Franklin Furnace’s Goings On
July 3, 2003
CONTENTS:
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1. Dyke Action Machine, FF Alumns, at S.F. MoMA, opening July 2.
2. Barbara Hammer, FF Alumn, new film in 20th Int’l Jerusalem Film Festival
3. Judith Sloan, FF Alumn, launches new website, www.crossingtheblvd.org
4. Regina Vater, FF Alumn, online interview now available.
5. Terry Dame, FF Alumn, performs July 3 at Here, 7 pm.
6. Cheri Gaulke, FF Alumn, new public art work now on view in Los Angeles
7. Le Petit Versailles announces July 2003 events, starting July 4th, 6-8 pm
8. Ruth Wallen, FF Alumn, launches new website for Palestinian Jewish dialogue.
9. Slutty Puppets and Friends at CB’s 313 Gallery, July 10, 10 pm
10. Julie Ault, Dan Perjovschi, FF Alumns, in Essen, Germany thru Sept. 28.
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1. Dyke Action Machine, FF Alumns, at S.F. MoMA, opening July 2.
Illegal Art: Freedom Of Expression In The Corporate Age
Dyke Action Machine (Carrie Moyer And Sue Schaffner), Bill Barminski, Ray Beldner, David Byrne/Danielle Spencer, Enrique Chagoya, Heidi Cody, Eric Doeringer, Keiron Dwyer, Tom Forsythe, Michael Hernandez de Luna, Natalka Husar, Packard Jennings, Ai Kijima, Kembrew McLeod, Negativland, Aric Obrosey, The Residents, Clare Rojas/Andrew Jeffrey Wright, Tom Sachs, Jayce Salloum, Laura Splan, Diana Thorneycroft, Noel Tolentino, and Wally Wood
SFMOMA Artists Gallery
Fort Mason Center, Building A
San Francisco, CA
Opening: Wednesday, July 2, 5:30-7:30
July 2 – 25, 2003
Gallery hours: Tues-Sat 11:30-5:30
For more info on Dyke Action Machine! (DAM!) contact Sue and Carrie at: info@dykeactionmachine.com
www.dykeactionmachine.com
“Illegal Art: Freedom of Expression in the Corporate Age” was conceived by Carrie McLaren of Stay Free! Magazine and presents roughly 50 works in diverse media that push the legal fringes of intellectual property in our corporate age, raising such questions as: Should artists be allowed to use copyrighted materials? Where do the First Amendment and intellectual property law collide? What is art’s future if the current copyright laws are allowed to stand?
“Illegal Art” opened in November 2002 in New York City and subsequently traveled to Chicago, Washington, D.C., Boston and Philadelphia. The exhibition has received favorable critical attention from such media outlets as the Chicago Tribune, International Herald Tribune, Wired, The Washington Post, and National Public Radio. The New York Times called the exhibition “the most thought-provoking event to attend this year”. “Illegal Art” is sponsored by Stay Free! magazine.
A number of related events will take place during the run of this exhibition. Complete, up-to-date information on these events is available at www.illegal-art.org
Panel Discussion
Thursday, July 3, 6-8 p.m.
San Francisco Art Institute Lecture Hall, 800 Chestnut Street, San Francisco
Moderator: Marcia Tanner, art writer and independent curator
Participants: Lawrence Lessig, Stanford Law Professor; Carrie McLaren, exhibition curator and editor, Stay Free! magazine; Kembrew McLeod, artist and professor of communications studies, University of Iowa; Rick Prelinger, Prelinger Archives, Simon Frankel, intellectual property attorney
Admission: Requested $5 donation at the door; seating is limited
Film/Video Screenings
Four different programs of short film and video works that incorporate found footage, unauthorized music… Wednesday July
23, 2 p.m., 4 p.m., 6 p.m., 8 p.m. and 10 p.m.
Thursday, July 24, 6 p.m., 8 p.m. and 10 p.m.
Roxie Cinema, 3117 16th Street (near Valencia), San Francisco
$8 general; $4 seniors and children; tickets available at the door
Music Performance: The Sound of Illegal Art I
Live “appropriation-based” electronic music and multimedia, featuring the Evolution Control Committee, RAJAR and Michael Gendreau from Crawling with Tarts
Wednesday, July 9, 8 p.m.
21 Grand, 449B 23rd Street (between Broadway and Telegraph), Oakland
Sliding scale donation of $5-$10 at the door
Music Performance: The Sound of Illegal Art II
Live “appropriation-based” electronic music and multimedia, featuring Wetgate, Wobbly, Steev Hise, and Mr. Meridies
Wednesday, July 16, 8 p.m.
A LOFT, 25A McLea Court (off 9th Street), San Francisco
Sliding scale donation of $5-$10 at the door
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2. Barbara Hammer, FF Alumn, new film in 20th Int’l Jerusalem Film Festival
Barbara Hammer, FF Alumn, presents RESISTING PARADISE, a new film about the choices artists make during a time of war, at the 20th International Jerusalem Film Festival, July 10-20.
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3. Judith Sloan, FF Alumn, launches new website, www.crossingtheblvd.org
FF Alum, Judith Sloan and Warren Lehrer, launch EarSay’s Crossing the BLVD website. www.crossingtheblvd.org Crossing the BLVD Audio CD is now available July 1, 2003, through W.W.Norton, publisher of the Crossing the BLVD book.
The Crossing the BLVD audio CD comes with the clothbound edition of the Crossing the BLVD book and is available as a stand alone CD. If as Lehrer says, ‘the book is the movie,’ then the CD is the soundtrack. Original new music compositions by Scott Johnson (of John-Somebody fame) and text-based audio compositions by Judith Sloan and Warren Lehrer cross the boundaries between music and speech, journalism and expressionism, tradition and the avant-garde. All sampled voices are culled from interviews of ‘new immigrants’ by Lehrer/Sloan on their three-year journey through the borough of Queens ‹ the most ethnically diverse locality in the United States.) Produced by Judith Sloan, the CD also includes music by Crossing the BLVD participants including the gypsy-punk-cabaret band Gogol Bordello, Nigerian gospel singer Kingsley Ogunde, and Romanian-American musicians Christine and Dinu Ghezzo. Beautifully performed and recorded, this CD is a rich and original musical soundscape that reflects the immigrant experience at the crossroads of a paradoxical and ever-changing America.
about the artists:
Scott Johnson is an influential voice in the ‘classical’ tradition’s rediscovery of the popular culture which surrounds it. He is most known for his groundbreaking compositions which incorporate recorded speech and rock-derived instrumentations into traditionally scored compositions. In addition to works like John Somebody and Convertible Debts, he has written scores for the Kronos Quartet, Bang on a Can Allstars, and Paul Schrader’s film Patty Hearst.
Warren Lehrer¹s first CD (co-composed with Harvey Goldman), The Search For IT and Other Pronouns is a musical setting of attitudes and longings for voices and instruments. Lehrer and Goldman also composed music for their own performances and for four museum installations by Margot Lovejoy. Several of Lehrer¹s previous books (FRENCH FRIES; i mean you know, and versations) serve as performance scores and some have companion audio soundtracks. His book Brother Blue: a narrative portrait was released by Shambala as an audio book.
Judith Sloan is an actress, oral historian, and audio/radio artist. The Crossing the BLVD CD marks her first endeavor as producer of a full-length work. Her earlier audio work includes plays, collaborations with composers and spoken word pieces. She co-produced the radio documentary Eyewitness in Mississippi based on her play A Tattle Tale, and with Warren Lehrer co-produced a series of Crossing the BLVD radio documentaries for Public Radio International¹s the Next Big Thing. She was host of a weekly radio program on Pacifica’s WBAI in NewYork. An excerpt of her one-woman show Denial of the Fittest appears on the compilation A Guide for the Perplexed on Knitting Factory Records.
Crossing the BLVD CD: Production, editing and project coordination by Judith
Sloan. Music produced by Sheldon Steiger. Mastered by Phil Klum.
For more information: email info@earsay.org website:
www.crossingtheblvd.org
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4. Regina Vater, FF Alumn, online interview now available.
Dear friend,
The section of “Contemporary Memories” in the library of the “Museum of the Essential and Beyond ” http://arteonline.arq.br would like to invite you to read an important interview/testimony in: http://arteonline.arq.br/museu/interviews/reginavaterenglish.htm
or http://arteonline.arq.br/museu/interviews/reginavaterport.htm
where the Brazilian visual artist and poet Regina Vater recounts to the researcher and visual artist Regina Célia Pinto interesting facts about her art and life. This document gives an insight into Ms. Vater’s career and her temperament as an artist/person. Perhaps this interview is the most complete report yet published (text and images) about the work that this Brazilian contemporary artist has been developing in this area. The “Museum of the Essential and Beyond” is not connected to an institution and does not rely on any kind of financial support or sponsorship. It has a dynamic digital model, and is in a constant state of becoming. It receives contributions from different latitudes and longitudes from the actual geography without borders created by information technologies. The world seems to be turning to virtual communities as a way of building a better future. It is wonderful to meet artists such as Regina Vater who believes in this kind of work and enjoys participating in it.
The museum’s project consists in the creation of virtual architectures: a museum with its libraries and galleries that have no brick-and-mortar counterparts, but our “museum” is rather uncommon. It is a museum that does not exist in the real world, and whose architecture and collections are formed by a string of digits: 01010101.
Best regards, and if possible, send us feedback.
Regina Célia Pinto
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5. Terry Dame, FF Alumn, performs July 3 at Here, 7 pm.
Terry Dame’s Electric Junkyard Gamelan performs July 3rd as part of the 2003 FUSE Festival at HERE Arts Center. This group plays original compositions on invented instruments. The music, inspired by traditional gamelan of Indonesia, has fat grooves and quirky melodies and is played by great musicians on instruments such as the Rubarp, the Terraphone, the Clayrimba and the Sitello. It promises to be quite unlike anything you seen in a while. Details are below. Hope you can make it.
EJYG is:
Robin Burdulis
Terry Dame
Mary Feaster
Lisa Frisari
Jullian Hintz
ELECTRIC JUNKYARD GAMELAN
Thursday, July 3rd 7pm
HERE Arts Center
Dorothy B. Williams Theater
145 6th Ave
NYC, NY 10012-1548
212-647-0202
Tickets
$12 in advance ($15 at the door)
InPerson: tickets available at HERE box office 4pm-10pm
Online at www.fusefest.org
By Phone at SmartTix 212-868-4444
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6. Cheri Gaulke, FF Alumn, new public art work now on view in Los Angeles
Cheri Gaulke, FF alumn, is proud to announce the opening of her newest public art work called “Consider: Seven Generations” at the new Lake View Terrace Branch, Los Angeles Public Library, 12002 Osborne Street, in the Northeast Valley of the greater Los Angeles area.
The artwork was inspired by the traditional Native American philosophy: “In our every decision, we must consider the impact on the next seven generations.” The work is set in the landscape and consists of a half-circle of seven recycled wooden power poles in ascending height from 4′ to 16′. Each pole is topped with an icon related to the community’s history — a horse head hitching post, an arroyo stone, an iron bell, a metal tree, an Indian basket, a weather vane, and a restored bronze streetlight. The tallest pole is conceived as a lighthouse, as a beacon for the community and a reminder of how fragile the environment is. Also mounted on the poles are stainless steel panels with quotes that illuminate historical facts. In the center of the circle is a concrete bench into which the Native American saying is embedded.
The artwork was commissioned by the Cultural Affairs Department of the City of Los Angeles. For more information, contact Cheri Gaulke at glkberry@earthlink.net.
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7. Le Petit Versailles announces July 2003 events, starting July 4th, 6-8 pm
LE PETIT VERSAILLES 346 East Houston Street @ Avenue C.
Rain or Shine. FREE or voluntary donation.
F / V trains to Second Ave. Walk east on HOUSTON St. or J / M trains to
Delancey. Walk northeast to HOUSTON St.
July 4
CAMP: Shelters Now & Then
6-8pm Exhibition Opening Reception
Jasmine Moorhead
Ian Pedigo
Flora McGarrell & Brian Stansbury
Pearl & Peter
CAMP : SHELTERS NOW AND THEN
The origin of nomads and the structures of shelters that accommodated them goes back thousands of years to prehistoric ages. The necessity of uprooting oneself due to natural calamity such as drought or political changes due to war, strife or economic need, all played a factor in developing a need for easily portable domiciles and the domestication of animals used as beasts of burden to facilitate the travels for survival. From ancient Asia to modern America this culture continues in different forms and manifestations. This exhibition will explore this evolution. Artists will be invited to envisions their own versions of such structures or draw upon existing representations depicting them in visual works in a variety of mediums.
July 19
Joe Tullgren * the loosepaper collection concert
8pm in three parts with a Stephen Kent Jusick film collaboration
July 26
Paul Hogan * Sound Installation & Concert
5pm Installation will also be presented August 2nd and 9th
*Funding from Meet The Composer,Inc. is provided with the support of NY State Council on the Arts,NYC Department of Cultural Affairs, ASCAP, Virgil Thomson Foundation, Jerome Foundation, JP Morgan Chase, Mary Flagler Charitable Trust. The Eleanor Naylor Dana Charitable Trust, the Greenwall Foundation, and National Endowment for the Arts. Events are made possible by Allied Productions,Inc., Gardeners & Friends of LPV, The Trust for Public Land, GreenThumb/NYC Dept. of Parks, Materials for the Arts; NYC Dept. of Cultural Affairs, NYC Dept. of Sanitation, & NYC Board of Education.
RAIN or SHINE
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8. Ruth Wallen, FF Alumn, launches new website for Palestinian Jewish dialogue.
Ruth Wallen announces the launch of a web site devoted to documenting Palestinian Jewish Dialogue San Diego Jewish Palestinian Dialogue: a documentation of our process
This is an on-going project documenting Jewish Palestinian dialogue in San Diego. The site documents the dialogue process which begins with listening to each other’s stories and from this atmosphere of trust moves into the more difficult issues. The site includes extensive sound clips and allows the viewer to recreate the dialogue process. Watch for more additions about the current situation as the summer progresses. Please pass this along to all interested in the possibility of face to face dialogue leading to peace.
Thanks,
Ruth Wallen
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9. Slutty Puppets and Friends at CB’s 313 Gallery, July 10, 10 pm
Slutty Puppets and Friends
Presented by imnotlost
Thursday July 10th, 10:00 p.m.
CB’s 313 Gallery $5
www.imnotlost.net/slutty/
Every mother has a little black dress in the back of her closet and every puppeteer has a nasty, dirty puppet show waiting to rear it’s ugly head. I’m Not Lost proudly presents Slutty Puppets and Friends at CB’s 313 Gallery on Thursday July 10th at 10:00 p.m. Cover $5.
Kooky! Spectacular! Bizarre! And potentially very arousing, stimulating, and disgusting.
Slutty Puppets have a lot of Friends this time round including, straight from the Kick-Ass Clown Cabaret Eric Davis; The Double Dominatrix Dance Duo exploring their own “special” sort of theater; the sickly sweet O’Debra Twins from your nearest McDonald’s bathroom; Benjamin Ickies on punk accordion; Mercury Man, Chris Rozzi, and other eccentric folk.Our puppet array includes “pimp puppet shit” from Ricardo Muniz; puppet noir with racy multi-media by Dan Ramirez; puppets with obsessional, erotic fantasies from Miss Kate; sexual dirt by More Gardens; and more Boston-based butt-slapping by Cathy the Mule. Come early. Stay late.Drink much, much beer.
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10. Julie Ault, Dan Perjovschi, FF Alumns, in Essen, Germany thru Sept. 28.
2003 Annual Project at Kokerei Zollverein | Zeitgenössische Kunst und Kritik
In the 2003 annual project “The Open City: Models for Use” the Kokerei Zollverein | Zeitgenössische Kunst und Kritik initiates an artistic discourse on the public sphere. How does a public sphere arise? How does it become influential? For decades, the grounds of the former coking plant Kokerei Zollverein constituted a “forbidden city”.
The Kokerei Zollverein was built between 1959-61 and remained in operation until 1993. It was based on plans drawn up by Fritz Schupp, who created a technically and formally distinct style of architecture. In 2001 the Zollverein with its colliery and coking plant was declared a UNESCO world heritage site. Today it is a public space. The “forbidden city” has become a “public city”, a complex that is also a wit-ness to industrial and social history. The overall project of the Kokerei Zollverein | Zeitgenössische Kunst und Kritik, initiated in 2001, aims to establish a site for the production of ideas, communication and criticism on the grounds of the former industrial plant.
The annual project 2001, “Arbeit Essen Angst” (Work, Leisure, Fear), displayed works by 25 international artists. They addressed processes of social communication and initiated new forms of dialogue. The exhibitions were accompanied by public discussions on “historical culture”, the “Bitterfelder Weg” (a cultural-political initiative in East Germany to promote workers’ culture), “a basic wage for all” and “right-wing extremism”.
“Campus”, the 2002 project, cast a spotlight on another controversial social issue – educational policy. Under the rubrics “Fine Arts”, “The Political Economy”, “Home&Away02.Flow.Workshop.Politics” and “The City”, new models of imparting knowledge to students, schoolchildren and the general public were set up and tested in 30 events held over a period of three months.
From the “Open City” to “Open Society”
The 2003 annual project “The Open City: Models for Use” operates on three different levels. Firstly, it addresses the transformation of the Kokerei Zollverein from a “forbidden city” into a “public city”. Sec-ondly, it aims to illustrate the historic transition of public art from outdoor sculpture in public places to the project art of the 1990s, whose form is no longer exclusively bound to external space, but which in-stead intervenes directly in the structures and media of politics and society. And thirdly its objective is to formulate an art practice that goes beyond the boundaries of project art and reaches the “open society” in the areas of art and feminism, everyday life, culture jamming and urban theory.
The aim is to create user models for resistance in the fine arts, internet culture, politics and the media. With the rise of project art in the 1990s by the very latest the artist’s role had begun shifting toward the role of cultural producer. Project art, a term used to describe an artistic practice that functions outside traditional parameters in fields of conflict in society, politics and the media, is not tied to a specific me-dium, nor is it solely institutionally based.
The 2003 project “The Open City: Models for Use” does not exhibit plans and proposals related to the theme. Instead it represents both the starting point and the meeting point for a critical questioning of the public sphere and the ways in which it emerges and functions. What links the project’s many artistic in-terventions, publications and projects is their search for new forms of critical public awareness. They respond to the prevailing ideology and resist the neoliberal redefinition of art and culture as lifestyle ser-vices whose role is to enhance their clients’ public image. The challenge is to undermine and recode functions of art and culture geared exclusively to absorbing politics.
The overall project “The Open City: Models for Use” deliberately eschews setting up a central focus or a doctrinaire definition of the public sphere. Instead the individual elements are provided with a frame-work that keeps them formally separate but thematically linked and allows scope for their autonomous development. The hope is that the criss-crossing perspectives of these essays, statements, works of art, arguments and projects will create a system of reference that, in turn, produces new forms of public sphere in the “open society”.
FINE ARTS PROJECTS
Rebecca Forner: “Dokumentation der Opfer rechter Gewalt”
Rebecca Forner’s “Dokumentation der Opfer rechter
Gewalt” (Documentation of the Victims of Right-Wing Extremism) translates into art the issues that the 2001 project addressed under the heading “Right-Wing Extremism”. Forner’s work is based on a study of right-wing extremist violence perpetrated against people with different cultural backgrounds since German reunification. A total of 120 persons were murdered because they were homeless, not of German origin, or because they showed moral courage and stood up for others. In the grounds of the Kokerei Zollverein Forner is erecting billboards that display posters showing victims of right-wing extremist violence and carry a written description of the crime committed against them and the cause of their death. The posters are also placed on four advertising hoardings in Essen, and the material is distributed via e-mailing lists that detail one case per day. Forner’s work not only addresses the exhibition-going public but also passers-by and computer users, confronting them with a major aspect of recent German history. The posters in the city will re-main in place throughout the exhibition’s duration.
David Lamelas: “Information Office 2003 (Essen)”
Since the mid-1960s Argentinian artist David Lamelas and his analyses of mass media and information structures, his conceptual photo and film work, his filmic analyses of structures of seeing and examina-tion of narrative developments in photography and film have been represented in numerous influential exhibitions in Germany and in Europe (including at the Venice Biennale and at documenta 5 in Kassel). For the Argentinian pavilion at the 1968 Venice Biennale he created the “Office of Information about the Vietnam War at Three Levels: the Visual Image, Text and Audio”. Lamelas’ installation explored infor-mation structures, the communication of information by the media and its context-bound reception. Be-hind a glass screen he installed an office with the usual office equipment. A telex machine linked to a news agency relayed all information available on the war in Vietnam to the office and thus to the Bien-nale. An adapted and updated version of Lamelas’ Biennale piece will be installed on the ground floor (Disko-Ebene) of the Kokerei Zollverein. News on the humanitarian situation and reconstruction in post-war Iraq will be displayed on the screen of a PC terminal linked to a news agency (dpa). The installation gives visitors an unmediated and unfiltered insight into how and where news arises or rather how it is produced by the media.
Marko Lulic: “Zollverein”
The turbulent political events of the 1990s and in particular the disintegration of Yugoslavia shaped the artistic career of Marko Lulic, an Austrian artist of Serbo-Croat origin. His interest lies in the ideological and political contexts and conditions that shape architecture and public monuments. For they not only express the ideology prevailing at a particular time, but also actively construct this ideology. Lulic takes up this link between architecture and monument culture, between political authority and social reality, in his sculpture “Zollverein”, which is to be installed on the façade of the former coking plant. In 1937 the National Socialists replaced the original Bauhaus-style lettering “Zollverein” with the Gothic type letter-ing still marking Pithead XII. At the same time the lettering “Schacht Albert Vögler” (Pithead Albert Vögler) was added. It was only removed in 1965. Lulic refers back to the original Bauhaus type and creates a new “Zollverein” lettering that both establishes a historical link to the original lettering and serves as a warning for future generations. Publication of a reader with texts and documents on themes related to monument culture is also planned.
Dan Perjovschi: “White Chalk – Dark Issues”
For Dan Perjovschi international recognition came with his extensive installation “rEST” in the Roma-nian pavilion at the 1999 Venice Biennale. Perjovschi covered the floor of the pavilion with drawings, doodles and political graffiti that look at life under post-communism as well as the role of Eastern Euro-pean art in the cultural exchange with the West. Perjovschi regards the artist’s role in the post-socialist era as primarily political. Heis the co-founder of the opposi-tion weekly “22” and has been its political illustrator and art director since 1991. As artist in residence Perjovschi will spend four months covering the whole second floor (Bunkerebene) of the Kokerei Zoll-verein with his graffiti and chalk drawings. This project considers both the transformation of the Kokerei complex from industrial plant into a site of cultural production and the transition in Eastern Europe to a phase of political and cultural reorientation. The work will cover an area of 700 square metres with a historical panorama that also reflects the contemporary global political situation.
Julie Ault / Martin Beck: “Critical Condition”
Julie Ault and Martin Beck represent a critical form of artistic practice that seeks to inject social rele-vance into the world of fine arts. Ault was a founding member of the New-York-based artist collabora-tive “Group Material” (dissolved in 1996), which opened new ways of making and displaying art. Ault and Beck have been cooperating as artist partners and curators since 1989. In the context of the pro-ject “TheOpen City: Models for Use” they are working on a publication that will pose fundamental meth-odological questions about the onnections between social policy, criticism of institutions, and artistic practice. The publication assembles writings by Ault / Beck from the years 1995-2003 and includes ex-tensive illustrations. Ault and Beck regard artistic creation as a social process that links political and aesthetic aspects in its production of critical strategies of thinking and seeing. Their publication should be understood as a form of artistic practice both in the way it groups themes and texts and in terms of layout, selection of photos and design. The familiar printed medium “book” receives an extra charge of meanings and reinterpretations. Both an artistic product and a pamphlet, this publication also defines the model for its own creation. The bilingual publication (German / English) will be presented to the pub-lic at the 2003 Book Fair in Frankfurt.
“SOCIAL TECHNOLOGIES” PROJECT
Media today play a major role in creating the public sphere. The project “Social Technologies”, man-aged by Inke Arns, puts a particular focus on the internet, which is held to be the medium of globaliza-tion as well as a tactical instrument for its critique, and on the internet activists’ practices of détourne-ment. Ubermorgen.com, registered as a company in Germany, Austria and Switzerland, describes its business as “media hacking” and spreads its message via guerrilla marketing. One of its best-known stunts was the online auction of votes during the US presidential elections in 2000. Its motto: “Bringing capitalism and democracy closer together!” British internet artist Heath Bunting researches and pub-lishes the routes that offer the best chance of getting across European borders. The devices invented by the US-American Institute of Applied Autonomy (IAA) include tele-operated robots (GraffittiWriter, StreetWriter) capable of printing texts, slogans and messages several hundreds of feet in length on the road. Since 1997 the French artist Renaud Auguste-Dormeuil has been assembling personalized maps that show people how to get to work and back without being observed by surveillance cameras. All of these projects link the virtual space of net activism with the real public realm of politics. They are docu-mented and in some cases realized on the ground floor (Diskoebene) of the Kokerei Zollverein | Zeit-genössische Kunst und Kritik.
“CULTURE JAMMING” PROJECT
A workshop extending over several weeks and conducted in collaboration with students of the Depart-ment of Communication Design at the University of Essen aims at producing models of visual action in urban space. Culture jamming refers to the creation of interference in hegemonic communications and can be understood as a contemporary protest movement that uses the strategy of civil disobedience in critical interaction with the mass media. Critical revision, recasting and renaming of advertising mes-sages and branding campaigns as well as the introduction of viruses into the communication network can trigger awareness-raising processes. The workshop will discuss the historical precursors and basic theory behind the movement as well as devise and test actual user models. Both previous projects in-volved collaboration with local groups and institutions, “Arbeit Essen Angst” 2001 with DISS-Institute Duisburg and Independent Antifa UAA Essen, and “Campus 2002” with the Red Ruhr University. The participation of students from the University of Essen in this project marks a continuation of this prac-tice. A reader with texts and documents on culture jamming is in preparation.
“POLITICAL.RHYME.PRACTICE.” PROJECT
“Campus” 2002 launched a series of hip hop workshops under the rubric “Home&Away02Flow.Workshop.Politics”. The 2003 annual project “The Open City: Models for Use” will establish a screen printing workshop on the first floor (Trichterebene) of the Kokerei Zollverein. The project, under the auspices of the production collaborative political.rhyme.practice., is led by Hanna Willer (designer)and Christian Zickler (artist and director of the printing workshop of Frankfurt’s Städelschule art academy). Visitors and young people gain an immediate insight into the history of screen printing and have the opportunity to print T-Shirts with designs of their own. It is also possible to order or buy items from the “political.rhyme.practice.” collection. Dates for the Screen Printing Workshop: 25 June – 29 June 2003, with students from Städelschule Frankfurt/M. 9 July – 13 July 2003, with young people from the area 6 August – 10 August 2003, open sweatshop
DISCUSSION
“Resistance in the Open Society”
Panel discussion with Marius Babias, Prof. Ute Meta Bauer, Dr. Michael Fehr, Prof. Olaf Metzel, Silke Wagner.
31 May 2003 at 5 p.m.
The panel will discuss historical models of art in the public sphere and point to the perspectives of a new form of public art no longer tied exclusively to external space but immediately active in the struc-tures and media of society.
DISPLAY
Angela Bulloch, “Rules Series / Earth First”, 1993/2001
Maria Eichhorn, “Vorhang (anthrazit)” (Curtain (anthracite)), 1989/2001; “Vorhang (orange)” (Curtain (orange)), 1989/2001
Dirk Paschke / Daniel Milohnic, “Werksschwimmbad” (Works Swimming Pool), 1996/2001
Silke Wagner, “bürgersteig” (pavement), 2001/2002
Angela Bulloch, Maria Eichhorn and Dirk Paschke / Daniel Milohnic
contributed to the 2001 exhibition series “Arbeit Essen Angst”, Silke Wagner to “Campus” 2002. Their work brackets the themes and ex-hibition architecture of the Kokerei Zollverein | Zeitgenössische Kunst und Kritik.
PUBLICATIONS “THE OPEN CITY: MODELS FOR USE” 2003
Statement Reader “The Open City: Models for Use” Edited by Marius Babias and Florian Waldvogel. Contributions by Marius Babias, Blek le Rat, Hae-Lin Choi, Martin Conrads, Günther Jacob, Meike Schmidt-Gleim, Silke Wagner / Hagen Kopp, Florian Waldvogel. 224 pages, German and English, ISBN 3-935783-10-8, € 15.
Julie Ault, Martin Beck “Critical Condition – Ausgewählte Texte im Dialog” (Selected Writings in Dialogue) Preface by Marius Babias and Florian Waldvogel. Introductory interview conducted by Tom Lawson. 300 pages with numerous illustrations, German and English, ISBN 3-935783-11-6, € 15.
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Goings On are compiled weekly by Harley Spiller
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