TO THE SQUARE 2: “re-aligning the mondial multilectic”
Nadya Tolokonnikova PAGE 04
Ivor Stodolsky & Marita Muukkonen, Curators Editorial Page 02
Ganzeer PAGE 12
Just do it, but not in the Park Vladan Jeremić and Rena Rädle PAGE 16
Federico Geller PAGE 20
to the square 2 (#tsq2) Through several years of global crisis the Re-Aligned
joining the project in absentia (as usual) from
interest in cultural-ethnic issues, post-colonial
Project has researched the conditions, agencies and
Cuba, with interventions in Europe’s economic
national-independence narratives, post-communist
subjectivities which are provoking a new alignment
dis-logic; the renowned Palestinian artist Khaled
nation building and religious revivals, gender-related
of art, thought and politics in the 21st century.
Jarrar (Ramallah) who defeated Israel’s travel-
liberation movements and also numerous new ways
Symptoms of this “re-alignment” can be seen across
ban to create a public performance seeking 50
of reading popular and commercial culture and society.
continents. Especially following the near-collapse
volunteers to match his 50-army-uniform-strong
Many were focussed on what came to be known as
of global financial markets in 2007-8, multiple
installation; Vladan Jeremić & Rena Rädle
“identity politics”. Today’s forms of identification have
waves of resistance and rebellion against forms of
(Belgrade), whose biting political satire, also seen in
shifted towards a less particularized imagination of
oppression, enslavement and injustice have washed
ArtLeaks (Jeremić is a co-founder) is uncomfortably
the self. Singularities are gathered within an
the world. From dramatic battles for basic freedoms
reminiscent of 1914; Nikolay Oleynikov (Nizhny
increasingly (although never absolute) universal
and human rights, to anti-corruption movements, to
Novgorod/Moscow), whose “Radio Pravda”-tachanka
and comparative perspective.
rising awareness and resistance to corporate and
is an agitprop broadcast-collage in memory of the
secret-intelligence control, to forceful calls for the
likes of Grosz and Benjamin; the urban transformers
of multilectic hybridity. A ‘multi-lectic’ invokes the
advancement of new forms of equality and justice - not
Raumlabor (Berlin) who are holding public
proposition of a ‘multiple reading in one’ of the diverse
dissimilar grievances and demands have been brought
workshops with Helsinki’s citizens to build movie-
engaged positions of our time. Different from the
“to the square” in a wide range of societies...
chairs to stage screenings of a mobile cinema-
postmodern hybridity and its concomitant relativism,
theatre; and the sincerely hilarious ZIP Group
is the renewed desire to identify common structures
From Tunis to Tahrir Square
(Krasnodar) and its “wild constructivism” which is
and narratives that diverse experiences share.
From Occupy to Wikileaks and Blockupy ECB
taking over the centre of the square — where all our
For this reason, we find multilectic agencies refuse
From Gezi Park to Bolotnaya Square Moscow …
domination from any single force on the geographical,
One can say that the re-aligned approach is one
cultural or ideological compass - even from the homogenising force of the ‘melting pot’ of identities, or their own particular genealogical heritage. Practices of Re-Alignment: A Generation “Pre-”? If voting “against all” (which incidentally was an art action by the Russian group Radek in the 1990s) seemed the only choice of a disillusioned postmodernist generation, the question clearly arises: what comes after the multiple negatives? Contrary to the fin de siècle pessimism of what one might call the nonaligned “generation of the post-s”, today there is an increasingly visible proliferation of common initiatives. 02
The post-modern, particularizing analysis is finally being superseded. One could call ours the time of a re-aligned “generation pre-”, although not, of course, restricted to a generation defined by age. This generation seeks to create a new commons. Common strategies, prominent also in art, include new participatory forms of democracy, art and action. They are based on increasingly broadening principles of inclusion; and imagining new, sustainable forms of civilizational development. Agents of change are often built as peer-to-peer networks: social, eco and high-tech ideas inspired by a free spirit, and although interdependent on both states and even commerce, unwilling to surrender their autonomy. Basic freedoms and fundamental rights lie at the foundation of such possibilities. In these times of Today, in the aftermath of the protest
THE SQUARE, this new newspaper born in
corporate-imposed economic austerity and rising extreme
movements that broke out circa 2011 and on, we
the context of this project, is designed by Tzortzis
nationalism, the most basic rights of human dignity and
live in a period of reaction and at times violent
Rallis (Occupied Times) and includes art by Ganzeer,
well-being are under threat. Fighting this trend, our
repression. The question today is, what would it take
Federico Geller, Vladan Jeremić & Rena Rädle
“generation pre-”, advocates practical programmes for
for people to go TO THE SQUARE 2 – that is, to take
and articles by Michel Bauwens, Feminist Pencil,
universal welfare and post-national, or one might say
Grey Violet, Núria Güell, G.U.L.F., Occupy
pre-mondial citizenship. In short, the proposition is
Museums, Teivo Teivainen and Ivor Stodolsky,
to turn the tables on multiple negatives, and to engage
of economic inequality, massive ecological
Telekommunisten and Nadya Tolokonnikova of
collectively for a set of commonly desirable “re-aligned”
catastrophes, raw racism or perhaps an infinitely
Zona Prava / Pussy Riot.
futures. With an ancien regime of 1% rulers unwilling or
to the streets again? Must we wait for heightened extremes
bigger “big brother”? Where are all those people who took to the square? Are they pacified by comforts, silenced by the fear of change, or perhaps
unable to serve the common interest in a changed epoch, From Particulars to Universals As in previous times of great public upheavals
enslaved by debt or need, in prison or exile? For
such as circa 1789 and 1848, 1968 or 1989, artistic
where did it all come from, and where does it go —
and intellectual advocates of freedom and justice
that revolutionary energy?
have taken their ideas into full public view. And
it may well be that the only way to remind them of what democracy really is, is to take to the square - again. Ivor Stodolsky, Editor, The Square
although the responses today are multiple and vary
Co-curator with Marita Muukkonen of
of contemporary art in public space, my co-curator
with their particular historical circumstances and
TO THE SQUARE 2.
Marita Muukkonen and I commissioned new works
genealogies, they share a commonly recognisable
by artists deeply involved in forms of resistance
re-aligned agency – and in the world of art – artistic
and movements “to the square”. These include
strategies and sensibilities.
To grapple with these questions in the context
Egypt’s famed and much-loved street artist Ammar Abo Bakr (Luxor/Cairo); Núria Güell (Barcelona),
The period preceding the current moment, often called postmodernity, saw a wide yet quite disoriented
The RE-ALIGNED Project, a thematic project including exhibitions, art in public space, workshops, conferences, artist-in-residencies and publications initiated by Perpetuum Mobilε.
TSQ2 Table of Contents 02 04
Editorial Bad Morning, Says Nadya by Nadya Tolokonnikova
Thesis On P2P Politics by Michel Bauwens
Feminist Pencil by Nika Dubrovsky
HERE by Grey Violet
Multilectics and Multiphrenia by Federico Geller
When the Law Produces Monsters by Núria Güell
Reclaiming Democracy Through the Square by Teivainen and Stodolsky
Revolutionary Graphics by Ganzeer
Towards a Transnational Debtors’ Party by Telekommunisten
A Global Debt Museum by Noah Fischer / Occupy Museums
16 Just do it, but not in the Park: The story of the Activist by Jeremić & Rädle 18 G.U.L.F. (Global Ultra Luxury Faction) 20 TSQ2 ARTISTS’ BIOS in English and Finnish (Suomeksi) 22 TSQ2 Artworks 24 TSQ2 programme
THE TSQ2 Project Curators
The TSQ2 Team
Ivor Stodolsky & Marita Muukkonen
Krista Kinnunen Esa Kandelberg
Saara Karhunen (Checkpoint)
Ammar Abo Bakr (Luxor / Cairo)
Núria Güell (Barcelona / Havana) Checkpoint Helsinki
Vladan Jeremic & Rena Rädle (Belgrade)
Nikolay Oleynikov (Nizhny Novgorod /
Raumlabor - Berk Assal, Anne Laure
Gesteling (Berlin) ZIP Group (Krasnodar)
Helsinki International Artist Programme HIAP
THE SQUARE (newspaper)
Editor: Ivor Stodolsky
Design: Tzortzis Rallis
Art: Ganzeer, Federico Geller, Vladan
Jeremić & Rena Rädle
Articles: Michel Bauwens, Feminist
Image: Nikolay Oleynikov, Radio Pravda I., TSQ2, 2014
Pencil, Grey Violet, Núria Güell, G.U.L.F.,
Occupy Museums, Teivo Teivainen,
Grey Violet (org)
Telekommunisten, Nadya Tolokonnikova
Olga Bulatova Kado Cornet
Br. Runo Johnson
To The Square 2 is commissioned by Checkpoint Helsinki as part of Helsinki Festival. The 7th iteration of the Re-Aligned Project of Perpetuum Mobilε To The Square 2 / Full Programme, Ohjelma: www.re-aligned.net/tsq2-concept-programme and www.checkpointhelsinki.org/en
In collaboration Suomenlinna Sveaborg Kaapeli Cable Factory
Khaled Jarrar (Ramallah)
BAD MORNING, SAYS NADYA
Nadya Tolokonnikova is a Russian conceptual artist and political activist, and a leading member of the punk-rock group Pussy Riot. Convicted to prison after a performance in Moscow’s central Cathedral, she and Masha Alyokhina were released after much controversy, and founded a new
by Nadya Tolokonnikova
Friday, 8 August 2014 at 08:41
Monday, 4th August 2014 at 05:35
It’s not for nothing that we went to prison at
Something died inside me in those three years
the beginning of Putin’s third term, for we felt it
since the end of 2011 when we created Pussy Riot
immediately, massively: the whole motherfucking mess
and were sure that a bunch of small and stupid, but
that you are just beginning to experience.
really determined and inspired people can influence
Could I have imagined in 2008 that we would live in
something big, can somehow help to prevent the
a political era in which I would have to admit that there
coming of authoritarianism in Russia. Back then we
is almost no space for political actionism?
actually were pure, we were on fire and, simply on the
Could I have suspected in 2008, that the Putinite
physical level, felt that we could not allow ourselves
ideological apparatus would do a 180 degree U-turn,
not not interfere in the “elections” of 2011-2012
switching from the deliberately de-politicized, self-
(though we understood perfectly well that we knew
conscious greyness of “stability”, the intentionally
little about politics and lacked elementary experience).
vague “Plan of Putin” (which nobody knows anything
Many things have changed since then: we got to
more about than that it once existed), for an aggressive,
yourself and everyone around you to take a look around
know Russian courts and prisons from the inside, and
propagandistic politics of mobilization?
and ask important questions about the law, norms,
the country has plunged into dark, grim times that
ethics and meaning. Counterculture is not something
devour us all from the inside. With every single day we
2008 to 2011, Russia was in a state of sort of lethargic
new, it has always existed and is an integral part of life,
spend with this, our state, we believe less and less in
political sleep. Our goal - aside from the purely artistic,
just like the culture of power and the elites: from the
only the power of our pure hearts.
formal task of developing the language of actionism
philosopher Diogenes who used to masturbate in the
– was to politicize Russians, to vitalize comment and
public square, or the prophets of the Old Testament
these days. I do not believe that my sincerity can help
critique of the political process. Standard political
who would be considered a lunatic by today’s norms --
to turn cannibals into vegetarians. That’s why I do
methods such as writing a text or picketing didn’t work
Isaiah walked around naked for 3 years (Isa.20:2-3) and
the little things I do these days: delivering books to
at that time: it was hard to attract people’s attention to
Ezekiel ate bread baked with cow’s dung (Ezek.4:15)
prisons, choosing legal representatives for prisoners
politics using conformist methods.
-- to the carnival culture of the Middle Ages described by
we mentor, and spending days and nights fathoming
the subtleties of the application of the Labor Code of
In the period of our active actionist work, from
I used to demand politicization, but today, in 2014, everything in Russia is growing so heated and tense,
NGO for the rights of prisoners.
There is nothing terrible about the fact that holy
That’s why I comment little on what is going on
the Russian Federation to prisons.
that I would be ready to kiss on the forehead anyone
fools, artists and philosophers - ragged and powerless -
who is not ready to attack his own neighbor for, say, not
actually play the holy fool. What is terrible, is when the
powerful analytical minds and mechanisms are needed
supporting the concept of the “Russian world” [a newly
massive state machine adopts the very same methods,
to pull us out this asshole we are all sliding down into
propagated ideological term - ed.].
imposing rampaging politicization -- literally stuffing
at breakneck speed.
Today the situation is is electrified to the point of explosion. Now the written word has become valuable once
Russian broiler-chickens up your vagina [a reference to
mentioned above is actually an asshole, and not, say,
Chicken” of 2010, and the current Russian sanctions on
the Canary Islands. That’s what I feel. Period.
western products including chicken - ed.]. And for taste,
were sent to prison and executed for their writings. In
add Russian braided-cheese – into the same place [the
2008, even in my worst nightmares, I could not have
forced labour of female prisoners includes making this
imagined that texts would gain such significance, that
cheese - ed.]. They bend you over, not in some sort of a
they could once again be charged with such power.
biological museum [a reference to “Sex in the Biological
[Soviet] dissidents had Samizdat [self-made publishing
Museum”, another Voina action -ed.], but right at home,
- ed.] and secret printing machines, while today we are
in front of your TV. Putin had long been warming to this day. Our
our blocked internet pages, chalking up our criminal
strange luck was that Putin’s third presidential term
prosecutions for “extremist statements” and preparing
looked far more realistic from behind bars than from the
our defense in criminal cases in which we stand accused
window of a well-equipped apartment with Norwegian
of “appeals to separatism”.
salmon and Parmesan cheese in the fridge. We saw
The fork in the road at which we stand, where
and felt everything that you see right now a couple of
everything can collapse at the beat of a butterfly’s wing,
years earlier. When I said from the cage of the Moscow
not only actions but even words (!) at times appear too
City Court in 2012, that Putin’s politics was based on
vulgar for reality. A reality that, “as if stripped of skin”,
the principle of “divide and rule”, that his absolute
is “pained even from a single breath of air” (Notes from
prioritization of the “Ural workers” over the “creative
Underground, Fedor Ivanych [Dostoevsky -ed.).
class” would eventually result in a civil war, nobody took
Everything has been turned upside down. Today
my words seriously. But sometimes it happens that those
the regime has become dangerously politicized. With
in prison see things a little bit clearer. Two years have
every day, political actionism is losing its power, as
passed. There is war - on Ukrainian territory, of course -
the state assuredly expropriates the initiative: now it
but without Putin this war would not be.
is the state which is the artist, and it can do with us
And don’t ask me if I can prove that the asshole
both the much lambasted Voina action “How to Snatch a
again, just like in Tsarist and Soviet times when people
mastering the art of “mirror-sites” to make available
Organisations, social institutions, and the most
Putin has been warming up for a long time. He
whatever it chooses. Boris Groys would say that Putin is
selected an ideology, played with concepts. First, he
continuing the Stalinist tradition of totalitarian art (read
used religion and played the Pussy Riot card, making
“Gesamtkunstwerk Stalin”!), in which the entire country,
Patriarch Kirill the front-man on all TV-shows in 2012.
1/6 of the surface of the planet, is the work of art of one
Then he played the sports card: the Olympics or, if you
will, “Olympia” (1938, by Leni Riefenstahl). Now it is
There is nothing terrible about the fact that a
the “Russian world”, the “Russian spring”, “national
group of artists with next to no political power (Voina,
traitors”, the “fifth column” and willed [international]
Pussy Riot or the Sex Pistols) uses methods that are
isolation. I don’t know how you take it, but even my
sometimes vulgar to appeal to the political emotions of
mind that was raped and tortured by the absurdity of the
citizens. That is the essence of counterculture: to force
Russian prison-system, refuses to accept this reality.
Image: The year 2010, when Moscow was on fire. Khimkinsky forest. This was a time when we still find ourselves surrounded by a crowd of football fans with “Adolf Hitler” tattoos and masks, and still not get beaten up or stabbed
THESIS ON P2P POLITICS
motivation, namely, intrinsic positive
characterized by a peer to peer logic
by Michel Bauwens
motivation; 2) it is based on the highest
on non-reciprocal generalized exchange,
Michel Bauwens is one of the founders and
form of collective cooperation, namely,
the peer informed world of material
primary activists of the Foundation for Peer-
synergistic cooperation characterized
exchange will be characterized by
by four wins (the participants x2, the
evolving forms of reciprocity and
community, the universal system).
8. Peer governance, the bottom-
14. We need to move from
up mode of participative decision-
empty and ineffective anti-capitalist
making (only those who participate
rhetoric, to constructive post-capitalist
get to decide) which emerges in peer
construction. Peer to peer theory,
projects is politically more productive
as the attempt to create a theory
than representative democracy, and
to understand peer production,
will tend to emerge in immaterial
governance and property, and the
production. However, it can only replace
attendant paradigms and value systems
representative modes in the realm of
of the open/free, participatory, and
non-scarcity, and will be a complementary
commons oriented social movements,
1. Our current world system is marked
mode in the political realm. What we
is in a unique position to marry the
by a profoundly counterproductive logic
need are political structures that create
priority values of the right, individual
of social organization:
a convergence between individual and
freedom, and the priority values of
the left, equality. In the peer to peer
a) it is based on a false concept of abundance in the limited material
9. Peer property, the legal and institutional means for the social
and cooperative individualism marries
on infinite growth, within the confines
reproduction of peer projects, are
equipotentiality and freedom in a
of finite resources;
inherently more distributive than both
context of non-coercion.
public property and private exclusionary property; it will tend to become
sensitive to invisible architectures of
world; instead of allowing continuous
the dominant form in the world of
power. In distributed systems, where
experimental social innovation, it
immaterial production (which includes
there is no overt hierarchy, power is a
purposely erects legal and technical
all design of physical products).
function of design. One such system,
through copyright, patents, etc. 2. Therefore, the number one
10. Peer to peer as the relational
the monetary system, whose interest-
networks will likely become the
bearing design requires the market
dominant mode for the production
to be linked to a system of infinite
is overturning these principles into
of immaterial value; however, in the
growth, and this link needs to be
realm of scarcity, the peer to peer logic
broken. A global reform of the monetary
will tend to reinforce peer-informed
system, or the spread of new means of
economy on a recognition of the finitude
market modes, such as fair trade; and in
direct social production of money, are
of natural resources, and achieve a
the realm of the scarcity based politics
necessary conditions for such a break.
sustainable steady-state economy;
of group negotiation, will lead to reinforce the peer-informed state
to peer logical of social relationships:
forms such as multistakeholdership
1) together we have everything;
the barriers to such exchange by
forms of governance.
2) together we know everything.
11. The role of the state must
Therefore, the conditions for dignified
evolve from the protector of dominant
material and spiritual living are in our
3. Hierarchy, markets, and even
interests and arbiter between public
hands, bound with our capacity to relate
democracy are means to allocate scarce
regulation and privatized corporate
and form community. The emancipatory
resources through authority, pricing,
modes (an eternal and unproductive
peer to peer theory does not offer new
and negotiation; they are not necessary
binary choice), towards being the
solutions for global problems, but most
in the realm of the creation and free
arbiter between a triarchy of public
of all new means to tackle them, by
exchange of immaterial value, which
regulation, private markets, and the
relying on the collective intelligence of
will be marked by bottom-up forms
direct social production of value.
humankind. We are witnessing the rapid
of peer governance.
In the latter capacity, it must evolve
emergence of peer to peer toolboxes
from the welfare state model, to the
for the virtual world, and facilitation
scarce physical resources, are but one
partner state model, as involved in
techniques of the physical world of face
of the means to achieve such allocation,
enabling and empowering the direct
to face encounters, both are needed
and need to be divorced from the idea
social creation of value.
to assist in the necessary change
4. Markets, as means to to manage
of capitalism, which is a system of infinite growth. 5. The creation of immaterial value, which again needs to become
12. The world of physical production needs to be characterized by: a) sustainable forms of
of consciousness that needs to be midwifed. It is up to us to use them. 17. At present, the world of corporate production is benefiting
dominant in a post-material world which
peer-informed market exchange
from the positive externalities
recognized the finiteness of the material
(fair trade, etc..);
of widespread social innovation
world, will be characterized by the further emergence of non-reciprocal peer production. 6. Peer production is a more
b) reinvigorated forms of reciprocity and the gift economy; c) a world based on social
(innovation as an emerging property of the network itself, not as an internal characteristic of any entity), but there
innovation and open designs, available
is no return mechanism, leading to
productive system for producing
for physical production anywhere in
the problem of precarity. Now that the
immaterial value than the for-profit
productivity of the social is beyond
mode, and in cases of the asymmetric
13. The best guarantor of the
doubt, we need solutions that allow
competition between for-profit
spread of the peer to peer logic to the
the state and for-profit corporation
companies and for-benefit institutions
world of physical production, is the
to create return mechanisms, such
and communities, the latter will tend
distribution of everything, i.e. of the
as forms of income that are no
means of production in the hands of
longer directly related to the private
individuals and communities, so that
production of wealth, but reward the
more social happiness, because 1) it is
they can engage in social cooperation.
social production of wealth.â€?
based on the highest form of individual
While the immaterial world will be
7. Peer production produces
16. This is the truth of the peer
and creative cooperation and lower reforming the copyright and other
of open networks, peer production and
Michel Bauwens, 2007.
b) we need to facilitate free
re-imagine Ecuadorâ€? based on the principles
perhaps the most important of all, is
dynamic of free agents in distributed
priority for a sustainable civilization
a) we need to base our physical
strategic research project to â€œfundamentally
15. We need to become politically
of scarcity in the infinite immaterial
barriers to disallow free cooperation
of Ecuador recruited him to launch a major
logic, one is the condition of the other,
world; it has created a system based
b) it is based on a false concept
to-Peer Alternatives. Recently the government
Images: Raumlabor, preparations for TSQ2, 2014
Images: From exhibitions of Feminist Pencil
Nika Dubrovsky / Feminist Pencil
machine which paid off excellently. So the skills of draughtsmanship have been associated with proximity to power, with dreary socialist realist professionalism and acting as an accessory to a machine of oppression. Not very pleasant associations! In St. Petersburg in the 1990s, the neoconservative “New Academy” movement led by Timur Novikov tried to revitalize the status of the traditional academic skills of the hand. However, these “new academics” declared their allegiance to a form of elitism, exclusiveness and an ivory-tower “Academy”, in which they defined their own role as “creators of beauty.” Their postmodernist irony only made the barrier all the more unsurmountable, the fourth wall of the theatre so to speak, which divides the roles of all participants into creators and viewers, significant and insignificant, superiors and subordinates. Feminists Pencil’s approach is quite the opposite. The artists of this movement believe that the ability and desire to draw what one sees, is the most open and democratic way to talk to an audience about issues which concern them both. Amid the general disappointment in
This can and should be taught to others.
however, was the choice of the genre and
successful offensive of anti-democratic forces
aesthetics: graphic art on social topics. It
since the uprisings of 2011 around the world, the
was necessary to reverse dismissive attitudes
and showing art, and the way participants were
actions of the members of the Russian movement
towards things produced by hand, as well the
chosen, the movement has become a fruitful
“Feminist Pencil” look bold and unexpected.
themes raised in the drawings. The notion of high
mix of activists and artists, theorists and private
and low genres still exists in contemporary art,
people. Everyone has something to say at
women on social topics in the genre of graphic
and there is not a lot of respect for the people
Feminists Pencil events, and the “fourth wall”
art, Nadia Plungian and Viktoria Lomasko
who are on the bottom of the social hierarchy
that separates the “creator” from the “viewer”
gathered 35 artists from all over the former
and talk about domestic violence, humiliation,
practically disappears. In support of these ideas
Soviet Union, and also some from Europe.
divorce and madness.
about democracy and the importance of art in
As the organizers of a series of exhibitions by 06
The third and most important gesture,
liberation movements in the context of a
Nadia Plungian and Viktoria Lomasko
No secrecy or elitism – just the opposite! Through the above practices of creating
The loss of interest in graphic art in general,
everyday life, the participants of the movement
and the art of drawing in particular, because the
have worked toward an “out of the gallery onto
new media - photography, video and installation
the streets”” approach: they conduct workshops
other women artists. It is clear that they were
art - allowed people who were not connected to
and classes for women and children, they are
immediately accused of separatism. However,
the professionalised “artistic class” to enter the
involved in educational projects with children
in the current situation this gesture is justified.
art world. At the time when this began, it was
of immigrants and imprisoned children, they
For if we look at who “performs culture” in
a kind of liberation. Indeed in the Soviet Union
are engaged in street-art and document the
Russia and abroad it is not hard to see that it
20 years ago, one had to spend many years
proceeding at politically relevant court hearings.
is literally done by the hands of women. It is
learning how to draw. Being in possession of the
women who work low-paid jobs: as teachers,
skills and titles of academic drawing in Soviet
the Feminist Pencil movement. And although
librarians and menial cultural workers in
times, however, gave one access to an ideological
Feminists Pencil has enemies, of course, it also
made several bold gestures: Firstly, they collected the art only from
More and more new participants are joining
institutions. In contemporary art, [much of]
has friends. A group of women artists from Israel
the work is done by the many girls serving in
called the “New barbizons”, which includes
galleries and foundations. They make calls,
Zoya Cherkassky and Natasha Zurabova among
organize documents and so on. If we take a look
others, have a very similar approach to what is
at who is in charge of museums and galleries,
to be done about the production and distribution
and who owns and collects, we see mostly men.
of art. They draw on the streets, at bus stops,
The art world is painfully reminiscent of the
during demonstrations, as well as being actively
patriarchal family unit, where women do all the
involved in teaching drawing and painting.
“invisible work” (preparing, giving birth, child-
But division does exist, if not between
rearing, equiping the family, weaving social
participants and spectators, or different regions
networks), while men act as leaders, protectors
or countries, but between those who support
the movement and its detractors. In a way it is
The second gesture of the curators of
unsurprising in a patriarchal country like Russia,
“Feminist Pencil”, was to accept offers to exhibit
where Parliament regularly passes laws against
in snobby Moscow galleries, and show the works
“attacks on the traditional family, and spiritual
of very well known artists along side artists
ties”. All you have to do is arrange anything with
exhibiting for the first time, and even children.
the word “feminist” in the title...
The work of a young artist from Kazan Hugra, for example, was exhibited in the same space as an installation by the well known German-Belarusian artist Marina Naprushkina, and the street-art group “Gandhi” next to a graphic work known from activist internet forums.
Nika Dubrovsky a participant of the Feminist Pencil Movement, was born in Leningrad, USSR and has lived and worked in Russia, Poland, the USA, Israel, France, and currently Berlin, Germany. Her projects involve art, publishing, education and media.
here by Grey Violet
Место игры, разговора, обмена, развлечения,
Place of joy, communication, exchange, talk, fight... Protest?
We should define protest as… As what?..
Протеста определяемого как?.. Как?..
Could any deep identification with any kind of mass movement
Может ли что бы то ни было идентифицирующееся с
be a protest – or it is just another form of conformity?..
движением масс быть протестом – или это всего лишь
Conformity of collectiveness, conformity of revolution that
еще один элемент конформности?..
constructs itself as a place of battle between ideas and
Конформность коллективности, конформность революции
wills – but actually serves only to a flattening of ideas and a
строит себя как пространство битвы идей и воль, но
simplification of wills.
производит лишь уплощение идей и упрощение воль.
The place where all complex intellectual landscapes collapse
Ситуация в которой все сложные интеллектуальные
and pluralistic communications are lost in unified collectivity.
ландшафты и плюралистичные коммуникации теряют
The fragmentation and plurality of every mind
себя в стирающем единстве.
is reduced to the “declared position” or, even worse,
Фрагментированная множественность каждого разума
subordinated to the tactics and strategies of success. And every
редуцируется до «декларированной позиции» или,
“declared position” identifies the speaker with a battlefield, and
того хуже, до тактики и стратегии успеха. А всякая
makes alienation from it impossible.
«декларированная позиция» идентифицирует индивида с
constructs a position, the battlefield at which those speaking are
Впрочем и категория «индивид», и даже слово «я»
thrown by language and society, those primordial enemies
уже задает позицию, уже задает поле боя в которое
говорящие оказываются вброшены языком и обществом –
Thus the subject of true protest for thought and being is not a
извечными врагами меняющейся мысли.
participant of a mass movement, is not a spontaneously revolting
Taк – субъект истинного протеста во имя и посредством
individual of Alfredo Bonanno’s Armed Joy, is not a Stirner’s Ego
мысли и бытия – не спонтанный бунтовщик проникнутый
constructed through internal unity and external borders, but a
вооруженной радостью и не штирнерианский
schizophrenic terrorist with consciousness flickering, standing
единственный созданный внутренним единством и
on the empty square – a cage under the sky without stars.
внешними границами, но шизофреник-террорист с
Only there – where the majority-reality devolves
мерцающим сознанием оказавшийся на пустой площади-
into a kaleidoscope’s shard, where all interrelations are limited
клетке под небом без звезд.
to their space-time microlocality and all languages lose their
Лишь здесь, где согласованная реальность обесценивается
ability to linearise random indescribable thought-pictures,
до фрагмента калейдоскопа, где взаимодействия
the fragments of a Square could actually try
редуцируются к их пространственно-временной
to appear from obscurity…
микролокальности, а языки теряют свои способности к линеаризации не-выражаемых мыслеобразов, отдельные фрагменты Квадрата могут пытаться промелькнуть в небытии. Серое Фиолетовое
Grey Violet is an anarchist, text, color et al from Russia. It reveals itself through focusing on sabotage of the most basic socio-cultural borders and hierarchies. It has taken part in activities including actions of the Voina Group, radical queer movements, and anarchist and libertarian activism of various kinds.
Even the category of “person”, even the name “me” already
полем боя, делая невозможным отчуждение от него.
(A sound of wind in the heights, we see a little spot approaching, and gradually the engines of a drone get louder. It dies down and we hear a voice, warm and clear, that after every sentence changes accent, age and gender.)
We face many obstacles on the road to grasping totality.
Totality? Just the sound of the word induces vertigo: the aleph of Borges, a hidden point in a dark cellar, a miniscule window to the entire world.
A familiar unease; like navigating through the web with no
But it is different this time: we are trying to make some sense
purpose other than escaping yourself and danger.
of it all. To feel that we are expanding, touching the surface of
things to change them.
One mind cannot hold all of totality. But we know it is there
To think about life at any level, we need to conceptualize the
whole, and the relationships between its components. Parts of an increasingly bigger picture.
And we need a story, a timeline that acknowledges irreversibility.
The big picture is quite scary today, for reasons much closer to the perception of class struggle on our own skin, than to an existential fear.
Apocalyptic nightmares about the future are often confirmed by
But also the repressive experiences of the last centuries, that
red lights: alarms about ecological disaster, the normalisation
remolded identities that carried hope and knowledge and the
of war, confirmation of the expansion of capitalism in variegated
determination to change the world, make transforming our
ways, new forms of alienation...
reflections on totality more difficult today.
So looking for multilectic explanations is part of an invitation to
And vice-versa: we need to know ourselves better in order to face
build new panoramic views. We search for an understanding of the
obstacles to experimentation that might lead to more effective
macro not for subjecting the micro, but in order to understand it
interactions with others and with the different collective levels.
better and liberate it.
Multiple social forces make us act differently in different
The human potential to adapt ourselves to different environments
contexts, even if we donâ€™t recognise they are acting on us and
is amazing. It can also have bitter outputs, as it happens too often.
In the worst case, multiple personalities can be put in institutional
Most can delude themselves, and others, finding a functional role
confinement, under the lock of diagnosed schizophrenia.
in normality and looking just neurotic on the surface.
But we can explore another possibility: a democratic game with
An intimate assembly that allows us to have a good time in the
our different inner selves.
midst of this mess, becoming more radical not only in theory, but in practice. Federico Geller is an Argentinean artist who tries to build connections between science, politics and arts. He believes that the hedge funds must be politically and financially neutralised as soon as possible.
And this multiple mind-space, where different identities know
A multilectics for each and all of us, on the collective-individual
each other, negotiate and look for a common consistency and
happiness, is multiphrenia.
When the Law Produces Monsters Europe has been kidnapped. Since the Treaty of
at those who might jeopardize their privileges. As we know,
Núria Güell With a strict positioning oriented
Maastricht, its territory has been constituted as one mega-
the greatest crimes are possible because they rely on legality
towards creating mechanisms for dissent,
company that purports itself as globally competitive while
and have a disciplined body of officials willing to apply the
constantly raising its physical and symbolic boundaries
law without questioning it. This it the “banality of evil” that
without restriction. This is the Europe of apartheid and
Hannah Arendt wrote about. Responsibility is diluted in
the Troika: exclusive and authoritarian. The European
system of power that is embodied in the laws. These are laws
Central Bank and the International Monetary Fund have a
that allow evicts, privatizations, cuts, and even killing, as is
monopoly on finance, delegating the monetization of debt to
the case with the immigration law.
the markets. They issue liquidity on request to those banks
The social contract is a philosophical and political
that have contributed to the creation of the public debt of
concept which is based, in theory, on linking the individual
countries, and now speculate on it. Debt, in its broadest sense,
and society. Again, it is through the law and moral injunction
is the device of homo-neoliberalis’s self-discipline through
and implementation mechanisms, that this assumptive social
guilt. Taking advantage of the emergency situation and
contract is imposed. It is a tax agreement, which becomes an
responding to the interests of financial lobbies, states apply
exercise in submission of obligation to the sovereign.
shock therapy, thereby privatizing the commons. No longer
But what makes us human is responsibility. And although
ensuring social regulation nor guarding public property, they
there may be consequences, we all have the ability, without
subordinate it to the whims of the supra-state agencies.
requiring anyone to give us permission, to refuse to enforce
In Spain politics is no longer understood as a body
laws that violate our consciences, our bodies or our dignity.
that manages common resources seeking the benefit of the
That’s the point. Taking responsibility. To not delegate or
majority, but a means of private enrichment of a minority
consent - that for me this is an act of civil disobedience, an act
through public plunder. Special protection, corruption and
impunity in the political class show that the people are no
To disobey is to think, not to give legitimacy. As young
longer sovereign. While the state rules for the financial
children we are taught blind obedience to authority. They
markets and the de-facto powers, the people are required to
transmit to us the idea that giving up is the only option. At
obey, as their rights are privatized.
school we are not taught to think, because thinking is to not
Through the “rescue” conducted in 2012, the Spannish
consent with the established way of seeing things. Thinking
government has indebted its population, giving away a
is dissenting. To think is to rebel, just as it is to refuse to live
100,000 million euros to the banks to pay their debt. Budget
under the rule of law as an absolute.
cuts have condemned people to impoverishment, leading 10
by Núria Güell
Fortunately the 15M movement, and specially the
to the pauperization of living conditions, the dismantling of
PAH have reminded us of the essence of self-governance of
public services, family instability, loss of future prospects,
rights. They showed us how not to leave it to those in power
and a rise in the consumption of anxiolytics. This is called
to manage our rights. One of the weapons we have is civil
disobedience, in its broadest sense. Of course we can not
The theft of the commons is usually done by decree,
ask the oppressors for our own freedom, for that would be
legislation and bureaucracy. As a militant of the Platform
naive, and contradictory. As long as justice is hijacked by
of the Affected by the Mortgage remarked recently, today’s
tyrants, disobedience is the answer. Disobedience is not to
violence emanates from the Bank of England.
be complicit, it is to say “not in my name”. And as Eldridge
Blind obedience to the law as the law, as well as dominant morality supporting the hegemonic position, has little to do with arguments rather than their forced imposition. The law
Cleaver already warned us, “If you’re not part of the solution, you’re part of the problem.” Civil disobedience is an informal mechanism for citizens’
has little to do with justice. What is not fair, is abuse. And the
participation in decision-making where the framework lacks
law allows abuse. As the philosopher Marina Garcés says, the
participatory channels. Although they deny it, we know that
law makes it impossible for society to reappropriate its own
civil disobedience is a a sine qua non of democracy. As the
foundation, the ability to collectively transform our conditions.
philosopher Habermas said, this form of dissent is an indicator
As we know, the law is nothing more than the expression of
of the maturity of democracy. It shows that there are no
the will to power. And the state, which makes the laws, is not
supreme obligations, that the citizen can regain the role of the
representative of the ordinary person, but the expression of
scrutinizer of the norm, surpassing the silent and submissive
the will of a social class. Yes, class struggle.
attitude, and propelling a constant revision of political, legal
While the Social State is being annihilated by legislation, it is the law which creates a Punitive State. Hardening the penal code is aclassist legal measure of the powerful, directed
and judicial decisions. In this kidnapped Europe, to disobey is a duty, because too often when we obey the law, we disobey justice.
Image: Khaled Jarrar, Dis-/Obey, Performance, Helsinki 2014
Núria Güell’s (1981) work reformulates the limits of “legality”. Graduated in Arts from the University of Barcelona (Spain), she is continuing her studies at the Behavior Art School in Havana (Cuba) under the direction of Tania Bruguera
Reclaiming Democracy Through the Square
by Teivo Teivainen and Ivor Stodolsky
Occupying a square can empower some and inspire
of representation as a democratic principle. As ideals
incapable of developing longer-term goals and
many more. Take the bold protesters of
of participatory democracy rule the hearts and minds
demands - and the strategies and tactics to achieve
of activists, few bother to reflect on the hopelessly old-
them. On the other hand, elements of this type of left
fashioned matter of representation.
simply denounce the entire parliamentary system as
Tahrir Square in Cairo. They were important not only through what they did for a more democratic Egypt. They also played a key role in a South-based pedagogical process. Occupy Wall Street was inspired by the protests
Participation is indeed the most fundamental aspect of democracy. Our understanding of
merely a fig leaf for crass, class-based power relations. This hollowing out of convictions in basic
democracy is based on the possibility of the people
democratic principles, from both the “vertical” left
at Tahrir Square. In many other places, activists in
to participate as equals in decisions about the basic
and the business-as-usual right, does not bode well. As
Europe and the United States have been learning
conditions of their lives, and in accordance with their
fundamental change comes, practices for generating
responsibilities to others. This participation can take
the material and social conditions for revitalising a
about the environmental impact of the mines in
many forms. It could be pleasant to live in a system in
just, effective and democratic decision-making process
Lapland can learn about the struggles around the
which we could always gather together and deliberate
may be the sine qua non for avoiding a reversion to
mines in places like Peru.
face to face. In transnational and global contexts, this
authoritarian solutions -- be it of the hard left or of
is often impossible.
the right. Furthermore, in countries with entrenched
from the South. Also in Finland, people concerned
Many of the movements that have occupied squares have helped us learn to learn from the South.
In a village association, squat or occupied square,
authoritarian regimes or other countries under
They have also often helped us see the political role
it can be feasible to practice direct democracy in
catastrophic circumstances, the temptation is great to
of the capitalist economy. For a moment, a couple of
the sense that everyone can physically participate in
use “solutions of last resort”: systems of total control,
years ago, it seemed that the tables might be turning.
face-to-face decision-making about issues that concern
persecution, violence and war.
Important things were achieved, but the revolutionary
them. In the construction of transnational or global
enthusiasm of the 99% - the symbol of democratic
social movements, the idea that I can only represent
proposals and practices have been gaining recognition
majorities used by Occupy - has partially faded. The
myself becomes more problematic. The baby of
and partially changed this binary picture. Peer-to-
problems, however, have not gone away. This is why
representation as a meaningful democratic principle
peer practices and the economies they inspire: shared
the issues tackled by To the Square 2 are so crucial.
should not be thrown out with the bathwater of really-
knowledge such as Wikipedia, open/libre software
What would it take for the people to go back to the
existing channels of representation.
such as the mainstream Firefox or Ubuntu, virtual
squares? What would it mean for the 99% to win? The questions are so huge that we cannot pretend
We need to reflect critically on the tendency to
Over the past decades many new theories,
currencies such as Bitcoin, or even Google’s Android or Airbnb, have developed new individual/mass
to give any comprehensive answers here. Let us simply
and participation as necessarily conflicting ways
interfaces and processes for creating trust and
point to one dimension of the democracy movements
to organize democratic decision-making. A binary
accountability. Related political practices of “liquid
that have occupied squares. Questions of political
opposition between (good) participatory democracy
democracy” combine elements of anarchist direct
representation inside and across the movements have
and (bad) representative democracy can be
democracy and delegation with representative
been given too little attention.
problematic in many contexts. It often leaves relations
democracy in new forms.
When someone brings up the importance of
of power with too many places to hide. With power
With a status-quo that is clearly unsustainable
representation as an issue that social movements
unchecked, it ploughs on with unsustainable business-
in the longer-term, change seems inevitable. The
should deal with, it is often perceived as an attempt
as-usual. While the dichotomy between participation
question is, change of which kind? Achieving
to emphasize the importance of connecting the
and representation can seem more justified in small
fundamental change -- without authoritarian
strategies of the movements more closely with the
squares in which the relevant actors have better
“solutions of last resort” to the social, inter-cultural or
state. This exclusive association between the state and
possibilities to participate directly in decision-making,
ecological crises on the horizon -- is perhaps the most
representation, their “umbilical cord”, needs to be cut.
it becomes more untenable if we want to change
fundamental challenge of the 21st century. Reclaiming
Even if states are important sites of representation,
democracy is the key.
we should not let state-centric imaginaries prevent us
This binarity also gives the hard left (like some
from dealing with the difficult political questions of
Leninists, for example) reasons to reject the whole
representation also in non-state contexts.
notion of democracy as such. On the one hand, it
Democratic representation, as we know it, is
allows them to brand democracy as ineffective in
clearly in a crisis. Many activists have rightly come
its root-level “anarchist” version seen in Occupy
to the conclusion that the existing representative
assemblies. The decision-making in the here-and-now
channels through which democracy is supposed
of a physical assembly is clearly disconnected from
to function, such as parliaments, are not effective
older mass organisations such as co-ops and unions,
enough in ensuring democratic control of the key
and the growing masses of disenfranchised people.
decision-making sites of the capitalist world. This
It is inaccessible to the ordinary 99%. “Horizontal”
disillusionment has often led to a wholesale rejection
levelling, furthermore, can be criticised for being
Images: Ammar Abo Bakr, work in progress, Helsinki 2014
Teivo Teivainen is professor of World Politics at the University of Helsinki, starting a research period at the Helsinki Collegium. He likes to make trouble through social movements. As a representative of NIGD, he is a founding member of the International Council of the World Social Forum. Sometimes he organises world-political rock nights and city walks. Ivor Stodolsky is a curator, writer and theorist and a co-founder of Perpetuum Mobilε. He curates exhibitions, conferences and events internationally.
create artificial dichotomies between representation
Ganzeer: is an Egyptian artist and designer who has gained notoriety in Egypt
Image here and front page: Ganzeer, Egyptian
and internationally following the 2011 Egyptian Revolution. The pseudonym
Revolution Manual, original in Arabic, 2011
Ganzeer means “chain” in Arabic. Ganzeer’s artistic activism has led to his arrests by Egyptian authorities in the past, and he had to flee Cairo to New York in May 2014, due to his involvement in the #SisiWarCrimes campaign.
Image: Ganzeer, How to Revolt Slyly, English translation of political pamphlet, 2014
Towards a Transnational Debtors’ Party For the people to be united, they must be conscious of their
#occupywalltreet(tm), to mainstream newspaper articles. The
Telekommunisten is an arts collective
common interests. For this consciousness to have political
topic of Debt is everywhere, ever-present, on the tip of every
producing a wide range of works and
effect, they must also be conscious of how their interests
tongue. Mass movements are rising and spreading, squares
conflict with other sectors of society.
world-wide are being occupied, demonstrations are attracting
We need to work with the consciousness we find, not the
thousands who want their voice heard and their dissent felt.
consciousness we wish was there. Consciousness comes from
These occupiers, these demonstrators, have not taken to the
conditions, not theories or opinions. The consciousness that
street as a practical means of forming new institutions, they
transformed the working conditions in developed nations,
have taken to the street to make demands.
and built the welfare state, was produced by the working
their signs not to each other, calling for new social forms,
the worker gives, but jobs are something you get. There is
but to the “1%,” to the State, to the Police, in other words to
no concept of the appropriation of value, since the creation
authority, power, the ruling elite. Their demands are political
of value and the locale of appropriation are too abstract and
demands; “Read My Lips: Tax The Rich”, “End Welfare for the
remote for the masses of workers to easily grasp. It’s an
Rich!”, “Create Jobs Not War!” among many others. They are
abstraction, not a lived reality.
demanding a right to housing, education, and health without
power of different economic classes. Specifically, they derived from the interests of those who gained their incomes from
building new ways of producing and sharing, in forming and
groups of political intellectuals. They were minor parties that
envisioning new institutions for new societies within the
grew out of the workers’ movement.
shells of the old. But we can do so only within the bounds of precarity, struggling for the money and time to meet our basic
on the reported conduct of remote corporations or states, but
responsibilities to family and community, we lack the means
on the direct conditions and interests experienced by workers.
to form and grow our new institutions, and we lack the means
Workplace safety, wages, working hours and other matters of
to defend them.
direct interest to workers did not require subscribing to one
These urgent demands can not be met by autonomist
ideology or another to understand. The workers movement,
means alone. Sudden revolutions rarely serve the interests of
because of its class basis, did not need to rely on campaign
the masses that supported them, and until we are ready with
contributions and lobby to have power, because the workers
alternative means to provide the essential services currently
were the masses.
provided by government, we need governments to persist, and we need to militate for our demands to be represented
conditions and hours where improved as a result of fierce
there. We require a political struggle, not in attempt to take
battles between workers and capitalists. Yet it was just this
power and impose new social relations through the power of
which began to make the demands of workers’ parties less
the state, but to contest the interests of the ruling elite on
pressing, more marginal and abstract. While theories of
the battlefield of the political process. We must undertake
value and economy developed further, the immediacy of the
a political struggle to create the space for alternative
issues fell away. More and more workers became non-direct
institutions to emerge, otherwise they are too easily snuffed
producers, working in administrative or technical fields that
out or appropriated where they do emerge.
experience, but yet another theory. Something about which
The Existence of Demands Proves the Existence of the Demand for Political Representation. But who is to provide such representation? Are we
one could have an opinion, but no longer something that was a
to expect the parties of the plutocrats to provide such
uniting term of struggle.
representation? The existing parties have long lost their
All the while the most oppressive and harsh conditions
class character and are essentially publicity outfits selling
were relegated to the margins of society or even to other
voters to lobbies in the marketplace of political legitimization.
ends of the world, with whom the great body of workers in
The time has come for a new party, a party to stand up to
developed society had no relationship at all.
the representatives of the interests of the ruling elite, the
The workers are no longer direct witnesses to the product of their labour being ripped from their hands and hoarded
financial aristocracy, whose power has been unchallenged for decades.
by capitalists. Many people may hate their job, or their boss,
The time has come for the Debtors’ Party.
but as the production of value is more abstract and remote,
OBJECTIVES OF THE DEBTORS’ PARTY.
they do not feel that their boss is taking anything from them.
The Organisation has the objective to establish and
Rather, they feel they are being given something, their job
maintain co-operation within an international network
and their paycheck, etc. It is not in the workplace that the
of political parties representing debtors. It’s goals are to
appropriation is felt, but rather after work, when they go
promote the interests of those faced with the inescapable
home to pay their bills.
burden of debt in order to obtain the fundamental necessities
The masses no longer can be mobilized as workers,
of life for those who have no access to the financial means to
but rather as debtors. Debt is not simply a cause to build
do so. To work towards equitable solutions in order to ensure
awareness and support for, it is the felt condition of the
they maintain their rights to home, health, and education,
masses struggling to pay their bills. People who are frustrated
without taking on oppressive financial obligations. To promote
and angry and who demand representation which no
the establishment of non-profit oriented means of supplying
mainstream party will give them. Precariousness and
education, health care, child care, and housing, in the interest
financial strife are facts felt every moment, and debt is their
of preventing the accumulation of personal debt in the course
measure. It is debt that is the issue that can reintroduce
of meeting essential human needs. To act in defense of social
class conflict into politics.
benefits, to oppose profit-driven privatization of essential
If you read the manifestos, signs and slogans of any
which has not yet come to be.
our class condition, and when we are strapped by debt and
appeals to abstract technical concepts, and was not focused
of the product of their labour became not a felt and observed
social fictions, manifestations of a society
Many of us in the currently exploding movement are also actively involved in building constituent power, in
did not directly produce stocks of goods. The appropriation
production. Telekommunisten produce
according the interests of the masses, not the few.
Labour Parties began as dissenting, activist parties, formed by
The workers’ movement won many struggles. Working
and material conditions of technical
permanent indebtedness, demanding a society governed
the different factors of production: Land, Capital and Labour.
The workers’ movement was not fuelled by intellectual
writings analyzing network topologies
However, they address their slogans, their posters and
conditions themselves. Yet now, work is no longer something
Traditional political parties formed around the emerging
public goods, and to work towards creating conditions where
recent movement or uprising, there is a daily outcry about
community-initiated solutions can thrive. To work towards a
out of control debt: from the strange bedfellows of the Tent
society in which the free development of each is a condition
Cities of Tel Aviv, to the Blackberry Riots of London, to
for the free development of all.
Images: Image from "Degenerated Political Art" (2014) by Núria Güell and Levi Orta, in which the artists have used the designated artistic production budget in order to create a society in a tax haven.
A Global Debt Museum
by Noah Fischer / Occupy Museums
It was not hard to connect Wall
public funding cut, their countries
street to MoMA: these secular
serving the highly selective debt-
temples double as factories where
logic of the banks. So artists must
Neoliberal symbols are created
navigate a path of obstacles to
and dispersed, reifying high value
their creativity, placed in their way
commodity, making labor vanish,
by trading partners across the
and crowning the 1% figure of the
globe who evade any stewardship
philanthropist. Museums grant
of the cultures from which profit
visibility to artists and artworks,
is gleaned. In the US, artists are
which in turn creates speculative
drowning in the waters of personal
value. The Mega-Collector/Museum
debt. The exorbitant costs of
trustees know well: whatever is
education and living imply a future
displayed in a museum takes on
of debt and interest repayment that
instant cultural importance and
diminishes the worlds contained
increases in cash value.
in creative hours, alchemically
However, visibility has its
changing them into leaden cheap labor. Artists sit behind desks
the shark-infested waters of the
entering data for art galleries
market: funding structures, financial
or pharmaceutical companies (it
behaviours and byzantine processes
makes little difference), or stand
of valuation. Though we see a
on their feet as museum guards,
few splashes on the surface, such
ticking off payments on interest,
as the highly visible spectacle of
never principle. Many artists today
auctions, the waters are clouded,
aspire to transform themselves
and much remains invisible. But we
into speculative stocks in a market
are beginning to see mechanisms
known to be ruthless and fickle, for
of deep poverty at play in the arts.
this is how debts are imagined to
In fact, the waters are full of deadly
be repaid. This is the current
force: these are the murky depths
definition of success.
of debt. Perhaps the most daunting
Today’s museums are Debt Museums. These star-designed
task facing the 2011 movements
cultural temples function very
Image: Vladan Jeremić & Rena Rädle,
is shifting the economic behaviour
precisely. They put a veneer of
graphics for TSQ2, 2014
that propagates inequality. The
historical legitimacy and liberal
core financial power-relation is
rhetoric onto a project which one
owing someone money, being in
is otherwise bound to shrink from:
someone’s debt. When inequality is
the complete financialization of the
codified and normalized, the roots of
cultural sphere, including creative
slavery grow strong. Today, people
play and the art-public. When the
do not usually carry debt burdens
public is invited into such a museum,
owed to a single master; rather, our
it’s likely a trap. The visibility of
debts are bundled and repackaged
artworks, the buzz of exhibitions, are
anonymously, with no one taking
bait in the hunt for the public itself,
responsibility. Corporations to
which takes the form of reverence to
whom our lives are numerical
the 1%, personal indebtedness, and
abstractions reinvest our debt to
ultimately, complete powerlessness
create a minefield which we must
before the financial institutions
navigate. Artists are caught in lethal
whose names are often inscribed on
deep ravines of this financially-
the museum’s exhibition halls.
generated landscape. Debt is about time: the minutes
It’s time to unleash creative forces which connect debtor
and hours and years of your life
communities in every location into
stolen. Indebted migrant workers
solidarity bundles. It’s time to build
in Abu Dhabi are building new
an ark which can weather these
Louvre and Guggenheim museums
floods of debt.
at this very moment. They are working off the cost it took for them
Occupy Museums was formed in Occupied
to travel from afar, and years of
Liberty Park NYC to protest against economic
their lives are not theirs. Also their social relations and dignity waste away. In a very different context, artists in southern Europe and South America are having their
injustice in institutions of art and culture. Since 2011 it has organized uninvited assemblies in MoMA, labor protests at the Frieze Art Fair and horizontalization processes at the 2012 Berlin Biennale and CCA in Warsaw.
limits. Beneath the temple lie
Just do it, but not in the Park:
Vladan Jeremić and Rena Rädle
The story of the Activist Skeptically, the experienced activist from the Balkans
part of the student protest against Milošević’s alleged theft
followed developments surrounding the uprising popularly
of electoral votes in 1996/97. Led by the youthful radio B92,
known as Occupy, led by US students and academics. He
civil society was flourishing, and pushed for the removal of
was not surprised when at a certain point Slavoj Žižek,
Mira, Milošević’s wife, and Slobo himself. Somewhere in the
Chantal Mouffe and Alain Badiou began to criticize the
middle of this protest movement, the activist and his friends
movement. In their critical articles the activist read that
left it. They could not support the way the majority of them
the Occupy movement did not have a “general intellect”;
decided, on a religious feast day, to join in symbolically
that their collective “performative event” in the Zuccotti
carrying bread to the Serbian Orthodox Church for blessing.
Park would be unlikely to last long; that they did not have
It was in the context of these protests that the seeds of
a solid party; that they were anarchic. The problem, wrote
Otpor! were sown.
Slavoj Žižek and others, is that the utopia of democratic horizontality and libertarian individualism impairs the
Washington were organized for the brave anti-Slobo
strength of the very political project that would unite them.
activists, and they were trained using certain video games
Therefore they would fail to produce an avant-garde that,
that simulated political strategies and tactical moves on the
in the classical sense, could take a political step forward.
basis of statistics and calculations. In short, the activists
Jodi Dean (1) stated that no coalition was being created
were drilled in techniques to bring down their local dictator.
with wider social strata, and that matters remained at the
In 1999, when NATO began bombing Yugoslavia, Otpor!
level of culture and civil society, something inherent to the
got serious. After the bombing, Milošević’s regime tried
conservative environment of the United States.
rebuild the country, yet the depression was horrible, almost
The problem, reflected the activist, is that Occupy
bombs had destroyed all of them. The coup of October 5,
social justice and freedom will never be achieved within
2000, finally brought success. Members of Otpor! entered
such a setting, he concluded -- having lost his belief in the
the parliament. But the activist didn’t give a damn about
ideals of his younger days.
anything, as he was not among the delegates. Still he bore a
worked for a Yugoslav construction company in the Middle East in the 70s. He earned well thanks to Tito’s policy of
every factory that could produce anything had been hit. The
lacks proper tactics and strategy. The citizens’ dream of
The activist remembered his deceased father, who had
Images: ZIP Group
Through various channels, occasional visits to
strange hope inside him for a better tomorrow, a hope closely related to joining the European Union. A few years later, the activist was infuriated when
cooperation with the countries of the Non-Aligned Movement
he read that some academic leftists had criticized Otpor!
(2). Back then, Marshall Tito’s Socialist Yugoslavia had
in an article published in their magazine. The author pointed
helped promote social changes in the non-aligned countries,
out that Otpor! spread anti-Islamic sentiment, touting
supporting the anti-colonial struggle. Back then everything
European values as a bunch of convenient ideologies,
was done without Facebook or Twitter. Radio was the main
mixing them as useful discourses in order to gain
medium, and propaganda material against the colonial
popularity among Serbs (4).
rulers was often created in Belgrade. In Egypt, Tito helped
At one public debate, our activist felt pushed to defend
Nasser establish himself as president. The two of them,
his revolutionary past. No! the activist shouted, Otpor! was
joined by India’s Jawaharlal Nehru, were the key figures
not something imposed from above by the US and the EU.
at the 1st Conference of the Non-Aligned Movement in
Absolutely not! (5) It’s simply not true, the activist would
Belgrade in 1961.
angrily retort to anyone who characterized them as foreign
Ironically Belgrade, as the capital of Serbia, lost
agents. He loved to say, instead, that the resistance was a
membership during the wars of the 90s for supporting war
group of young rebels listening to British pop and fighting
crimes in Bosnia. But the crisis started earlier. Tito died in
for their future. Milošević had butchered their youth and
1980. His great friend, Emperor Haile Selassie had already
Yugoslavia, and they saw the Balkan butcher punished.
been murdered in 1975 and famine reigned in Ethiopia. Bob
In 2005, the activist found himself in a non-
Geldof organized concerts for the hungry while Margaret
governmental organization that had recruited him to come
Thatcher launched her campaign against the British workers,
to an activist festival in Tirana. With a smile on his face,
introducing deep cuts and promoting a new ideology of
he would later reminisce about this experience with his
neoliberalism, which would become globally hegemonic over
companions. The National Endowment for Democracy,
the next three decades. British pop, an export industry, sang
Freedom House and their German satellite organisations
the decline of the production worker and the carefree life
had funded this gathering of youthful eastern European
of cultural industries. In the late 80s the activist, his friends
activists, who were organizing to overthrow their dictators.
and much of the youth of Yugoslavia were enthralled by these
The activist and his team from Otpor! were there to mentor
songs. Brit Pop and punk spilled out of local loudspeakers in
the others. The local organizer, Mjaft! (6) had fought
Yugoslav variants: the soundtrack of future members of the
against corruption in Albania (attributed to the communist
Serbian Otpor! movement (3), which the activist was to join
legacy). Female participants from Tirana were perfectly
in the late 90s.
made-up, and addressed the president of Mjaft! as “our
The activist was aware that the main sympathizers of the Occupy movement, US students, were on average about
leader”. Kmara (7), Zubr (8), Yox (9), some Russians, as well as colleagues from Pora (10), Ukraine, were there. Our
one hundred thousand dollars in debt each. They had to pay
activist and the others from Otpor! had come to organize
enormous tuition fees for years on end. The activist himself
training sessions to pass on their experience. The goal was
had studied for free in Milošević’s Serbia during the 90s.
to develop precise strategies and tactics for a successful
Still, he called Milošević “Slobo-Saddam”, an allusion to
revolutionary movement. To achieve the next success. As
Saddam Hussein, and considered Milošević the source of
they liked to say, to spread the “Just do it” mentality. And
all evil in the Balkans, agitating for his resignation. It was
Otpor! communicated their knowledge well: Pora “drank
his second year at the University of Belgrade when he was
their orangeade”, as the phrase has it. In this town of
well as Truth is Concrete in Graz, CANVAS presented
Vladan Jeremić & Rena Rädle
House, the activist youth celebrated together their devotion
their successful concept of “Laughtivism” or how to
are Belgrade-based artists and curators
to democracy and anti-totalitarianism.
overthrow your dictator with laughter, jokes and fun (13).
Not long after, Otpor! re-registered as the so-called
The Otpor! legend lives on. Popular revolutionary
Agency for Nonviolent Action – CANVAS (11), and began
movements across the globe refer to its success. The
conducting similar training sessions all around the globe.
activist could vouch that one needs just “the financial
When at end of the 2000s the new dictator of the Maldives
means, pop music and grass-root rebels” to overthrow
fell, we knew who was responsible. As a gift from the new
a dictator or government in a politically and economically
local democratic government, CANVAS was honoured with
weak country. Art, media and political activism have
their own private island. Indeed, Otpor! / CANVAS became
melted together into a virtual hegemonic orchestration.
Serbia’s most respected export brand (12). It was a success
No wonder our activist did not believe in spontaneous
story, and the fascination hit the contemporary art scene,
occupations of the park, at the epicentre of world
as well. The Polish curator of the Berlin Biennale 7 (BB7,
hegemony. Wall Street won’t stand for uprisings in its
2013) burned with desire to meet them. They were invited to
own backyard. Others backyards are definitely more
deliver a speech and to share their experience and at BB7 as
appropriate for that.
(1) Jodi Dean, The Communist Horizon, Verso, London, 2012, p. 207-250 . (2) “The Non-Aligned Movement is a Movement of 115 members representing the interests and priorities of developing countries. The Movement has its origin in the Asia-Africa Conference held in Bandung, Indonesia in 1955...The first Conference of Non-Aligned Heads of State or Government, at which 25 countries were represented, was convened at Belgrade in September 1961, largely through the initiative of Yugoslavian President Tito...” Source: http://www.nam.gov.za/ background/history.htm
(7) Kmara (Enough!) was a civic movement in Georgia, active in the November 2003 Rose Revolution, which toppled the government of Eduard Shevardnadze. See: Giorgi Kandelaki, Georgia’s Rose Revolution a Participant’s Perspective, Unite States Institute of Peace, 2006; See: http://www.usip.org/sites/default/files/ resources/sr167.pdf
(3) Otpor! (Resistance!) was a movement in Serbia that existed between 19982004. Otpor! led the protests that overthrew Slobodan Milošević in 2000. Some members of Otpor! joined the Democratic Party in the Serbian Parliament while some of them such as Srdja Popović have created NGOs for nonviolent struggle. CANVAS was founded in 2003 and has trained activists in 37 countries, including Zimbabwe, North Korea, Belarus and Iran.
(8) Zubr was a civic organization backed by the west in opposition to Lukashenko in Belarus. Zubr was not as successful as Otpor and Kmara were.. Jean-Christophe Peuch, Belarus: Protesters Hold Vigil Amid Continuing Crackdown, Free Europe, 2006; See: http://www.rferl.org/content/article/1066967.html (9) Yox! (No!) is an NGO from Azerbaijan, designed in a similar way as other color revolutionary organizations, such as Otpor! and Kmara! or KelKel from Kyrgyzstan that gained importance during the Tulip Revolution against the Akayev regime.
Courtney Brooks, Exporting Nonviolent Revolution, From Eastern Europe To The Middle East, Free Europe, 2011, see: http://www.rferl.org/content/exporting_ nonviolent_revolution_eastern_europe_mideast/2316231.html
(10) Pora! (It’s Time!) was an organization founded in Ukraine in 2004 in order to struggle against the Kuchma government and that led to the Orange Revolution in Ukraine.
Srdja Popović, Andrej Milivojević, Slobodan Djinović, Nonviolent Struggle - 50 Crucial Points, A strategic Approach to Everyday Tactics, CANVAS (Center for Applied NonViolent Action and Strategies),Belgrade 2006; See: http://www.usip.org/sites/default/files/nonviolent_eng.pdf
(11) The Centre for Applied Nonviolent Action and Strategies (CANVAS) is a non-profit, non-governmental, international network; See: http://www. canvasopedia.org/index.php/srdja-popovic
(4) Vladimir Marković, Od Ljotića dva putića: “Novi društveni pokret” u Srbiji krajem devedesetih i slika njegove ideologije, PRELOM, Časopis Škole za istoriju i teoriju umetnosti CSUb, Belgrade, 2001, p. 27-43, (Prelom is a periodical for images and politics.); See: http://www.prelomkolektiv.org/pdf/prelom01.pdf (5) Ivan Marović, In defense of Otpor, Open Democracy, 2013; See: https://www. opendemocracy.net/civilresistance/ivan-marovic/in-defense-of-otpor (6) Mjaft! Movement, (Enough!) is an organization from Albania; See: http:// www.mjaft.org/en/organizata.php
(12) Aleksandar Apostolovski, Otpor dobio ostrvo na Maldivima, (Otpor has got Maldivi island), Politika, 2011; See: http://www.politika.rs/rubrike/Drustvo/Otpor-dobio-ostrvo-na-Maldivima. lt.html (13) Berlin Biennale 7, No Revolution without Innovation - a workshop with Srdja Popović and Anna Jermolaewa, 2012; See: http://www.berlinbiennale.de/blog/ en/events/no-revolution-without-innovation-a-workshop and Laughtivism, A lecture by Srdja Popovic / Canvas at Truth is Concrete - A 24/7 marathon camp on artistic strategies in politics and political strategies in art, 2012; See: https://www.youtube. com/watch?v=RLorYo3BSCU
whose projects combine drawing, discussion, documentary video and photography. Their projects include various forms of interventions, public debate and their social dissemination. In their curatorial and artistic practice they research the intersection between contemporary art and politics. Image here and front page: Vladan Jeremić & Rena Rädle, 2014
Skenderbeg, Kruja, Albania, under the auspices of Freedom
G.U.L.F. (Global Ultra Luxury Faction) is a spinoff of Gulf Labor, a coalition of international artists protesting against working and rights-abuses of the Guggenheim Abu Dhabi and similar projects. G.U.L.F. has carried out the series of actions at the Guggenheim NY including a facade-projection (1% museum with the OWS illuminator) and a mass banknote-drop into the rotunda.
TSQ2 ARTISTS’ BIOS AMMAR ABO BAKR
Ramy Essam (1987) on egyptiläinen muusikko, joka tunnetaan parhaiten
Center of Thessaloniki; Moving Forwards,
Ammar Abo Bakr (1980) studied in the
opens alternative realities and possibilities,
Tahririn aukion tapahtumista Kairossa
Counting Backwards, MUAC, Mexico City; and
Painting Department of the Faculty of
altering established power relationships.
Egyptin vallankumouksen aikana 2011.
The Housing Agenda, Cable Factory Gallery,
Hänen kappaleestaan, jossa Mubarakia
Helsinki. They have worked with groups such
now teaches. His passion to educate and
Graduated in Arts from the University of
vaaditaan eroamaan, tuli Youtuben
as the Chto Delat? and Perpetuum Mobilε.
communicate through art has taken his
Barcelona (Spain), she is continuing her
myötä maailmankuulu ja sitä pidetään
work from the studio into public space; his
studies at the Behavior Art School in Havana
vallankumouksen tunnussävelmänä. Time
graffiti and murals are as much about his own
(Cuba) under the direction of Tania Bruguera.
Out -lehti nimesi laulun kaikkien aikojen
of the Thessaloniki State Museum of
artistic expression as they are generating and
Her work has been exhibited at the biennials
kolmanneksi eniten maailmaa muuttaneeksi
Contemporary Art MUDAM, and Museum
contributing to a larger dialogue with
of Havana, Pontevedra, Ljubljana, Liverpool,
Reina Sofia, Madrid, among others. As a
Goteborg; and at museums in Barcelona, The
Fine Arts at Luxor University where he
Jeremić&Rädle’s works are in the collections
researcher, Rena Rädle has written and produced projects on the Holocaust and WWII
Hague, London, Paris, New York, Eindhoven, KHALED JARRAR
history in the Balkans. As a curator, Jeremić
Abo Bakr’s revolutionary street art has cased
Chicago, Miami, Formigine, Stockholm,
walls in Cairo, Luxor, Frankfurt, Berlin,
Madrid, Hertogenbosch, Istanbul, Leipzig,
Amsterdam and Brussels, journaling the
Bucharest, Zagreb, Cali, Lima, Graz, among
Palestinian artist Khaled Jarrar (1976) works
Egyptian Revolution’s many turning points.
with photography, video and performance to
more than thirty exhibitions in local and
interrogate the problematic situation in his
international contexts. These include I Will
He became most famous for his mural on Mohamed Mahmoud Street leading to Cairo’s
Tahrir Square, which honors those who have
was the director of Gallery DOB of the city’s Cultural Center of Belgrade, and has curated
native country, particularly the question of
Never Talk About the War Again, realized
recognition of the State of Palestine and the
in Färgfabriken in Stockholm and in Kibla, Maribor. With Rädle, they were co-initiators
lost their lives in ongoing clashes with the
Núria Güell (1981) uudelleen määrittelee
militaristic discourse around this. He uses his
taiteessaan “oikeuden” rajoja luomalla
artistic practice as a means of thinking about
of the project Call the Witness – 2nd Roma
vastarinnan mekanismeja. Hän analysoi
the questions of conflict, nationhood, home
Pavilion at the 54th Venice Biennial. Jeremić is
Abo Bakr will paint new murals for the To
meitä hallinnoivien instituutioiden etiikkaa ja
and belonging. Jarrar is also a filmmaker,
also a co-founder and member of ArtLeaks.
(The) Square 2 -exhibition.
valtamekanismeja, jotka vaikuttavat yleiseen
whose documentary, The Infiltrators
(2012), won several accolades at the Dubai
ajatteluumme ja aisteihimme. Taiteellisten
International Film Festival. The film was
projektiensa kautta hän tekee näkyväksi näitä
screened as part of Back to (The) Square 1 at
Vladan Jeremić (1975) ja Rena Rädle (1970)
Egyptiläinen Ammar Abo Bakr (1980)
mekanismeja sekä soveltaa niitä luodakseen
the Andorra cinema on March 2014. Jarrar’s
ovat belgradilaisia taiteilijoita ja kuraattoreita,
opiskeli maalausta Luxorin yliopistossa,
vastastrategioita, jotka kyseenalaistavat
new works will be seen in To (The) Square 2 in
jotka yhdistävät projekteissaan piirroksia,
missä hän opettaa nykyisin. Intohimo
vakiintuneita moraalisia ja oikeudellisia
Lasipalatsi Square, August 2014.
taidetta ja opettamista kohtaan on vienyt
keskusteluja, dokumentaarista videota ja valokuvaa. Heidän teoksiinsa liittyy erilaisia
hänet gallerioista julkiseen tilaan: samalla 20
Memory – Fields of vision, Contemporary Art
Through this manner of “drilling” reality and its “natural” obviousness, Núria Güell’s work
interventioita, julkisia keskusteluja sekä sisältöjen levittämistä sosiaalisia verkostoja
kun hänen graffitinsa ja seinämaalauksensa
Viime vuosien aikana Güell on kehittänyt
esittävät hänen omaa näkemystään, ne
DISPLACED LEGAL/MORAL APPLICATION
Palestiinalainen Khaled Jarrar (1976)
pitkin. Kuratoriaalisessa ja taiteellisessa
myös luovat ja ottavat osaa julkiseen
työskentelee valokuvan, videon ja
työssään he tutkivat nykytaiteen ja politiikan
keskusteluun yleisön kanssa. Abo Bakrin
Sovellus) -konseptin määrittääkseen
performanssin keinoin kyseenalaistaakseen
välisiä yhteyksiä. Viimeaikaisissa teoksissaan
vallankumouksellinen katutaide on verhonnut
metodologiaa, joka jäsentää hänen
kotimaansa ongelmallista tilannetta,
he ovat käsitelleet moderni urbanismia sekä
seiniä Kairossa, Luxorissa, Frankfurtissa,
projektejaan. Hän analysoi vallitsevia
erityisesti kysymystä Palestiinan valtion
uusia sosiaalisia liikkeitä.
Berliinissä, Amsterdamissa ja Brysselissä,
oikeudellisia tai moraalisia periaatteita, ja
tunnustamisesta. Jarrar käyttää taidetta
kirjaten ylös Egyptin vallankumouksen
soveltaa niitä vastakkaiseen suuntaan. Näin
Rädle & Jeremić ovat työskennelleet
eri käännekohtia. Hän tuli tunnetuksi
hän muuttaa valtasuhteita käänteisiksi,
itsenäisyyden, kodin ja johonkin kuulumisen
yhdessä vuodesta 2002 työstäen videoteoksia
seinämaalauksestaan Mohamed Mahmoud
ja pienilläkin käänteillä kyseenalaistaa
pohtimiseen. Jarrar on myös elokuvantekijä.
ja projekteja. Heidän viimeisimpiä
-kadulla, joka johtaa Tahririn aukiolle. Teos
vakiintuneita normeja. Todellisuuteen ja sen
Hänen dokumenttinsa Infiltrators (2012) voitti
näyttelyitään ovat muun muassa Between
on kunnianosoitus niille, jotka menettivät
“luonnollisena” pidettyihin ilmiselvyyksiin
useita palkintoja Dubain elokuvafestivaaleilla.
Worlds II Kraljevic Galleriassa Zagrebissa,
henkensä taistelussa poliisivaltiota vastaan.
“porautumalla” Núria Güellin teokset
Elokuva nähtiin osana Back to (The) Square
Self Made Urbanism Rome, NGBK:ssa
avaavat vaihtoehtoisia todellisuuksia
1 -näyttelyä maaliskuussa 2014 Jarrarin
Berliinissä, Places of Memory – Fields of
ja mahdollisuuksia, jotka muuttavat
videoiden, valokuvan ja intervention lisäksi.
vision Thessalonikin nykytaiteen keskuksessa,
Jarrarin teokset levittäytyvät Lasipalatsin
Moving Forwards, Counting Backwards,
Taiteilija on valmistunut Barcelonan yliopiston
aukiolle elokuussa 2014.
MUAC:ssa Mexico Cityssä ja The Housing
NURIA GUELL With a strict positioning oriented towards
taidelinjalta ja hän jatkaa parhaillaan
Agenda Kaapelitehtaan galleriassa
creating mechanisms for dissent, Núria
opintojaan Havannassa Kuubassa. Núria
Helsingissä. Taiteilijat ovat työskennelleet
Güell’s (1981) work reformulates the limits of
Güellin töitä on nähty muun muassa Havannan
“legality”. Analyzing the ethics of institutions
biennaalissa, Ljubljanassa, Liverpoolissa,
that govern us, she investigates the abuses
Göteborgissa, Lontoossa, Pariisissa, New
Vladan Jeremić (1975) and Rena Rädle
of power perpetrated by established legality
Yorkissa, Chicagossa ja Tukholmassa.
(1970) are Belgrade-based artists and
Jeremić&Rädlen teoksia on muun muassa
and hegemonic morality, which act as
curators whose projects combine drawing,
Thessalonikin nykytaiteen valtionmuseon
control mechanisms that dominate collective
discussion, documentary video and
MUDAMin sekä Reina Sofia -museon
photography. Their projects include various
kokoelmissa Madridissa. Tutkija Rena
forms of interventions, public debate, and
Rädle on kirjoittanut ja tuottanut projekteja
subjectivity, thinking and common sense.
Through her projects she exposes these
VLADAN JEREMIĆ & RENA RÄDLE
yhteistyössä ryhmien kuten Chto Delat?:n ja Perpetuum Mobilεn kanssa.
mechanisms and employs them to generate
Egyptian musician Ramy Essam (1987) is best
their social dissemination. In their curatorial
holokaustista ja toisen maailmansodan
counter-strategies which transgress or put
known for his appearances in Tahrir Square
and artistic practice they research the
historiasta Balkanilla. Kuraattori Jeremić
into crisis established moral and legal forms.
in Cairo during the 2011 Egyptian revolution.
intersection between contemporary art and
on ollut galleria DOB:n johtaja Belgradissa
His song, in which Mubarak is urged to
politics. Urbanism today and emerging social
ja hän on kuratoinut yli kolmekymmentä näyttelyä kotimaassaan ja kansainvälisesti,
In the past years, Núria Güell developed
resign, became internationally known through
movements have been the focus of much of
the concept of DISPLACED LEGAL/MORAL
YouTube, and is referred to as the anthem
their recent work.
APPLICATION to define the methodology that
of the revolution. In 2011, it was selected by
structures her projects. Analyzing a legal or
Time Out as the third most world-changing
Rädle&Jeremić have worked together since
Kiblassa Mariborissa. Jeremić ja Rädle olivat
moral principle, this is applied in an opposite
song of all time.
2002, co-authoring video works and projects.
aloitteentekijöitä Call the Witness - 2. Romani
or inverse direction, thereby reversing power relationships and, with a little twist, initiating a questioning of established norms.
muun muassa I Will Never Talk About the War Again Färgfabrikenilla Tukholmassa ja
Their recent exhibitions include Between
Paviljonkiin 54. Venetsian biennaalissa.
Worlds II, Kraljevic Gallery, Zagreb; Self Made
Jeremić on myös yksi ArtLeaksin perustajista
Urbanism, Rome, NGBK, Berlin; Places of
ja sen ydinjäsen.
TSQ2 ARTISTS’ BIOS NIKOLAY OLEYNIKOV
oikeudenmukaisuus. Rallis kritisoi omaa
Eldar Ganeev, Evgeny Rimkevich sekä veljekset Stepan ja Vasily Subbotin. ZIPin
alaansa sekä kyseenalaistaa mitä graafinen Nikolay Oleynikov (1976) is a Moscow and St.
suunnittelu tarjoaa tämänhetkiseen poliittiseen
Turkkilainen teollinen muotoilija Berk Asal
työtilana on vanha Neuvostoliiton aikainen
Petersburg-based artist and activist originally
ja sosiaaliseen kontekstiin.
(1983) työskentelee Berliinissä taiteen,
tehdas (ZIP-lyhenne tarkoittaa mittarilaitteita
from Nizhny Novgorod. He has developed a
arkkitehtuurin ja muotoilun rajapinnoilla.
valmistavaa tehdasta), joka yhdistää
unique practice of collective “learning murals”
Hän toimii freelancerinä Raumlaborissa
neuvostomenneisyyteen. ZIP-ryhmä tutkii
sekä projektikoordinaattorina ja teknisenä
esimerkiksi historiamme teollisia esineitä
päällikkönä Apartment-projektissa. Asal
ja tekee yhteistyöprojekteja työläisten
and graphic works in the tradition of the Soviet
monumental school, comics and surrealist imaginary with roots in punk culture. He is a
Working in between the fields of architecture
on myös ON/OFF-kollektiivin (2012)
kanssa. Ryhmän Utopia-projektissa tehtaasta
member of Chto Delat?/What is To Be Done?,
and public art, Raumlabor, whose name
muodostui eräänlainen itsenäinen valtio,
editor of the Chto Delat? newspaper, on the
means ‘space laboratory’, create projects
”vapaa saareke” taiteilijoille ja luovalle
editorial board of Moscow Art Magazine
based around events, performance and
väelle. Krasnodarissa ja muualla Venäjällä
(2011), co-founder of the Learning Film Group
theatre. Raumlabor are a group of architects
and the May Congress of Creative Workers, as
based in Berlin, who came together in 1999
well as a member of the Arkady Kots band.
ei ole instituutioita tai järjestelmiä nuorten
in response to the rapid and unrestrained
Anne-Laure Gestering (1984) is interested in
perustanut ZIP-tehtaan tiloihin itsenäisen
development of the city following the fall
how people perceive and inhabit urban spaces.
Nykytaiteen Instituutin KICA:n.
Oleynikov is represented worldwide through
of the Berlin wall. Their playful approach
She founded the Archikid project in Berlin for
his solo projects as well as with a number
critiques this dominant mode of architectural
children, to motivate them to understand and
of collectives. He has had numerous
production, proposing instead temporary
interact with their environment. At Raumlabor
projects that transform the urban landscape
Anne-Laure favours participative projects that
is a new art organization that commissions and
through what they call ‘urban prototypes’. This
involve strong forms of dialog.
produces artworks by emerging international
realize ideas for projects in Helsinki, and thus
taiteilijoiden tukemiseen, joten ryhmä on
artists. It invites artists and curators to
approach is not only used to critique official planning processes but also to influence
Nikolay Oleynikov (1976) on moskovalainen
them. Collaboration is a key part of their
taiteilija ja aktivisti. Hän on kehittänyt
strategy with specialists including engineers,
ainutlaatuisen tavan oppia luomalla
sociologists, local experts, ethnographers
functions as a platform for artistic work. The Anne-Laure Gestering
aim of Checkpoint Helsinki is to make art show in the cityscape, and to open up different forms of contemporary art to the public.
yhteisöllisesti seinämaalauksia ja
and citizens being brought together around
Anne-Laure Gestering (1984) on kiinnostunut
graafisia teoksia. Niiden perustana on
specific projects. Their projects try to open
siitä, miten ihmiset hahmottavat ja käyttävät
up a space of communication and negotiation
kaupunkitiloja, ja etenkin miten he ottavat
sarjakuvallinen ja surrealistinen kuvakieli,
in which relations can be made and conflicts
niitä omakseen. Gestering perusti vuonna 2009
jonka juuret ovat punk-kulttuurissa. Oleynikov
played out, and they acknowledge that for
Berliiniin Archikid-projektin, jonka puitteissa
on Chto Delat? / What is to Be Done -
them architecture is first and foremost a social
järjestetään työpajoja lapsille eri puolilla
on Guggenheim Helsingille vaihtoehtoja
taiteilijaryhmän jäsen sekä sen samannimisen
kaupunkia ja motivoidaan heitä ymmärtämään
pohtineesta liikkeestä syntynyt
ympäristöä ja vuorovaikutusta sen kanssa.
taideorganisaatio, joka tuottaa nykytaidetta
sanomalehden toimittaja. Oleynikov on ▫
perustamassa ryhmiä Learning Film Group
Raumlabor - tilalaboratorio - työskentelee
sekä May Congress of Creative Workers. Hän
arkkitehtuurin ja julkisen taiteen
soittaa myös punk-folk-yhtyeessä Arkady Kots.
välimaastossa. Se syntyi vuonna 1999
Oleynikov tunnetaan maailmanlaajuisesti
Berliinissä vastauksena muurin murtumista
hänen taideprojekteistaan sekä lukuisissa
seuranneeseen nopeaan ja hallitsemattomaan
Hän on kiinnostunut etenkin osallistavista
nousevilta kansainvälisiltä taiteilijoilta.
projekteista, joissa on vahva dialogi
Checkpoint Helsingin tavoitteena on tehdä
ajankohtaisesta nykytaiteesta näkyvä osa Helsingin kaupunkikuvaa ja avata nykytaiteen muotoja erilaisille yleisöille
yhteisöissä toimimisesta. Hän on ollut mukana
kehitykseen kaupungissa. Arkkitehtiryhmän
The art-group ZIP’s critical and at time
monissa kansainvälisissä näyttelyissä.
leikkisä lähestymistapa kritisoi arkkitehtonisen
hilarious works stimulate and engage while
co-founded by Ivor Stodolsky and Marita
tuotannon hallitsevaa otetta toteuttamalla
creating self-organized community spaces,
Muukkonen in 2007, is a curatorial vehicle
väliaikaisia, kaupunkiympäristöä muokkaavia
such as in their native Krasnodar. The ZIP
which brings together art, practice and
projekteja, joita se kutsuu urbaaneiksi
Group was founded in 2009 in Krasnodar, in
enquiry. It acts as a conduit and engine to
prototyypeiksi. Lähestymistapa ei vain
the south of Russia. The group consists of
re-imagine certain basic historical, theoretical
Tzortzis Rallis is a Greek graphic designer, who
kritisoi virallisia suunnitteluprojekteja vaan
four young artists – Eldar Ganeev, Evgeny
as well as practical paradigms in fields which
uses visual communication skills to engage
pyrkii myös vaikuttamaan niihin. Se luo
Rimkevich, and the brothers Stepan and Vasily
often exist in disparate institutional frames
in social and political initiatives. He is the
projekteja tapahtumien, performanssien ja
Subbotin. ZIP is based at a former Soviet
and territories. PM has worked extensively in
co-founder of the Occupy Design UK collective
teatterin ympärille. Keskeisenä strategiana
factory, and thus keeps connection with the
the Nordic, European and international field of
and co-designer of The Occupied Times
on tehdä yhteistyötä insinöörien, sosiologien,
Soviet past (ZIP is the Russian acronym for the
contemporary art and theory.
former Factory of Measuring Devices). The ZIP
of London, the independent, not-for-profit
paikallisten asiantuntijoiden, etnografien
newspaper born out of the Occupy movement
ja asukkaiden kanssa. Ryhmä työskentelee
Group explores artifacts of industrial history
– dedicated to socio-political, economic
pääasiallisesti julkisessa tilassa. Projektit
and develops co-projects with workers. In the
and environmental justice. Rallis exercises
pyrkivät avaamaan tilan kommunikoinnille
project “Utopia” the factory becomes a kind of
▫ Perpetuum Mobilε
criticism of his own discipline and questions
ja neuvottelulle, jotta uusia yhteyksiä voi
independent state: an “island” of freedom for
tuo yhteen institutionaalisia, taiteilijavetoisia,
the contribution of design to the contemporary
syntyä ja konflikteja voidaan ratkoa. Ryhmälle
artists and creative people. In Krasnodar as in
tutkimukseen ja yhteiskunnallisiin kysymyksiin
political and social context. ▫
arkkitehtuuri on ennen kaikkea sosiaalinen
all of Russia there is no functioning system of
keskittyviä toimijoita sekä nostaa taiteen
ilmiö, joka voi nostaa esille ongelmia, ja yrittää
art institutions to support young artists. Using
keinoin ajankohtaisia kysymyksiä julkiseen
temaattisista näyttelyhankkeista julkisen tilan projekteihin, residensseihin, työpajoihin
viestinnän taitoja sosiaalisten ja poliittisten aloitteiden tekemiseen. Hän on yksi Occupy
keskusteluun. PM:n kansainväliset yhteistyöprojektit vaihtelevat laajoista
Art — KICA.
Kreikkalainen graafinen suunnittelija Tzortzis Rallis käyttää visuaalisen
the spaces of ZIP, they have founded their own self-declared Institute of Contemporary
sekä diskursiivisiin tapahtumiin. PM:n perustivat kuraattorit Ivor Stodolsky ja Marita
Industrial designer from Turkey, Berk Asal
Design UK -yhteisön perustajista sekä
(1983), works in Berlin in the fields of art,
ZIPGroupin kriittiset ja toisinaan humoristiset
suunnittelija The Occupied Times London
architecture and design. He is a freelance
teokset innostavat ja osallistavat yleisöä
-sanomalehdessä, joka on Occupy-liikkeestä
professional at Raumlabor and works as a
samalla kun ne luovat itse-organisoituvia
syntynyt riippumaton ja voittoa tuottamaton
project coordinator and technical manager at
yhteisöllisiä tiloja, kuten heidän kotipaikassaan
sanomalehti. Sen lähtökohtana on sosiaalis-
the Apartment Project. He is a founding member
Krasnodarissa Etelä-Venäjällä. Ryhmä
poliittinen, taloudellinen ja ekologinen
of the creative collective ON/OFF (2012).
perustivat vuonna 2009 nuoret taiteilijat
Muukkonen vuonna 2007.
kuulunut myös Moscow Art Magazinen (2011) toimitusneuvostoon ja hän on ollut
TSQ2 Artworks MURAL
the military regimentation of the body, mass
Ammar Abo Bakr
obedience and programmed behaviour, while
blues rehearsals, unplugged gigs, anti-war
emphasizing the responsibility of the individual,
poetry, partisan pod-casts, radical multilogues
encyclopaedia of protecting monsters, the queer
The theme of Ammar’s work in Helsinki is a
and the case for resistance and civil or military
and personal rebel stories!
surrealistic play on the image of the Egyptian
disobedience. Especially in conflict situations
(See the project programme, and online at
cotton candy seller who becomes a kind of
such as the violence which has scarred his
www.Re-Aligned.net/radio-pravda for the full
courageous general in the everyday battle
home in Palestine/Israel, taking responsibility
programme and streaming audio/video.)
against the pervasive authoritarian system.
can change lives.(See the project programme.)
This massive-scale canvas is a study of images
resident in the collective memory and social
Khaled Jarrarin performanssi ‘Dis-/Obey’
space. The mural’s backdrop is a painted bullet-
luodaan 50 vapaaehtoisen kanssa Lasipalatsin
ridden wall. ▪
Nikolay Oleynikovin liikkuva radioasema
aukiolla 26. elokuuta. Teoksellaan Jarrar
’Radio Pravda’ kiertää Helsingin kaduilla
kyseenalaistaa sotilaallisen vallankäytön,
ja aukioilla lähettämässä ohjelmaa. Radio
massojen kuuliaisuuden ja ylhäältä ohjelmoidun
Pravda on hirviöiltä suojaava ensyklopedia,
käyttäytymisen mekanismeja sekä korostaa
akustinen keikka, sodanvastainen runoelma,
Ammar Abo Bakrin Helsingissä syntyvä teos on
yksilön vastuuta ja kansalaistottelemattomuutta.
partisaanilähetys, joukkojen keskustelua
surrealistinen näytelmä, jossa hattaranmyyjästä
Jarrar kiinnittää taiteessaan huomiota
ja yksityisiä kapinakertomuksia. Oleynikov
tulee rohkea kenraali jokapäiväisessä
kotimaansa ongelmalliseen tilanteeseen,
kysyy, millaisia taiteellisia strategioita
taistelussa vallitsevaa autoritääristä
erityisesti kysymykseen Palestiinan valtion
mediatulvan käsittelemiseen on katastrofien
järjestelmää vastaan. Teos on tutkielma kuvista,
tunnustamisesta. 50:stä armeijan univormusta
aikakaudella. Kuinka historian totuudet (pravda)
jotka ovat sosiaalisen median yhteisöllisessä
tehty installaatio ‘Dis-/Obey` on esillä
esitetään meneillään olevien sotien keskellä,
muistissa. Seinämaalauksen kulissina on
Lasipalatsin aukiolla osana To The Square
silmänräpäystä ennen suurta tuhoa? Mitä taide
maalattu, luotien repimä tausta.
2 -projektia 29.-31. elokuuta. Ensimmäistä
on köyhyyden ja unohduksen aikoina?
kertaa se on mahdollista nähdä 26. elokuuta järjestettävän performanssin yhteydessä.
monumentin, joka on omistettu historialle,
redistribution of wealth
jonka todellisuus on tuhonnut: totuus
A Charitable Contribution to the
kantautuu neuvostovallankumouksen Agitprop-
Redistribution of Wealth
junasta. Tämä venäläinen “tachanka” koostuu
RADIO PRAVDA roams the streets and
päättömistä ruumiista, muistin ja totuuden enkeleistä.
Nikolay Olyenikov ystävineen luo liikkuvan
Charitable contribution for the
metaforisista kuvista, rikkoontuneista tai
Núria Güell will be joining To The Square 2
squares of Helsinki with living and dead,
in absentia from Cuba with interventions in
local and far-flung inter-courses, participants,
Europe and Finland’s contemporary economic
location stops and sound, animating this
Kuuntele tarkasti antifasistisia lauluja,
dis-logic. With a strict positioning oriented
mobilized broadcast station.
kokeellisia iltasatuja ja kauhukertomuksia!
Güell’s work reformulates the limits of
How does an artist react to the media onslaught
pravda tai Helsingin kaduilla ja Lasipalatsin
“legality”. Analyzing the ethics of institutions
during a period of catastrophe? One of the most
aukiolla 19.–31.8. Kts. ohjelma.
that govern us, she investigates the abuses
radical artist of the times of 1914, Georg Grosz,
of power perpetrated by established legality
found out that the world was changed forever
towards creating mechanisms for dissent,
Kuuntele netissä www.re-aligned.net/radio-
and hegemonic morality, which act as
when war became a factory for producing
control mechanisms that dominate collective
cadavers and the disabled, and radical poverty
subjectivity, thinking and common sense.
flourished on the streets of the modern city.
How to reveal history’s truth (PRAVDA) in
to enable participants to express anger and
these antebellum days: the instants preceding
concerns at the current social and economic
Núria Güell liittyy To The Square 2 -projektiin
calamity? What is art in the age of the digital
situation and produce visual responses to the
Kuubasta käsin interventioilla, jotka käsittelevät
re-production -- of murder, poverty and
issues that affect our everyday lives.
ajankohtaista ekonomista epäloogisuutta.
This workshop is a practical experiment aiming
Núria Güell uudelleen määrittelee taiteessaan
We will use symbols and slogans in a collective
“oikeuden” rajoja luomalla vastarinnan
In 1921 Paul Klee’s image Angelus Novus
mekanismeja. Hän analysoi meitä hallinnoivien
triggered Walter Benjamin’s allegory of history
stand. We will be setting up an instant
instituutioiden etiikkaa ja valtamekanismeja,
as an infinite catastrophe driving humankind
printing area to produce messages, a visual
discussion as an opportunity to take a public
jotka vaikuttavat yleiseen tietoisuuteemme,
to a moment of rupture. Which revolution
manifestation that communicate with the
käyttäytymismalleihimme, ajatteluumme ja
could break the choice between despair and
denizens and passers-by on Lasipalatsi Square.
aisteihimme. Taiteellisten projektiensa kautta
Benjamin’s oblivion blues?
hän tekee näkyväksi näitä mekanismeja sekä
soveltaa niitä luodakseen vastastrategioita,
Artists inflame radical memory of the past
jotka kyseenalaistavat vakiintuneita moraalisia
to make the future possible. Fwrom the very
ja oikeudellisia toimintatapoja.
personal perspectives of many, to the common
tutun graafisen suunnittelijan Tzortzis
struggles of each.
Ralliksen työpaja on käytännön kokeilu, jossa
Nikolay Oleynikov and his friends are making
ja turhautumistaan ajankohtaisesta
Occupied Times / Occupy Designista
osallistujat voivat ilmaista huoliaan DIS-/OBEY Khaled Jarrar
this moving monument dedicated to history
sosiaalisesta, poliittisesta ja ekonomisesta
fucked by the real: pravda emanating from a
tilanteesta sekä tehdä printtejä ja muita teoksia
For his new performative artwork, Khaled
vehicle in the style of an early revolutionary
jokapäiväiseen elämäämme vaikuttavista
Jarrar is looking for 50 volunteers – of all ages
Agitprop train. This is a tachanka of
teemoista. Symboleita ja iskulauseita
and types. As a former bodyguard of President
metaphorical images, of broken and headless
käyttämällä tehdään julkinen kannanotto,
Arafat of the PLO/Palestinian Authority, Jarrar
bodies, of the angels of memory and truth.
will train volunteers to march in a specially
visuaalisen manifestaatio, joka esitellään Lasipalatsin aukiolla. Tzortzis Rallis on taittanut
coordinated movement through the streets of
Hark the antifascist ballades! The experimental
THE SQUARE -sanomalehden, joka on osa TO
Helsinki. This performative action questions
bad-time stories and scary tales! The
THE SQUARE 2-projektia.
TSQ2 Artworks MO-WE-MO-BIL
be confronted with forms of organizing and
communicating beyond digital networks?
above it, one for recreation. Besides these,
Networks that can’t be traced and spied on over
an art gallery for exhibiting works created by
Mo-we-Mo-bil is an experimental mobile cinema.
satellite, radio-waves or from drones? How can
visitors will be constructed. On top of all of this,
It aims at activating spaces in Helsinki by
one produce a revolutionary artistic practice
a viewer’s/speaker’s platform for observing the
bringing people together for public screenings.
that is resistant to becoming ice-cream from the
environment and communicating with the world
It is made of a projection unit on wheels and
Googleheim Museum’s deep-freeze?
will soar into the sky. In this way, we will create
workshops, in Kontula and on Lasipalatsi
Starting with the Googleheim museum allegory,
a sort of self-developing organism intended to
square. Everyone is welcome to participate in
Jeremić & Rädle will map the set of issues
unite audiences and artists. We welcome artists
building the chairs or watching the movies. To
around digital archives, proprietary social
and others to propose their projects!
foldable chairs which are built in several
then a space for working together and, directly
something like an independent “micro-state”,
reserve your seat, we encourage you to build
spaces, the co-option of social practices,
one! Foldable chairs will be built in workshops
museology and current conflicts in Finnish
in Kontula Kontupiste 24.-25.8. and the
society. Their primary media will be drawings,
Lasipalatsi Square 26.-27.8.
textile banners and leaflets that will be mounted and distributed at the Lasipalatsi Square.
Projektissamme on kyse prosessista, kohtaamisesta ja mikroyhteisön syntymisestä. Työmme jakautuu useampiin
Mo-we-Mo-bil on kokeellinen, liikkuva
rakennusvaiheisiin, joista jokaisessa syntyy uusi taso ihmisten yhdessäololle. Ensimmäisessä
elokuvateatteri. Sen tavoitteena on aktivoida
Googleheim-museo tallentaa taidetta,
kaupunkitilaa Helsingissä tuomalla ihmisiä
joka on syntynyt viime vuosikymmenien
vaiheessa rakennamme lavan, joka on sekä neliö että pöyreä, tuoleja sekä pöydän
yhteen elokuvaesityksiin. Se on pyörillä
vallankumouksista ja protesteista. Kokoelmissa
ensimmäiselle TSQ2 -keskustelulle “Aukioiden
kulkeva projisointiyksikkö taitettavine
on taiteilijoiden ja aktivistien sosiaalisten online-
tulevaisuudesta” 22. elokuuta. Tämä puretaan
elokuvatuoleineen, jotka on rakennettu
verkostojen kautta levinneitä provokaatioita
ja rakennetaan uudestaan 25. elokuuta.
työpajoissa Kontulassa ja Lasipalatsin aukiolla.
ja vastarintaa tiettyjä poliittisia järjestelmiä
Sitten rakennamme uusen tilan tapaamisille
Kaikki ovat tervetulleita rakentamaan tuoleja tai
vastaan. Museo hankkii tietoa yhtiöiltä, jotka
ja keskusteluille, jonka jälkeen luomme tilan
katsomaan elokuvia. Varataksesi oman paikan
markkinoivat tilastotietoja ja informaatiota,
yhdessä työskentelylle ja sen yläpuolelle tilan
elokuvaesityksestä tule ja rakenna se!
joka on kerätty verkossa olevista sosiaalisista
rentoutumiselle. Haluamme myös rakentaa
medioista. Aikaisemmin merkityksellinen
gallerian yleisön tekemälle taidenäyttelylle.
Tuolit rakennetaan työpajoissa Kontupistessä
poliittinen toiminta ja vaatimukset menettävät
Meille voi myös ehdottaa projekteja! Ja huipulle
Kontulassa 24.–25. elokuuta sekä Lasipalatsin
poliittisuutensa levitessään laajalle yleisölle
tulee näköalatasanne, josta voi tarkkailla
aukiolla 26.–27. elokuuta. Kts. ohjelma.
Googleheim-galleriossa ympäri maailmaa. Tämä
ympäristöä ja katsella taivaalle. Rakennamme
on helpoin tapa imeä tyhjäksi vastavoimien
ikään kuin itsenäisen minivaltion, itsestään
kehittyvän organismin, joka yhdistää yleisön
Rena Rädle & Vladan Jeremić
ja taiteilijat. Mitkä ovat sellaisia vastastrategioita, joilla vältyttäisiin Googleheim-museon digitaalisten
Googleheim is a museum that collects
arkistojen kaiken kattavuudelta? Voiko
artistic practices which have emerged during
Googleheimin laimentavan vaikutuksen
popular revolutionary waves and protests over
välttää siirtymällä viestimään digitaalisten
the last decade. The collections show stuff
verkkojen ulkopuolella, jolloin niitä ei voi
artists and activists have disseminated through
jäljittää radioaalloista ja satelliiteista?
online social networks as acts of resistance
Kuinka toteuttaa vallankumouksellista
against, and provocations directed at various
taiteellista toimintaa, joka ei muutu jäätelöksi
Googleheimin pakaste-altaaseen? Jeremić & Rädle aloittavat Googleheim museo-allegorian
The museum acquires its collection from
kartoittamalla digitaalisiin arkistoihin liittyviä
companies that trade in statistics and
kysymyksiä, vaihtoehtoisia sosiaalisia paikkoja
information collected from online social
viestimiseen, museologiaa ja ajankohtaisia
networks. Information packages are on offer for
konflikteja suomalaisessa yhteiskunnassa.
any taste and use, yet are mainly designed for
Tästä materiaalista he tekevät piirustuksia,
political purposes and marketing campaigns.
kangasbanderolleja ja lentolehtisiä näytteille ja
For example, an election candidate can acquire
jaettavaksi Lasipalatsin aukiolla.
localized information packages in order to
To The Square 2 / Full Programme, Ohjelma: www.checkpointhelsinki.org/en and www.re-aligned.net/tsq2-concept-programme
enrich and elaborate a political speech or election campaign – so as best to respond to
the most popular issues being discussed on
social networks in that particular area. The
Visual documentation / Tietoa taiteilijoista ja pressikuvat: www.flickr.com/photos/124592932@N06/ sets/72157645945322289
Googleheim Museum selects the most thrilling
Our project is about process, meeting people
and “dangerous” data packages for display.
and the birth of a microcommunity. The work is divided into several phases of construction. In
In the world of the Googleheim Museum,
each phase, a new platform appears, enabling
exposed in galleries publicly visible from all
new forms of communication for those who
over the world, previously politically-relevant
have come to the square. First, a platform will
acts and demands lose their politicality...
appear, square and round at once, with tables
There is no easier way to absorb critical and
and chairs for the first TSQ2 DEBATE, “The
Future of the Square”, on 22nd August. Then this will disappear, and reappear in another
What are the counter-strategies that open up
form starting Monday 25th, when further
ways to avoid the totalizing enormity of the
levels and platforms and stage for concerts and
digital archives of the Googleheim Museum?
screenings will be added. The new spaces will
Can the neutralizing power of Googleheim
include a place for meetings and discussions,
Image: ZIP Group sketches for TSQ2, 2014
TSQ2 OHJELMA MAANANTAI 18.8
Raumlaborin “mo-we-mobile” liikkuvan
20–02 WARM UP CLUB: Nikolay
22 Raumlaborin “mo-we-mobile” liikkuvan
Oleynikov esittelee liikkuvan radioaseman,
elokuvateatterin näytöksiä Kontulassa
Ammar Abo Bakr maalaa suurta teosta
elokuvateatterin näytöksiä kaupunkitilassa
Radio Pravdan. Keskustelussa mukana maailmanpolitiikan aktivisti professori Teivo Teivainen. Oleynikov aka DJ Kolyan klubi keskustelun jälkeen. (mbar)
Lasipalatsin päätyyn. ZIP-ryhmä rakentaa moniulotteista “KONSTRUKTIOTA” Lasipalatsin aukiolle,
ZIP-ryhmä rakentaa moniulotteista
joka täydentyy uusilla osilla päivittäin.
KONSTRUKTIOTA Lasipalatsin aukiolle,
RADIO PRAVDA: Nikolay Oleynikovin liikkuva
14–15 PRESSITILAISUUS: Kuraattorit ja
ruokailuun, elokuvien katseluun, taiteen
radioasema suuntaa Helsingin kaduille
TSQ2 taiteilijat esittelevät käynnissä olevia
ja aukioille. Asema on akustinen keikka,
projekteja Lasipalatsin aukiolla.
Khaled Jarrarin INSTALLAATIO Dis-/Obey
joka on valmistumassa rentoutumiseen,
sodanvastainen runoelma, partisaanilähetys,
joukkojen keskustelua ja yksityisiä
17 Vapaaehtoisten kokoontuminen
Lasipalatsin aukiolle Khaled Jarrarin
15–20 Vladan Jeremićin & Rena Rädlen
Non-Googleheim-projekti aukiolle valmistuu.
16 Hietaniemen hautausmaa. Live Radio for
18.30 Khaled Jarrarin julkinen performanssi
16–20 Tzortzis Ralliksen (Occupied Times
Dis-/Obey käynnistyy Vanhan ylioppilastalon
/ Occupy Design) poliittinen ART-PRINT
17.30 Sörnäisten metroasema / Helsinginkatu.
edestä (Mannerheimintie 3), ja päätyy
Lasipalatsin aukiolle. Ensimmäinen
19 RADIO PRAVDA palaa Lasipalatsin aukiolle
mahdollisuus nähdä INSTALLAATIO Dis-/
20.00 TO THE SQUARE 2 -AVAJAISET:
Apulaiskaupungin johtaja Ritva Viljanen ja
17–21 Osallistu TYÖPAJAAN ja rakenna
Kåhre avaavat projektin. Taiteilijat ja
elokuvatuoli LIIKKUVAAN “mo-we-mobile”
kuraattorit esittäytyvät Lasipalatsin aukiolla.
14 Lasipalatsin aukio
Checkpoint Helsingin puheenjohtaja Markus
13.30 RADIO PRAVDA Lasipalatsin aukiolla.
ELOKUVATEATTERIIN Lasipalatsin aukiolla. Kts. yllä.
15–17 TSQ2 KESKUSTELU: LASIPALATSIN
aukiolta tuttu vallankumouksen symboli,
AUKION TULEVAISUUS. Mukana mm. Kai
22 Raumlaborin “mo-we-mobile” liikkuvan
Kaartio, Amos Andersonin Museo, Marianna
elokuvateatterin näytöksiä kaupunkitilassa
Kajantie, Lasipalatsin mediakeskus; Tapio Mäkelä, mbar, Tuomas Rantanen, Voima-
21.00 AVAJAISKONSERTTI: Kairon Tahririn muusikko RAMY ESSAM lavalla, mukana Paleface ja Räjähtävä Nyrkki. LIVENÄ RADIO PRAVDASSA.
22.00 KLUBI: DJ Daddy Pales mbarin lavalla
Mediafacades, sekä muita helsinkiläisiä.
Ammar Abo Bakr maalaa suurta teosta
Puheenjohtajana toimii Tuomas Toivonen.
lehti / Helsingin Vihreät, Minna Tarkka,
12–16 Tzortzis Ralliksen poliittinen
Keskustelu alkaa suomeksi. Kuraattorit esittelevät projektin. TSQ2 -taiteilijat
ZIP-ryhmä rakentaa moniulotteista
Ammar Abo Bakr, Khaled Jarrar, Nikolay
KONSTRUKTIOTA Lasipalatsin aukiolle,
ART-PRINT TYÖPAJA. OSALLISTU!
Oleynikov, Raumlabor ja ZIP Group
joka täydentyy uusilla osilla päivittäin.
Rentoudu, ruokaile, luo taidetta
sekä Media Facades -taiteilijoista Suse
OSALLISTU: rentoudu, ruokaile, luo taidetta,
ZIP-ryhmä moniulotteisessa konstruktiossa
Miessner (Helsinki) sekä Ivan Henriques
katso elokuvia tai osallistu keskusteluihin!
jakavat näkemyksiään maailman aukioista.
14–16 ART WAR -elokuvan PRESSINÄYTÖS
Khaled Jarrarin installaatio Dis-/Obey
Yhteistyössä m-cult / Media Facades Helsinki.
Kino Engelissä. Elokuvan päähenkilöt Ammar
(Lasipalatsin aukio, ZIP-ryhmän
Abo Bark ja Ramy Essam esittelevät elokuvan.
/ World Wilder Lab (Rio de Janeiro)
rakentama lava). 19 RADIO PRAVDA Lasipalatsin aukiolla LAUANTAI 23.8
17.30–18.30.00 TSQ2 KESKUSTELU 15–20 Vladan Jeremićin & Rena Rädlen
Khaled Jarrar, kuraattorit ja asiantuntijat
keskustelevat Palestiinan ja Israelin
Lasipalatsin aukiolla. Taiteilijat
tilanteesta ja sen suhteesta taiteilijan
keskustelemasa yleisön kanssa
teokseen Dis-/Obey. LIVENÄ RADIO
22 L SQUARE CINEMA: PUSSY VS. PUTIN
16 RADIO PRAVDA Kontufestarilla (www.
TSQ2 KESKUSTELUSSA mukana muun
22.00 L SQUARE CINEMA: ART WAR
muassa ohjaaja Tasya Krougovykh
(videolinkin kautta) Grey Violet (queer-
TSQ2 KESKUSTELUSSA elokuvan
aktivisti Moskovasta), Teemu Matinpuro
päähenkilöt: Ammar Abo Bakr, Ramy
(Rauhanpuolustajat), Antti Rautiainen
Essam sekä Ganzeer videolinkin kautta.
(anarkisti, aktivisti), Teivo Teivainen
Kuraattorien lisäksi Egyptin tämänhetkisestä
14–18 Osallistu TYÖPAJAAN: rakenna
(maailmanpolitiikan professori), Ivor
tilanteesta keskustelemassa Päivi Mattila
elokuvatuoli LIIKKUVAAN “mo-we-mobile”
Stodolsky (kuraattori, tutkija).
(Ihmisoikeusliitto), Iida Siimes (PEN)
Elokuvanäytös alkaa kello 22.30. LIVEnä
Elokuvanäytös alkaa 22.30.
LIVENÄ RADIO PRAVDASSA.
(Keinulaudankuja 4), 00940 Helsinki.
15 RADIO PRAVDA aloittaa viimeisen
Ammar Abo Bakr maalaa suurta teosta
Khaled Jarrarin installaatio Dis-/Obey
kiertueen Helsingin kaduilla ennenkuin se
19 RADIO PRAVDA takaisin
ZIP-ryhmä rakentaa moniulotteista
Rentoudu, ruokaile, luo taidetta ZIP-ryhmän
KONSTRUKTIOTA Lasipalatsin aukiolla, joka
moniulotteisessa konstruktiossa Lasipalatsin
täydentyy uusilla osilla päivittäin.
15–20 Vladan Jeremićin & Rena Rädlen
14–15 TSQ2 KESKUSTELUSSA ZIP
-ryhmä ja Raumlabor muun muassa
19 RADIO PRAVDA Lasipalatsin aukiolla. SUNNUNTAI 24.8
kanssa. Kontupiste, Kontulan ostoskeskus
parkkeeraa Lasipalatsin aukiolle.
MAANANTAI 25.8 ZIP-ryhmä rakentaa moniulotteisen
Roskalavapaviljongin aktivistien kanssa.
“KONSTRUKTION” Lasipalatsin aukiolle, joka täydentyy uusilla osilla päivittäin. SEURAA
18–19 TSQ2 -KESKUSTELU Non-Googleheim
RAKENTAMISTA ja OSALLISTU: rentoudu,
-projektista, mukana muun muassa Vladan
Livenä RADIO PRAVDAssa.
ruokaile, luo taidetta, katso elokuvia tai
Jeremić & Rena Rädle, Jussi Koitela
22.00 L SQUARE CINEMA: INDIGNADOS
(taiteilija, kuraattori), Thomas Wallgren
(filosofi, aktivisti, poliitikko). RADIO 16–20 Rakenna elokuvatuoli Raumlaborin
PRAVDAn LIVE-lähetys aukiolta.
TSQ2 PROGRAMme FRIDAY 18th
6–7pm TSQ2 DEBATE: Vladan Jeremić &
8pm–2am CLUB WARM UP: Nikolay
ZIP Group “CONSTRUCTIVISM” on Lasipalatsi
project with Jussi Koitela (artist, curator)
Oleynikov presents the nomadic multi-
Square. This ambitious multi-part pavilion
and Thomas Wallgren (philosopher, activist
channel broadcast station, RADIO PRAVDA.
will include a discussion platform, stages, a
and politician), among others. RADIO PRAVDA
Activist professor Teivo Teivainen joins him
relaxation-room, screening space, art-walls and
broadcasts the session. Lasipalatsi Square.
for a lively discussion with the curators, in the
food. Watch them build their new architectural
context of Oleynikov aka DJ Kolyan’s club
piece, starting Monday 25th. Towards the
10pm Raumlabor’s “mo-we-mobile” Mobile
night (mbar terrace).
opening on the 29th, there will be more and
Cinema screenings in urban space.
Rena Rädle talk about the Non-Googleheim
more spaces to “construct” with them! THURSDAY 21st
FRIDAY 29th 4–8pm Raumlabor’s open WORKSHOP in
RADIO PRAVDA starts its journey,
Ammar Abo Bakr continues work on his massive-scale canvas in Lasipalatsi Square.
roaming the streets and squares of Helsinki, with living and dead, local and far-flung
10pm Raumlabor’s “mo-we-mobile”
participants, inter-courses, location-stops
screenings in Kontula.
and sound animating this mobilized
ZIP Group “CONSTRUCTIVISM” on Lasipalatsi Square. Paint, exhibit, relax..
2pm Lasipalatsi Square.
ZIP Group “CONSTRUCTIVISM” on
4pm Hietaniemi Cemetery. Live Radio for the
Khaled Jarrar’s INSTALLATION Dis-/Obey
3–8pm Vladan Jeremić & Rena Rädle finish
Dead 5.30pm Sörnäisten metroasema /
2pm PRESS CONFERENCE: The TSQ2
Helsingenkatu. Fix us
project and concepts will be presented, and the artists will discuss their ongoing projects.
Non-Googleheim. 4–8pm political ART-PRINT WORKSHOP with Tzortzis Rallis of the Occupied Times /
7pm RADIO PRAVDA returns to Lasipalatsi Square (as always).
re-mounted in Lasipalatsi Square.
5pm Volunteers gather at Lasipalatsi square
Occupy Design. PARTICIPATE!
for the performative aspect of Khaled FRIDAY 22nd
1.30pm RADIO PRAVDA on the square
6:30pm Khaled Jarrar’s public action
8pm TO THE SQUARE 2: GRAND OPENING Opening words by Deputy Major Ritva Viljanen and Chairperson of Checkpoint
starts in front of the Old Student House
Helsinki Markus Kåhre with contributions
3–5pm TSQ2 DEBATE: THE FUTURE
(Mannerheimentie 3) from which Dis-/Obey
by TSQ2 curators and artists. Reaching its
OF THE SQUARE. Stakeholders giving
returns to Lasipalatsi Square, where a first
completion, the ensemble of TSQ2 works will
presentations related to the planned
view of the accompanying installation w
be presented on the square. Live on
changes to Helsinki’s Lasipalatsi Square
ill be presented.
Lasipalatsi Media Centre; Kai Kaartio, Amos
5–9pm The Berlin-based urban transformers
9pm OPENING CONCERT with RAMY
Anderson Museum; Tapio Mäkelä (mbar);
Raumlabor are running an open WORKSHOP
ESSAM (the leading musician of the Egyptian
Tuomas Rantanen, Voima newspaper / City
on Lasipalatsi square to build mobile cinema
Councilor (Greens) Minna Tarkka, Media
chairs for a “mo-we-mobile”: a truly MOBILE
Featuring Paleface and Räjähtävä Nyrkki.
Facades and other Helsinkians. Introduced by
CINEMA-THEATRE. Join them!
Live on RADIO PRAVDA.
will be held in Finnish and moderated by
10pm Raumlabor’s “mo-we-mobile” Mobile
10pm DJ Daddy Pales on mbar stage
Tuomas Toivonen. Switching to English in
Cinema screening in urban space.
include, among others, Marianna Kajantie,
the second half, TSQ2 artists Ammar Abo Bakr, Khaled Jarrar, Nikolay Oleynikov,
SATURDAY 30th WEDNESDAY 27th
Raumlabor and the ZIP Group as well
12am–4pm political ART-PRINT
as Media Facades artists Suse Miessner
Ammar Abo Bakr paints a massive-scale
WORKSHOP with Tzortzis Rallis.
(Helsinki) and Ivan Henriques / World
canvas hung in Lasipalatsi Square.
Wilder Lab (Rio de Janeiro) will join the
ZIP Group “CONSTRUCTIVISM” on
discussion. In co-operation with the Media
Lasipalatsi Square. 2pm–4pm Press
ZIP Group “CONSTRUCTIVISM” on
Facades Festival. At the the ZIP Group
screening of ART WAR directed by Marco
Lasipalatsi Square. PARTICIPATE!
platform, at the centre of Lasipalatsi Square.
Wilms. The protagonists Ammar Abo Bakr
7 pm RADIO PRAVDA on Lasipalatsi Square.
present. Kino Engel.
3pm–8pm Vladan Jeremić & Rena Rädle
Jarrar, the curators and guests discuss the
start their Non-Googleheim project in the
political situation in Palestine/Israel and its
relationship to his work Dis-/Obey. Live on
and Ramy Essam and the curators will be
Khaled Jarrar’s installation Dis-/Obey. 5.30–6.30pm TSQ2 DEBATE: Khaled
4pm RADIO PRAVDA at Kontufestari (www.kontula.com)
RADIO PRAVDA. 10pm L SQUARE CINEMA: PUSSY VS. PUTIN II (world premiere)
10pm L SQUARE CINEMA: ART WAR,
TSQ2 DEBATE: A panel with the director
directed by Marco Wilms.
Taisya Krougovykh (via videolink) and
TSQ2 DEBATE: The protagonists Ammar Abo
guests including Grey Violet (queer activist
Bakr, Ramy Essam and Ganzeer (via video
2–6pm The Berlin based urban transformers
from Moscow), Teemu Matinpuro (Finnish
link) discuss the film. Päivi Mattila (Finnish
Raumlabor are running an open WORKSHOP
Peace Committee), Antti Rautiainen
Human Rights League) and Iida Siimes (PEN)
in Kontupiste to build mobile cinema-chairs
(anarchist activist), Teivo Teivainen
join for the debate. Live on RADIO PRAVDA.
for a “mo-we-mobile”: a truly MOBILE
(Professor of World Politics) and Ivor
CINEMA-THEATRE with a mobile projection-
Stodolsky (curator, writer). Live on RADIO
carriage, a mobile screen and cinema-chairs
7pm RADIO PRAVDA on Lasipalatsi Square. SUNDAY 24th
SUNDAY 30th ZIP Group “CONSTRUCTIVISM” on
on wheels. Build and watch with them! (Keinulaudankuja 4, 00940 Helsinki)
Lasipalatsi Square. See above. PARTICIPATE!
3pm on Lasipalatsi Square. Start of the last
Ammar Abo Bakr painting a massive-scale
Khaled Jarrar’s INSTALLATION Dis-/Obey
roaming tour of Helsinki with Nikolay
canvas in the square.
Oleynikov, the artist of RADIO PRAVDA. 7pm RADIO PRAVDA back on Lasipalatsi
2–4pm TSQ2 DEBATE: ZIP Group ZIP Group “CONSTRUCTIVISM” on
and Raumlabor in conversation with
Trashpavillion activists among others.
Live on RADIO PRAVDA. 3–8pm Vladan Jeremić & Rena Rädle continue installing their Non-Googleheim
10pm. L SQUARE CINEMA: INDIGNADOS
works in Lasipalatsi Square.
directed by Tony Gatlif
the curators, the first half of the discussion
Lasipalatsi Square 22â€“31 August 2014 perpetualmobile.org / checkpointhelsinki.fi
THE SQUARE Issue #1, August 2014. THE SQUARE, a new newspaper published in the context of the TO THE SQUARE 2 project, is designed by Tzortz...
Published on Sep 2, 2014
THE SQUARE Issue #1, August 2014. THE SQUARE, a new newspaper published in the context of the TO THE SQUARE 2 project, is designed by Tzortz...