HERAUSGEGEBEN VON / EDITED BY Madeleine Frey, Galerie Stadt Sindelfingen AUTOR*INNEN / AUTHORS Gernot Böhme, Madeleine Frey, Wednesday Martin, Sebastian Schmitt
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BAS JAN ADER NOBUYOSHI ARAKI HARUN FAROCKI FORENSIC ARCHITECTURE PATRYCJA GERMAN ANNA GOHMERT DAMIEN HIRST VIKTORIA MODESTA BARBIS RUDER MARIANNA SIMNETT MAYA WATANABE GABRIELLE ZIMMERMANN 08.11.20 17:15
HERAUSGEGEBEN VON / EDITED BY Madeleine Frey, Galerie Stadt Sindelfingen AUTOR*INNEN / AUTHORS Gernot Böhme, Madeleine Frey, Wednesday Martin, Sebastian Schmitt
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BAS JAN ADER NOBUYOSHI ARAKI HARUN FAROCKI FORENSIC ARCHITECTURE PATRYCJA GERMAN ANNA GOHMERT DAMIEN HIRST VIKTORIA MODESTA BARBIS RUDER MARIANNA SIMNETT MAYA WATANABE GABRIELLE ZIMMERMANN 08.11.20 17:15
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NO PAIN, NO GAIN
Pain is whatever the experiencing person says it is, existing whenever he [or she] says it does. Margo McCaffery, 1968 1 Bas Jan Ader cries incessantly in his video I’m too sad to tell you 36 – 39 The silent film from 1971 shows the artist’s suffering face. 2 Crying is a physical expression in consequence of an extreme emotional event. This can be both negative and in correspondence to the exact opposite, namely it can be a reaction to a very positive experience.
MADELEINE FREY
socialization, and influence, artworks can be categorized positively or aesthetically, respectively, or even completely misunderstood. In the ideal case, art stirs up emotions that can be both positive and negative and thereby lead, in a certain manner, to painful experiences as well. In the case of Ader’s video, viewers are unaware of the reason for this emotional outburst, and therefore this video is also to be understood as a performative act, particularly
This double polarity of sensations results from, among other things, the fact that pain arises out of a triad of body, mind, and II Documentary record of the video production soul. The German Pain Society defines it as I’m too sad to tell you. “bio-psycho-social pain.”3 This definition makes it clear that pain is a most deeply individual since this film is also deliberately staged and, subjective experience, which is also shaped by as a re-enactment, refers to a similar video by cultural values. In everyday parlance, pain is Ader from 1970. Precisely because the spectaconnoted with a negative feeling that defines an tors are unaware of the reason behind the crying, they begin to reflect on this expression of feeling, which simultaneously serves as Bio Musculature, a projection surface for one’s own emotions. joints, hormones, nerves Ader’s video combines emotions, and pain in particular, with time-based art. The experience of pain is defined to a considerable degree Psycho Social by its temporality. Pain is felt in an interplay Thoughts, Work, feelings, family, with an After or Before the freedom from pain. mood, leisure, behavior contacts Pain is experienced in the moment and is endured in the hope that it will fade or become I Bio-psycho-social pain model by the German successfully manageable. The works selected Pain Society. for the exhibition Beyond the Pain reflect affliction for body, mind, and soul. Nevertheless, the processes of both dealing with and overpainful rituals exist in nearly all cultures, the coming pain and investigate the occurrence performance of which transforms usually and subsidence of pain primarily through young people into full members of a society. 4 time-based media, such as video or perforAlongside that, “Pain […] can also convey mance. Thus, this universal theme of humanity pleasure, justify power, purify the soul, and —the overcoming of pain—is set in relation to unleash forces. We talk of athletes tormenting the art production of the twentieth- and twentythemselves to the pain limit, relishing the first centuries. suffering.”5 In the exhibition Beyond the Pain, “[…] Performances are cultural this positive aspect of pain and the ambivalence practices that only become comprehensible associated with it is linked with art reception. in reference to the social field in which they For this latter is likewise an extremely inditake place. As a performative practice of enactvidual experience, based mostly on learnt ment they are a component of a non-represennorms. Depending on cultural background, tative knowledge culture. Properties such as
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NO PAIN, NO GAIN
Pain is whatever the experiencing person says it is, existing whenever he [or she] says it does. Margo McCaffery, 1968 1 Bas Jan Ader cries incessantly in his video I’m too sad to tell you 36 – 39 The silent film from 1971 shows the artist’s suffering face. 2 Crying is a physical expression in consequence of an extreme emotional event. This can be both negative and in correspondence to the exact opposite, namely it can be a reaction to a very positive experience.
MADELEINE FREY
socialization, and influence, artworks can be categorized positively or aesthetically, respectively, or even completely misunderstood. In the ideal case, art stirs up emotions that can be both positive and negative and thereby lead, in a certain manner, to painful experiences as well. In the case of Ader’s video, viewers are unaware of the reason for this emotional outburst, and therefore this video is also to be understood as a performative act, particularly
This double polarity of sensations results from, among other things, the fact that pain arises out of a triad of body, mind, and II Documentary record of the video production soul. The German Pain Society defines it as I’m too sad to tell you. “bio-psycho-social pain.”3 This definition makes it clear that pain is a most deeply individual since this film is also deliberately staged and, subjective experience, which is also shaped by as a re-enactment, refers to a similar video by cultural values. In everyday parlance, pain is Ader from 1970. Precisely because the spectaconnoted with a negative feeling that defines an tors are unaware of the reason behind the crying, they begin to reflect on this expression of feeling, which simultaneously serves as Bio Musculature, a projection surface for one’s own emotions. joints, hormones, nerves Ader’s video combines emotions, and pain in particular, with time-based art. The experience of pain is defined to a considerable degree Psycho Social by its temporality. Pain is felt in an interplay Thoughts, Work, feelings, family, with an After or Before the freedom from pain. mood, leisure, behavior contacts Pain is experienced in the moment and is endured in the hope that it will fade or become I Bio-psycho-social pain model by the German successfully manageable. The works selected Pain Society. for the exhibition Beyond the Pain reflect affliction for body, mind, and soul. Nevertheless, the processes of both dealing with and overpainful rituals exist in nearly all cultures, the coming pain and investigate the occurrence performance of which transforms usually and subsidence of pain primarily through young people into full members of a society. 4 time-based media, such as video or perforAlongside that, “Pain […] can also convey mance. Thus, this universal theme of humanity pleasure, justify power, purify the soul, and —the overcoming of pain—is set in relation to unleash forces. We talk of athletes tormenting the art production of the twentieth- and twentythemselves to the pain limit, relishing the first centuries. suffering.”5 In the exhibition Beyond the Pain, “[…] Performances are cultural this positive aspect of pain and the ambivalence practices that only become comprehensible associated with it is linked with art reception. in reference to the social field in which they For this latter is likewise an extremely inditake place. As a performative practice of enactvidual experience, based mostly on learnt ment they are a component of a non-represennorms. Depending on cultural background, tative knowledge culture. Properties such as
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Torture in Saydnaya Prison 2016, Video, Ton, 27:40 min
Torture in Saydnaya Prison 2016, video, sound, 27:40 min
Das Saydnaya-Projekt war Teil einer umfassen- The Saydnaya project was part of a wider camderen Kampagne unter der Leitung von Amnesty paign under the direction of Amnesty InternaInternational, in der die syrische Regierung auf- tional in which the Syrian government was called gefordert wurde, unabhängige Beobachter*in- on to let independent observers into their detennen in ihre Haftanstalten zu lassen. Seit 2011 tion centers. Approximately 13,000 persons wurden im Foltergefängnis Saydnaya rund have been systematically murdered by Bashar 13.000 Personen systematisch durch das Re- al-Assad’s regime in the Saydnaya torture prison gime Baschar al-Assads ermordet. Zehntausen- since 2011. Tens of thousands of people have de Menschen wurden zudem unter Verletzung additionally been tortured and mistreated in des Völkerrechts gefoltert und misshandelt. breach of international law. Generally, prisoners Die Gefangenen wurden in der Regel in die Ein- were transferred to the center once they had richtung verlegt, nachdem sie in geheimen, völ- been sentenced in secret, internationally illegal kerrechtswidrigen Militärprozessen verurteilt military trials, having been already detained at worden und bereits Monate oder sogar Jahre an another location for months or even years. The einem anderen Ort inhaftiert gewesen waren. Syrian government had denied the cruel use of Die syrische Regierung hatte die Existenz der torture, and there were no images of Saydnaya grausamen Folterpraktiken bestritten und es in circulation. existierten keine Bilder aus Saydnaya. In order to change this, in April 2016 Forensic Um dies zu ändern, reiste Forensic Architecture Architecture traveled with Amnesty International mit Amnesty International im April 2016 nach to Istanbul, in order to meet with five survivors of Istanbul, um fünf Überlebende des Gefängnis- the prison. The researchers spoke with torture ses zu treffen. Die Forscher*innen sprachen mit victims and, with their help, digitally rebuilt the Folteropfern und bauten mit deren Hilfe die prison’s architecture. The former inmates deArchitektur des Gefängnisses digital nach. Die scribed cells and other areas of the prison, inehemaligen Häftlinge beschrieben Zellen und cluding stairwells, corridors, sliding doors, and andere Bereiche des Gefängnisses, darunter windows. Since the detention center was always Treppenhäuser, Korridore, bewegliche Türen kept in darkness, auditory and tactile memories und Fenster. Da die Haftanstalt immer in Dunkel- played a crucial role during the reconstruction. heit gehalten wird, spielten auditive und taktile Forensic Architecture ultimately succeeded in Erinnerungen eine zentrale Rolle bei der Re- reconstructing a model that visualizes the locakonstruktion. Forensic Architecture ist es letzt- tion of atrocious crimes and thus the outrageous lich gelungen, ein Modell zu rekonstruieren, das injustice too, at least rudimentarily. den Ort grausamer Verbrechen und so das unfassbare Unrecht zumindest in Ansätzen sichtbar macht.
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Torture in Saydnaya Prison 2016, Video, Ton, 27:40 min
Torture in Saydnaya Prison 2016, video, sound, 27:40 min
Das Saydnaya-Projekt war Teil einer umfassen- The Saydnaya project was part of a wider camderen Kampagne unter der Leitung von Amnesty paign under the direction of Amnesty InternaInternational, in der die syrische Regierung auf- tional in which the Syrian government was called gefordert wurde, unabhängige Beobachter*in- on to let independent observers into their detennen in ihre Haftanstalten zu lassen. Seit 2011 tion centers. Approximately 13,000 persons wurden im Foltergefängnis Saydnaya rund have been systematically murdered by Bashar 13.000 Personen systematisch durch das Re- al-Assad’s regime in the Saydnaya torture prison gime Baschar al-Assads ermordet. Zehntausen- since 2011. Tens of thousands of people have de Menschen wurden zudem unter Verletzung additionally been tortured and mistreated in des Völkerrechts gefoltert und misshandelt. breach of international law. Generally, prisoners Die Gefangenen wurden in der Regel in die Ein- were transferred to the center once they had richtung verlegt, nachdem sie in geheimen, völ- been sentenced in secret, internationally illegal kerrechtswidrigen Militärprozessen verurteilt military trials, having been already detained at worden und bereits Monate oder sogar Jahre an another location for months or even years. The einem anderen Ort inhaftiert gewesen waren. Syrian government had denied the cruel use of Die syrische Regierung hatte die Existenz der torture, and there were no images of Saydnaya grausamen Folterpraktiken bestritten und es in circulation. existierten keine Bilder aus Saydnaya. In order to change this, in April 2016 Forensic Um dies zu ändern, reiste Forensic Architecture Architecture traveled with Amnesty International mit Amnesty International im April 2016 nach to Istanbul, in order to meet with five survivors of Istanbul, um fünf Überlebende des Gefängnis- the prison. The researchers spoke with torture ses zu treffen. Die Forscher*innen sprachen mit victims and, with their help, digitally rebuilt the Folteropfern und bauten mit deren Hilfe die prison’s architecture. The former inmates deArchitektur des Gefängnisses digital nach. Die scribed cells and other areas of the prison, inehemaligen Häftlinge beschrieben Zellen und cluding stairwells, corridors, sliding doors, and andere Bereiche des Gefängnisses, darunter windows. Since the detention center was always Treppenhäuser, Korridore, bewegliche Türen kept in darkness, auditory and tactile memories und Fenster. Da die Haftanstalt immer in Dunkel- played a crucial role during the reconstruction. heit gehalten wird, spielten auditive und taktile Forensic Architecture ultimately succeeded in Erinnerungen eine zentrale Rolle bei der Re- reconstructing a model that visualizes the locakonstruktion. Forensic Architecture ist es letzt- tion of atrocious crimes and thus the outrageous lich gelungen, ein Modell zu rekonstruieren, das injustice too, at least rudimentarily. den Ort grausamer Verbrechen und so das unfassbare Unrecht zumindest in Ansätzen sichtbar macht.
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Prototype Video, Ton, 6:06 min
Prototype Video, sound, 6:06 min
Das Musikvideo Prototype entstand im Rahmen The music video Prototype was made as part of der „Born Risky“-Kampagne des britischen Fern- the “Born Risky” campaign by British television sehsenders Channel 4. Es wurde erstmals wäh- station Channel 4. It was first broadcast during rend der Ausstrahlung des X-Faktor-Finales 2014 the X Factor final on ITV in 2014, thus reaching im Fernsehsender ITV ausgestrahlt und erreichte an audience of millions. The video’s plot stages so ein Millionenpublikum. Der Plot des Videos Viktoria Modesta as a standard-bearer of a reinszeniert Viktoria Modesta als Vorkämpferin sistance movement. At the start of the music videiner Widerstandsbewegung. In einem rituellen eo, one of the protagonist’s legs is amputated in Akt wird der Protagonistin zu Beginn des Musik- a ritual act. After a fade-to-black Modesta reapvideos ein Bein amputiert. Nach einer Schwarz- pears as a superhero, initially as a cartoon figure. blende tritt Modesta als Superheldin, zuerst als In the further narrative she becomes a resistance Comicfigur wieder auf. In der weiteren Erzäh- fighter and a symbol of a new beginning. lung wird sie zur Widerstandskämpferin und Uniformed men and women, along with tradizum Sinnbild des Aufbruchs. tional institutions, are staged as opponents. Als Gegner*innen Modestas werden uniformier- Modesta triumphs over the uniformed persons te Männer und Frauen sowie traditionelle Insti- she captures in the video, who recall military dictutionen in Szene gesetzt. Die uniformierten tatorships. The heroine and guiding figure of the Personen, die Modesta im Video gefangen neh- new movement becomes, in the truest sense of men und deren Auftreten an militaristische Dik- the world, a prototype of a society undergoing taturen erinnert, werden von ihr besiegt. Die transformation. In the video, the prosthesis beHeldin und Leitfigur der neuen Bewegung wird comes a weapon and the expression of strength. im wahrsten Sinne des Wortes zum Prototyp Feelings of admiration are thus awakened in the einer sich transformierenden Gesellschaft. Die viewers and the supposed handicap turns out Prothese wird im Video zur Waffe und zum Aus- to be a superweapon. druck von Stärke. Bei den Zuschauer*innen werden so Gefühle der Bewunderung geweckt und der vermeintliche Nachteil stellt sich als Superwaffe heraus.
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Prototype Video, Ton, 6:06 min
Prototype Video, sound, 6:06 min
Das Musikvideo Prototype entstand im Rahmen The music video Prototype was made as part of der „Born Risky“-Kampagne des britischen Fern- the “Born Risky” campaign by British television sehsenders Channel 4. Es wurde erstmals wäh- station Channel 4. It was first broadcast during rend der Ausstrahlung des X-Faktor-Finales 2014 the X Factor final on ITV in 2014, thus reaching im Fernsehsender ITV ausgestrahlt und erreichte an audience of millions. The video’s plot stages so ein Millionenpublikum. Der Plot des Videos Viktoria Modesta as a standard-bearer of a reinszeniert Viktoria Modesta als Vorkämpferin sistance movement. At the start of the music videiner Widerstandsbewegung. In einem rituellen eo, one of the protagonist’s legs is amputated in Akt wird der Protagonistin zu Beginn des Musik- a ritual act. After a fade-to-black Modesta reapvideos ein Bein amputiert. Nach einer Schwarz- pears as a superhero, initially as a cartoon figure. blende tritt Modesta als Superheldin, zuerst als In the further narrative she becomes a resistance Comicfigur wieder auf. In der weiteren Erzäh- fighter and a symbol of a new beginning. lung wird sie zur Widerstandskämpferin und Uniformed men and women, along with tradizum Sinnbild des Aufbruchs. tional institutions, are staged as opponents. Als Gegner*innen Modestas werden uniformier- Modesta triumphs over the uniformed persons te Männer und Frauen sowie traditionelle Insti- she captures in the video, who recall military dictutionen in Szene gesetzt. Die uniformierten tatorships. The heroine and guiding figure of the Personen, die Modesta im Video gefangen neh- new movement becomes, in the truest sense of men und deren Auftreten an militaristische Dik- the world, a prototype of a society undergoing taturen erinnert, werden von ihr besiegt. Die transformation. In the video, the prosthesis beHeldin und Leitfigur der neuen Bewegung wird comes a weapon and the expression of strength. im wahrsten Sinne des Wortes zum Prototyp Feelings of admiration are thus awakened in the einer sich transformierenden Gesellschaft. Die viewers and the supposed handicap turns out Prothese wird im Video zur Waffe und zum Aus- to be a superweapon. druck von Stärke. Bei den Zuschauer*innen werden so Gefühle der Bewunderung geweckt und der vermeintliche Nachteil stellt sich als Superwaffe heraus.
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Lean in
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Lean in
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