. Every year a new group of artists is invited to produce multiples to be offered for sale: photographs, posters, books, stickers, DVDs, food or works whose form is to be determined in the course of exchange with the purchaser. Everything costs less than €30, but only people with less than € 50,000 in assets are able to make purchases. This house rule is enforced by a legally-binding sales contract.
Whereas the productive tools are meant to develop alternatives to the art field's business-as-usual, the analytical tools foster a better understanding of this field's language. A programmatic example is Michel Chevalier's visualization of dominant art-field characteristics in the form of a taxonomic installation. Taking recurring visual patterns as a point of departure, Chevalier develops a system of categories that clarifies the logic of value-attribution and taste that is produced by the contemporary art market.
The «target: autonopop» workshops serve as a further analytical tool. Against the backdrop of a history of alternatives, we subject the commercial art field (galleries, magazines) to a critical view and evaluation.
The "unauthorized guided tours" also make use of analytical means. Accumulated critical knowledge is used to view and examine the discursive framing of works and their display – on location – in contemporary art exhibitions. These critical encroachments are also to be understood as interventions.
«target: autonopop» includes a core group of members that includes: Michel Chevalier, Rahel Puffert, Tobias Still, Jerôme Guigue, Jan-m, Eric Létourneau. This group may be expanded in the course of a given event or project.

This event is organized and supported by Cultural Center REX and Biro Beograd.

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Aukcija „Nebeska piša“

Kulturni centar REX, Jevrejska 16
Ponedjeljak, 1. novembar 2010. u 18:30h
Gost: Michel Chevalier

18:30 - Predstavljanje video instalacije "Aukcija Himmel Pimmel", koja
se sastoji od dva video kanala: Pudel Art Basel (Remix) i Die
Versteigerung von Himmel Pimmel
Gost: Mišel Ševalije (Michel Chevalier), sagovornik: Vladan Jeremić.
19:30 javni susret sa članom TARGET: AUTONOPOP Mišel Ševalijeom
(Michel Chevalier) i razgovor o predstavljenoj video instalaciji i
njegovoj/njihovoj praksi u Hamburgu.

Pozivamo sve zainteresovane da se pridruže ovom razgovoru.
Razgovor će biti na engleskom jeziku.

Pitanje: Da li je Situacionistička internacionala umetnički pokret?
Odgovor: Najveći deo situacionističke kritike društva spektakla se sastoji u tome da ukaže do koje mere većina savremenih umetnika, ukoliko su se okrenuli od gomile proboja na marketu prisutnih u periodu 1910-1925 (ako ne i u potpunosti tada razvijenih), degradira sebe jer se bavi umetnošću na način kao što se neko bavi biznisom.
–Michèle Bernstein, J.V. Martin, Jan Srijbosch, Raoul Vaneigem
Le Questionnaire
in: Internationale Situationniste # 9, avgust 1964. godine

Pudel Art Basel (Remix)
Nedelja poslepodne, avgusta 2009. godine, u gomili možemo zapaziti
Chanel i Yves Saint Laurent naočare za sunce, Louis Vuitton i Prada
tašne, čuvenog kolekcionara koji je aktivan u nemačkoj neoliberalnoj
stranci FDP. Šetkaju se na terasi trendi kluba blizu reke, dok teče
aukcija radova zvezda u usponu i onih heroja koji su postali veliki
igrači na art marketu, a koju vodi poznati zabavljač. Jedanaest meseci
nakon finansijske krize, socijalne hijerahije su stabilnije nego
ikada.
Ali čekaj malo! Ova aukcija služi navodno za dobrobit
anti-gentrifikacione inicijative... u kojoj se mi to ovde realnosti
nalazimo?
„Art market protiv gentrifikacije: da li je ovo moguće?“ - pita jedan
od domaćina. Da, doista, između samo-slavljeničke umetnosti i
"politike", od prostora za politiku u kulturi preostaje samo vakum.

Aukcija Himmel Pimmel
Dokumentacija aukcije slike pod naslovom "Himmel Pimmel" (Nebeska
piša), umetnika Jonathan Meese&Daniel Richter na Pudel Art Basel
dešavanju, 30. avgusta 2009. godine.

TARGET: AUTONOPOP
Da li se nešto temeljno promenilo u svetu umetnosti u poslednjih nekoliko godina? Ili, pak recimo od 70-tih godina, od početka tekuće krize zapadnog kapitalizma?
Da li su ovi mehanizmi postavili toliko uzak ovir da bi
umetnici/kritičari/kuratori uopšte mogli nešto učiniti?

«target: autonopop» kaže DA kao odgovor na sva ova pitanja i time
cilja na krugove komercijalnih umetničkih galerija, kontekst institucionalne umetnosti i njihovu robu. Na dnevnom redu nije bezbedno uopštavanje koje se trudi da sačuva emocije i konzervira udobne aranžmane, umesto toga «target: autonopop» nudi redovno ažuriran proces u kojem se umetnost "prima" na jedan potpuno drugačiji način.
Od 2003. godine, «target: autonopop» proučava povezanost između marketa/galerija i institucija, njihovu kooptaciju i slučajeve prisile, te njihovu averziju prema svakoj kritici koja može da ima realne posledice. Vizuelne, društvene i istorijske istrage sadrže projekat koji nije samo teoretski: treba ući u trag i kritikovati prećutne dogme umetničkih krugova, kao što su ambivalencija i nesuprotstavljanje.
Na kuratorskom i produkcionom nivou, «target: autonopop» je podržavao i generisao aktivnost koja se služi 'neumetničkim', nedvosmislenim i frontalnim sredstvima borbe, bilo to u umetničkom ili ne-umetničkom kontekstu.
«target: autonopop» u svojoj praksi razlikuje produkcione alate i alate za analizu. Jedan od produkcionih alata «target: autonopop» je otvoreni mikrofon koji se održava svakog januara. Teme, pitanja i mikrofon su sastojci javne diskusije, u kojoj svako može doprineti svoj imput u sjedinjujući lanac izjava.

Ovo dešavanje organizuju Biro Beograd i Kulturni centar REX iz Beograda

On Use Value of Art
Babel Art Space, Trondheim, Norway
15. – 25. April 2010

Opening of the exhibition: 15th of April 2010 at 6pm
Curatorial talk and discussion
16th of April 2010 at 4pm
Participants: Rena Rädle and Vladan Jeremic
Moderator: Andreas Hansen Schille
Download Publication: >> On Use Value of Art

The exhibition under title “On Use Value of Art” presents five positions of an artistic practice that comes to the breaking point with what is generally seen as art in its neoliberal contemporaneity. Exhibited works emerged as a result of collaborations that Ivan Basso, André Raatzsch, Sibylle Hofter, Rädle&Jeremić and Stephan Kurr have done together with other artists, young people and children from Serbia, France and Germany. The authors have developed specific artistic approaches to articulate and examine problems and experiences in the lived world of the participants, expending everyday life into the experimental space of art.

Ivan Basso worked with unaccompanied minors living on the streets of Paris and made photos and a video that questions the ethics of child protection, André Raatzsch and Emese Benkö developed a sound sculpture with youth in Berlin, a fictional Roma female superhero. Artist from Berlin, Sibylle Hofter has worked in Serbia, Leskovac to realize staged photo-portraits. Rena Rädle, and Vladan Jeremić with Saša Barbul, Sali Kadrijaj and Muha Blackstazy, have made a movie about the destiny of the dislocated inhabitants of the Roma settlement near the Gazela bridge in Belgrade. Stephan Kurr shows a two channel video installation about role models for men and it’s contradictions.

The question about the use-value of art researches the relation between the producers and the recipients of art, roles that in the case of the presented works are not clearly defined. Visitors of the exhibition will bring in one more position into a field that touches on one edge the arts, on the other evolves into politics - permanently stressing the issue in which way artistic and didactic practice can be combined in the context of criticism of contemporary society.

Support: Trondheim kommune, Sør-Trøndelag Fylkeskommune and Norsk kulturråd, Madeleine Park and Reality Check Project
Production: Babel and Biro za kulturu i komunikaciju Beograd


romanes

2nd Roma Pavilion - Call the Witness

OPEN CALL FOR SUBMISSON/COLLABORATION

http://birobeograd.info/callthewitness/

Deadlines:

15 March 2010, for artists/researchers
1 May 2010, for Media Archives

Address: callthewitness@gmail.com

The curatorial team of The 2nd Roma Pavilion – Call the Witness announces its open call for artists, researchers and media archive.

This project, which will be presented in Venice in 2011, is conceptualised and curated by the interdisciplinary collaborative curatorial team: Suzana Milevska, Vladan Jeremic, Rena Raedle and Enisa Eminovska.

The 2nd Roma Pavilion - Call the Witness is an interdisciplinary collaboration that aims at fostering, producing and presenting contemporary and new media art by Roma artists from different regions and cultures. At the core of the project lies the concept of the contemporary artist as an instantaneous witness of his/her time who is not a passive viewer but rather acts as an active participant in solidarity with the events and people that provoked his/her art work. Such a phenomenon, wherein art becomes a potential agent of social makeover, acquires a completely new prospect in this period of digitalisation and globalisation, and may greatly affect Roma communities.

We issue a “Call for Witnesses” to bring to light testimonies and statements from artists and researchers that will address the different situations of Roma communities throughout the world. The question: who has control over the means of representation and has the power to promote the dominant cultural and moral values concerning Roma communities provoked us to put emphasis on new media art as an available means for self-presentation and self-reflection.

We invite artists and researchers to submit proposals that address these issues in a way that will allow further collaborative development, both of content and
media-wise. The selected contributors will be invited to present and discuss their proposals at a working meeting to take place in Belgrade (April 2010) where we will discuss the possibilities of eventual further productions of individual works or collaborative projects. The conditions for production will be agreed for the most promising concepts to be realised in 2010 and presented at the 2nd Roma Pavilion in Venice (2011).

The project 2nd Roma Pavilion - Call the Witness is organised by the Roma Media Base – A Skopje based organisation for archiving, producing and presenting contemporary and new media art by Roma artists and communities, and the Biro  for Culture and Communication from Belgrade. The project is supported by the Open Society Institute and other organisations and sponsors.

The First Roma Pavilion took place in 2007 as a collateral exhibition at the 52nd Venice Biennale and was initiated by the Open Society Institute.

HOW TO APPLY?
1. Call for artists/researchers
Deadline: 15 March 2010

The applications should consist of:

1. comprehensive narrative CV (up to 500 words),
2. motivational letter and draft (up to 500 words) that  will draw on your interests and the main issues addressed in this project
3. your e-mail/phone contacts

Optional:

1. visual materials (screenshots, links to videos, pdfs, links to websites, etc) from existing works or works in progress and proposals for new research, photographs, video, animation, performance, comic strips, sound art and other new media projects.

Who can apply: all Roma artists and other emerging Roma professionals (art researchers, theorists, curators, activists, etc.), working individually or in groups in the fields of contemporary art and culture from any country and region.

2. Call the Witness Media Archive
Deadline: 1 May 2010

We invite Roma cultural centers, archives, festivals and other organisations and producers to submit existing new media productions (photo archives, video research projects, etc.) to the Call the Witness Media Archive that will be presented at the 2nd Roma Pavilion in Venice.  

At this stage please submit only a description of the media production(s) or the content of your archive, the address of your organisation and samples (texts, images jpgs, links to video excerpts, existing online archives, etc.)

Please submit your material (max. 5MB) to: callthewitness@gmail.com

You can download the call in additional languages at http://birobeograd.info/callthewitness/

Adresa: callthewitness@gmail.com

Kuratorski timi Dujto romano paviljoni – Call the Witness dela putardo akharibe vaš artistja, rodutne thaj mediake arhive.

Akava projekti, savo ka ovol prezentuimo ani Venecia 2011., koncepirimo sito thaj organizuimo naisariba maškaribaske interdisciplinarno kuratorsko timi savo kerena ole: Suzana Milevska, Vladan Jeremić, Rena Redle i Enisa Eminovska.

Dujto romano paviljoni – Call the Witness prezentuinela interdisciplinarno maškaribe kasko reso sito barjaripe, produktiribe thaj prezentuibe moderno artistipasko thaj artistipe neve mediengo romane artistjengo thaj artisjengi kotar but regionia thaj kulture. Ano reso projektesko sito ini koncepti moderno artistjengo thaj moderno artistjengi sar direktne ispatja pere vakteske, savo nane pasivno dikhavno, već maj angle sar aktivno džene ano jekhipe e situacia thaj dženenca save barjarde olengi buti. Adjahar jekh buti, kote artistipe ovela potencialno legardutno amalipaske prmibasko, lela ini nevi perspektiva ano akava vakti digitalizaciako thaj globalizaciako, thaj šaj but te prminol forme djivdipaske e romana khupatnake.

Odoleske da «Akaharibe vaš ispatja» sebepi te sikavenpe ispatibe thaj phenibe e artistjengo thaj rodutnengo save ka vazden džanibe kotar but forme situacienge romana khupatnake ani bufljardi lumia. Pučipe «ko kerela direkcia e vastušea prezentuibaske thaj ko siole šajipe te kerol promocia dominantno kulturako thaj moralno barvalipasko ani relacia e romana khupatna?», legargja amen te adikarape e artistipa neve mediengo sar legarde vastušea vaš prezentuibe pesko thaj kokorepaćavibasko.

Akhara artistja thaj artistjen, rodutne te den bahamia save siton phande akale pučipa ano forme save ka den šajipe vaš dur khupatno anglalipe, sar saikeriba adjahar ini ano dikhipe mediengo. Alosarde bahamia e artistenge ka oven akharde te prezentuinen pere bahamia thaj te diskutuinen kotar on ano butikerdutno bešipe savo ka adikarolpe ano Beogradi (ano aprili 2010), kote ka vakara kotar šajipe eventualno dur produkciako ulavde bukengi jase khupatne projektengi. Čhinadipe vaš produkcia ka oven mothavde majšukar konceptea, save ka oven realizuime ano 2010. thaj prezentuime ano Dujto romano paviljoni ani Venecia (2011.).

Organizatori projektesko 2nd Roma Pavilion – Call the Witness siton Roma Media Base – organizacia e bešipa ano Skoplje savi adikarelape arhiviriba, produkcia thaj prezentuiba moderno artistipe thaj artistipe neve mediengo e romane artistjengo thaj khupatnengo, thaj Biroi vaš kultura thaj komunikacia kotar Beogradi. Projekateske dena dumo Instituti vaš putardo amalipe thaj aver organizacie thaj patronatja.

Angluno romano paviljoni sine 2007. ano jekhipe e ekspozita ano 52. Bijenale ani Venecia thaj legargja ole Instituti vaš putardo amalipe.

SAR TE REGISTRUINEN TUMEN?

1. Akharibe vaš artistja thaj rodutne
Rok: 15. marti 2010.

Registruibe manglape te ovol ole:
- Hramindo narativno CV (dži 500 lafja),
- motivaciono lil thaj skica (dži 500 lafja) savo ka sikavol tumaro interesuibe thaj anglune pučipe savea o projekti adikarealpe, tumaro kontakt mejl/telefoni

Te sine kaj manegena šaj te den:
- vizuelno materijalja (kadrja kotar video, link vaš video-bukja, pdf-hramibe, link vaš veb-sajt, thaj pana) kotar tumare bukja jase bukja save manglape te keren thaj bahamia vaš neve rodipe, fotografie, video-bukja, animacie, performansja, stripja, audio artistikane bukja thaj aver projektia neve mediengo.

Ko šaj te registruinolpe: sa romane artistja thaj aver romane profesinalcja (rodutne artistipaske, teoretičarja, kuratorja, aktivistja, thaj pana), save kerena buti kokore jase ano grupe ano umal moderno artistipe thaj kultura, kotar sa phuvja thaj regionia.

2. Akharibe vaš mediake arhive
Roki: 1. maji 2010.

Akhara romane kulturake centrja, arhive, festivalja thaj aver organizacie thaj producentja te den pere produkcie neve medienge (foto arhive, rodutne video-projektia, thaj pana) ani mediaki arhiva Call the Witness save ka oven prezentuime ano Dujto romano paviljoni ani Venecia.

Rudjisara tumen vaš akana te den numa bahamja e medisko produkcienge, jase saikeribe tumara arhivako, adresa tumara organizaciaki thaj misalja (tekstja, pilte jpg, linkja vaš video-insertja, tumare onjaljn arhiva, thaj pana).

Rudjisara tumen te bičhalen tumare materijalia (maksimalno 5MB) pi adresa: callthewitness@gmail.com

Courtyard Project at SUPERMARKET 2010 in Stockholm

A picture credits: Selena Savic YES TO ALL
Replacement for a street pavement tile, intervention in the public space
2008. Exhibited: Blaak 10 gallery, Rotterdam, January 2008

The "Courtyard" project was initiated by the artists Ivan Petrović, Vukašin Nedeljković, Nenad Jeremić, Oliver Veljković, Dušan Jevtović, Vladan Jeremić and Selena Savić. Although never formally declared as a group, since 2000 they have collaborated on many joint projects and actions, often acting outside the institutional framework. Happenings and events in private houses, courtyards around residential buildings, ad-hoc exhibitions, theatre play productions and publication of works on the Internet are some of many activities carried out by these artists in the years past. 

At the SUPERMARKET 2010 art fair, a series of photographs, installation, assemblages and videos will be presented together with documentation and artefacts from selected events, with the intention to illustrate and cast light on the artistic strategies, behavior and atitudes of part of the artistic scene in Belgrade. Besides these works, also presented will be publications from "Biro for Culture and Communication", Belgrade and G.L.O.R.I.A. as well as other independent organizations from Serbia. Within the discussion programme "Supermarket Talks" on the theme "Documentation and non-documentation", Vladan Jeremić will give a talk on "Erasing of context through hyper-production" on 20th of February 17:00h
http://www.supermarketartfair.com/content/supermarket-talks

Each year the fair has been held at a different location in the city. The stage for this year's SUPERMARKET is Kulturhuset (Centre for Culture) in the centre of Stockholm.

The participation of exhibitors from Serbia is supported by the Swedish Institute, and the Supermarket Art Fair Economic Association.
Production and organization: Biro for Culture and Communication, Belgrade
Artists: Selena Savic, Nenad Jeremic, Vladan Jeremic, Oliver Veljkovic, Ivan Petrovic
Curator: Marija Djorgovic