The Festival: Underground City 21 - Vienna
° the truth is worth to risk... 7 – 9 October 2010
Opening: 7 October 2010, 19.00 pm
Project curator: Gülsen Bal
Participating artists:
Libia Castro
Ólafur Ólafsson
Ana Hoffner
Şener Özmen
Cengiz Tekin
Performance by Ana Hoffner at 19.30 pm
Coinciding with remaining and current political situations in various corners of the world that propagate the actual fact of “changing places, losing the way and the expectations of return”, this inter-disciplinary project appears to aim to create a dynamic structure against/beyond representation by introducing an incomplete open system to static structures. In addressing these matters of concern, however, a far broader issue emerges. Key to this is the processes of “existential territories”, and this requires going beyond the boundaries of dichotomies in search of “possible futures”; allowing for undefined constraints and their far reaching consequences to be transcended.
The exhibition the truth is worth to risk... raises the questions about “an activity of an un-framing […] which leads to a recreation and a reinvention of the subject itself” on a visual and discursive level.
Info on artist:
Libia Castro and Ólafur Ólafsson
Caregivers, video
Castro and Ólafsson amalgamate their interest in avant-garde videography/cinematography and documentary practice in the video Caregivers. The viewer is confronted with the unexpected
juxtaposition of music, journalism and visual arts, testing the viewers’ own conventional familiarity with those three creative genres. The video portrays the relations between four women: Eastern European migrant care-givers and their elderly clients from the area of Rovereto, during the course of their daily life and work. The narrative content of the video is a newspaper article found by the artists, reflecting on the recent migration phenomenon of Eastern European care-givers in Italy. This article becomes a matrix for Karólína Eiríksdóttir’s contemporary classical music composition, in the form of a Cantata.
In the ‘zone’ where creative expression and reality meet, this video work introduces and comments on the complex situation of mutual dependency in a network of the European care-giving system. Both sides of this irreconcilable labour exchange - the care-givers and the care-receivers (including their families) - are caught up in a position of ‘manipulation’ of/by the socio-economical/political system, in order to fulfil their essential human needs. This particular situation illustrates the implications of European national legislations and the inadequacy of the system to offer appropriate solutions for either of those two dependent groups - thereby showing the ‘threshold of the law’ in a direct way.
Şener Özmen and Cengiz Tekin
One Day a "T" and a "K", video
In exploring as well as confronting the cultural norms and de- and re-regulation process(es), Şener Özmen and Cengiz Tekin in their recent video work One Day a "T" and a "K" provide a critique of the outdoor historical spectacle which involves additional dilemmas within the re-enactment of nationalistic element may trivialise the past.
The re-enactment on the T (stands for Turk) and K (stands for Kurd) mirrors the way that the society of “necropolitics” and its processes of geopolitical demarcation in relegating them to some other place of existence.
The work may also reference a site, a series of historical events or a discursive space beyond the physical site where there are some important site specific elements which have to do with the geography and historical function of the sites: the East part of Turkey. Yet an additional interest and complexity are heightened by a chosen concept within the contemporary cultural production creating a visual dialogue where objects and past artefacts were placed in proximity to old movie effect.
The effect of currency: “punishment”, “execution”, “danger”, “risk” and “wilderness” emphases on the arguable role shift between stamina and the determinacy of upholding of the ‘self’ strangely placed. By revealing spontaneous dominance and its strong national command that is briefly shown through Istiklal Marsı and its effects, the situation here presents the viewer a focus upon propagating ‘exercise of power’ on the surface of epistemological portrayal.
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Austria
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