Page 1

aug 2014


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 …

efforts meet.

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


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

Aapo Markkula

Perpetuum Mobile

Krista Kinnunen Esa Kandelberg

TSQ2 Artists

Saara Karhunen (Checkpoint)

Ammar Abo Bakr (Luxor / Cairo)

Niko Rissanen

Núria Güell (Barcelona / Havana) Checkpoint Helsinki

Vladan Jeremic & Rena Rädle (Belgrade)

Steering Committee

Nikolay Oleynikov (Nizhny Novgorod /

Markus Kåhre


Nina Toppila

Raumlabor - Berk Assal, Anne Laure

Vesa-Pekka Rannikko

Gesteling (Berlin) ZIP Group (Krasnodar)

Helsinki International Artist Programme HIAP

THE SQUARE (newspaper)

Juha Huuskonen

Editor: Ivor Stodolsky

Stephanie Roiko

Design: Tzortzis Rallis

Tomasz Szrama

Art: Ganzeer, Federico Geller, Vladan

Tuomas Laasanen

Jeremić & Rena Rädle

Aulis Harmaala

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

Graphic Design

Ivor Stodolsky

Tzortzis Rallis

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: and

In collaboration Suomenlinna Sveaborg Kaapeli Cable Factory

Supported by


Khaled Jarrar (Ramallah)


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


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).

neutral exchange.

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

collective interests.

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

their opposite:

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.

restrictive regimes.

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

the world.

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

to emerge.

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.�

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 Ecuador� 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 “fundamentally

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

Feminist Pencil

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

and beneficiaries.

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?

драки... Протеста?..

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

of thought/becoming.

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

and here.

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.

and multiphrenia

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 don’t recognise they are acting on us and

is amazing. It can also have bitter outputs, as it happens too often.

through us.


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

of self-responsibility.

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

democratic decay.

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,

the world.

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,


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


by Telekommunisten

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: 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: 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: (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: 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:

(11) The Centre for Applied Nonviolent Action and Strategies (CANVAS) is a non-profit, non-governmental, international network; See: http://www.

(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: (5) Ivan Marović, In defense of Otpor, Open Democracy, 2013; See: https://www. (6) Mjaft! Movement, (Enough!) is an organization from Albania; See: http://

(12) Aleksandar Apostolovski, Otpor dobio ostrvo na Maldivima, (Otpor has got Maldivi island), Politika, 2011; See: lt.html (13) Berlin Biennale 7, No Revolution without Innovation - a workshop with Srdja Popović and Anna Jermolaewa, 2012; See: 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: 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.



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

the public.

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.

other places.

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

security state.

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

tietoisuuteemme, käyttäytymismalleihimme,

(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


Palestiinalainen Khaled Jarrar (1976)

pitkin. Kuratoriaalisessa ja taiteellisessa

myös luovat ja ottavat osaa julkiseen

(Käänteinen Oikeudellinen/Moraalinen

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

välineenä Israel–Palestiina-konfliktin,

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,

vakiintuneita valtasuhteita.

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


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


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.


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

Checkpoint Helsinki

international shows.

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

neuvostoaikainen monumentaalinen,

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

Checkpoint Helsinki

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

asukkaiden kanssa.

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

Perpetuum Mobilε,

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

löytää ratkaisuja.

Berk Asal

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 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

Nikolay Oleynikov

junasta. Tämä venäläinen “tachanka” koostuu

RADIO PRAVDA roams the streets and

päättömistä ruumiista, muistin ja totuuden enkeleistä.

Núria Güell


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

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

Tzortzis Rallis

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

kriittinen toiminta.

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

political regimes.

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: and

enrich and elaborate a political speech or election campaign – so as best to respond to


the most popular issues being discussed on

ZIP Group

social networks in that particular area. The

Visual documentation / Tietoa taiteilijoista ja pressikuvat: 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

antagonistic practices.

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




TYÖPAJASSA Kontupisteessä.

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

tekemiseen, keskusteluihin...!

ja aukioille. Asema on akustinen keikka,

projekteja Lasipalatsin aukiolla.

Khaled Jarrarin INSTALLAATIO Dis-/Obey

joka on valmistumassa rentoutumiseen,

sodanvastainen runoelma, partisaanilähetys,

Lasipalatsin aukiolla.

joukkojen keskustelua ja yksityisiä

17 Vapaaehtoisten kokoontuminen


Lasipalatsin aukiolle Khaled Jarrarin

15–20 Vladan Jeremićin & Rena Rädlen

performanssiin Dis-/Obey

Non-Googleheim-projekti aukiolle valmistuu.

16 Hietaniemen hautausmaa. Live Radio for

18.30 Khaled Jarrarin julkinen performanssi

16–20 Tzortzis Ralliksen (Occupied Times

the Dead

Dis-/Obey käynnistyy Vanhan ylioppilastalon

/ Occupy Design) poliittinen ART-PRINT

17.30 Sörnäisten metroasema / Helsinginkatu.

edestä (Mannerheimintie 3), ja päätyy


Fix us

Lasipalatsin aukiolle. Ensimmäinen

19 RADIO PRAVDA palaa Lasipalatsin aukiolle

mahdollisuus nähdä INSTALLAATIO Dis-/


(kuten aina).


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.


aukiolta tuttu vallankumouksen symboli,


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.

Lasipalatsin päätyyn.

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,


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!

Lasipalatsin aukiolla.

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 aukiolla.

(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

Non-Googleheim-projekti käynnistyy

keskustelevat Palestiinan ja Israelin

Lasipalatsin aukiolla. Taiteilijat

tilanteesta ja sen suhteesta taiteilijan

keskustelemasa yleisön kanssa

teokseen Dis-/Obey. LIVENÄ RADIO



16 RADIO PRAVDA Kontufestarilla (www.

II, maailmanensi-ilta



muassa ohjaaja Tasya Krougovykh

(Marco Wilms)

(videolinkin kautta) Grey Violet (queer-


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)

ELOKUVATEATTERIIN kaupunkiympäristöjen

Elokuvanäytös alkaa kello 22.30. LIVEnä

Elokuvanäytös alkaa 22.30.

uudistajakollektiivi Raumlaborin



(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

Lasipalatsin päätyyn.

Lasipalatsin aukiolla.

19 RADIO PRAVDA takaisin

ZIP-ryhmä rakentaa moniulotteista

Rentoudu, ruokaile, luo taidetta ZIP-ryhmän

Lasipalatsin aukiolla

KONSTRUKTIOTA Lasipalatsin aukiolla, joka

moniulotteisessa konstruktiossa Lasipalatsin

täydentyy uusilla osilla päivittäin.


15–20 Vladan Jeremićin & Rena Rädlen


Non-Googleheim-projekti aukiolla.

-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


-projektista, mukana muun muassa Vladan


ruokaile, luo taidetta, katso elokuvia tai

Jeremić & Rena Rädle, Jussi Koitela


osallistu keskusteluihin!

(taiteilija, kuraattori), Thomas Wallgren

(Tony Gatlif)

(filosofi, aktivisti, poliitikko). RADIO 16–20 Rakenna elokuvatuoli Raumlaborin

PRAVDAn LIVE-lähetys aukiolta.



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..

broadcast station.


2pm Lasipalatsi Square.


4pm Hietaniemi Cemetery. Live Radio for the

Lasipalatsi Square.

Khaled Jarrar’s INSTALLATION Dis-/Obey

3–8pm Vladan Jeremić & Rena Rädle finish

Dead 5.30pm Sörnäisten metroasema /


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

Jarrar’s Dis-/Obey.

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


(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


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



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,


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


discussion. In co-operation with the Media

Lasipalatsi Square. 2pm–4pm Press


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

Lasipalatsi Square

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 (



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


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


and Raumlabor in conversation with

Lasipalatsi Square.

Trashpavillion activists among others.


Live on RADIO PRAVDA. 3–8pm Vladan Jeremić & Rena Rädle continue installing their Non-Googleheim


works in Lasipalatsi Square.

directed by Tony Gatlif


the curators, the first half of the discussion

Lasipalatsi Square 22–31 August 2014 /