┐ Irena Lagator, responsible resistance └

Resistence Reservoir 4, Irena Lagator© Irena Lagator Pejović, Resistence Reservoir, 2012. Equation in english, montenegrin and german written on an ex Mazut (fuel oil) reservoir @ garden of the Ministry of Culture, public project for Cetinje, Montenegro

Knowledge of the Limited Responsibility Society 2, Irena LagatorOLYMPUS DIGITAL CAMERA© Irena Lagator Pejović, Knowledge of the Limited Responsibility Society (extended), 2012. Ongoing series of original customer receipts bound in 18 books.

Limited Responsibility Society, Polignano a Mare 4, Irena LagatorLimited Responsibility Society 5, Irena Lagator© Irena Lagator Pejović, Limited Responsibility Society, 2012. Copies of customers’ original receipts, dimensions vary.

The Society of Peaceful Co-existence SCA 3, Irena Lagator© Irena Lagator Pejović, The Society of Peaceful Co-existence, 2012. 28 algraphy prints, 100 x 70 each, overall dimensions vary according to space.

The Society of Unlimited Responsiblity 2, Irena Lagator© Irena Lagator Pejović, The Society of Unlimited Responsibility, 2006. artist book: school notebook, hand pencil drawing.

All utopias fail in the Balkans: the greater Serbian principality in the Middle Ages, the Ottoman Empire, the Danube monarchy, the greater Serbian monarchy, the Yugoslavian multi-ethnic state, market-based socialism and, in the future possibly, the European Union, too.

At the same time, all the states that arose from the legacy of the old Yugoslavia have to find new identities. The permanent diminishment of the states since the Ottoman Empire and the Danube monarchy were dismantled into tiny states such as Kosovo did not solve the fundamental problem of the western Balkans: the establishment of ethnically homogeneous societies which, in an ideal scenario, represent the basis of the modern nation state.

The new societies, too, are ethnically heterogeneous structures, the basis of which cannot be, in the long term, about ethnicity and nationalism – their downfall would be the price to pay. These societies are thus unintentional laboratories of the post-modern era and have an uncertain outcome.(…)

Irena Lagator understands her artistic function as “a social strategy”; art as the vehicle of the human – that is, of the social civilising. With this claim, she belongs to a post-avant garde generation of artists who no longer herald the presumptuous claim to the liberation of mankind and the salvation of human pre-history from misery. The radical art avantgardes of the classical modern period often forgot that the freedom of art also always contains its social responsibility. Art’s complete freedom implies the artist’s absolute lack of responsibility. Political theory can sing a song about the absolute freedom of the totalitarian agitators; aesthetic theory still has to learn it.

The project on “unlimited social responsibility” sets high standards among societies which would only like to take on limited responsibility. Even over fifty years ago the conservative art historian Hans Sedlmayr spoke of the “loss of the middle way” which, among other things, he saw in the radical autonomy of the arts and the ever-threatening collectivisation of societies.

Irena Lagator avoids the danger of pronouncing (artistic) truths by devising multiple realities; and by changing perspectives she denies the observer and artistic creation any one-dimensionality. Her installations with thousands of material fibres may communicate an insight into the fragility of our knowledge and what we believe to be certain.

What is more, her installations communicate an awareness of how fleeting time and space are, of the finite nature of everything and of human endeavour. Nevertheless, she calls for responsibility on the part of artists and societies: with gentle reason she reminds us whether we want to find ourselves in the museum of the humane or in the memorial to the collective lack of reason, to the barbaric lack of responsibility.”

excerpt of Michael Ley‘s Art and Reason, or: Art as Social Strategy

┐ Sonja Bäumel, growing a second skin └

01 copy© Sonja Bäumel, Embroidered Tattoo, 2007

The embroidered tattoo is part of the fashion collection “Slow down…”. Latex layers
have been revived, reinterpreted and transformed into a skin. A skin embroidered with
local tradition.

sy_baeumel_cro_memb© Sonja Bäumel, Crocheted Membrane, 2008/09

“Our skin has a second layer of skin. A layer full of life, which serves as a membrane for exchange. This body membrane is made from the same substance as the world. The human body does not end at the skin, but invisibly expands into space. The hidden membrane exists between our body and our surroundings. We can enter this invisible micro level with a microscope; we enter and magnify the micro world. What happens if we make the micro world of the human body perceivable? I want to confront people with the fact that our body plays host to countless bacteria and that a balanced perception of the body is closely linked to a balanced perception of the self.” via Deezen magazine

0108sonja baeumel_expanded self1_0tumblr_mdf6ohXgLz1qeqxnz© Sonja Bäumel, Expanded Self, 2012

“Sonja Bäumel, supported by the bacteriologist Erich Schopf, has found a unique way of visualizing the invisible surface of the human body. She uses a gigantic petri dish as canvas and the bacteria living on her own body as colour. She develops and speaks a language combining art and science and thus creates a biologically living whole-body picture.
After the application of the invisible bacteria colour on the body, the body is imprinted on agar, the nutritive substance for bacteria, which is first filled into a huge petri dish (210cmx 80 cm). After a few days, a living landscape is growing there. It consists of a unique mixture of life forms on Sonja Bäumel’s body on a certain day, in a certain Viennese area. With this project, she wants to highlight the existing invisible infrastructure in order to understand and make use of it.”



Sonja’s website here

┐ Heath Bunting, artivist or anartist? └

A1003_a_terrorist_invert copy© Heath Bunting, Map Of Terrorism, strategic response to state terror funded by Tate, London, United Kingdom, 2008. to properly see the map click here

“It is unclear to many people exactly what terrorism is and which activities are now unsafe in the United Kingdom (UK) in terms of getting into trouble with the police. Making a map is often a prelude to colonisation and control. I have recently been under investigation and detention by the UK police for terrorism related offences. This case was fabricated by the Sussex police force, probably an attempt to frighten and probe me. My response to this, instead of seeking public sympathy and support, was to consolidate my existing links with national cultural institutions. Hence my proposal to make this map of terrorism, in context of an invitation for a new commission for Tate. This strategy resulted in me still being under state surveillance, but no longer facing Her Majesty’s (HM) detention.

My intention for this map was to find the borderline between ‘the everyday’, embodied by ‘the high street’ and the global terror fantastic. If goods and services are extended to people globally, we can expect feedback in return. If these goods and services are marketed by force, as for example in Iraq, then we can expect a violent customer returns. Important words to consider for mapping terrorism and the market are both reach and crossover. I have been thinking that perhaps our asymmetric reach has extended too far and that the crossover of unequal cultures has gone too deep. Only the criminally ignorant can act surprised when second generation immigrants become upset when their adopted national state starts to illegally bomb their grandparents back home. Perhaps terrorism has always been a violent response to inappropriate intimacy, similar to bullying.”

04_raquel-sign19_heath_hogge© Heath Bunting in collaboration with Kayle Brandon, mosaic surface squad maneuve (bellow), wall climb with sign suspension (above) Tour D’fence, hands and feet on tour of Bristol’s finest fences funded by None, None, None, 2002. More here

tour de fence acknowledges fence as metaphor for private property. fence as a supposedly temporary, often mobile barrier performing functions of inclusion and exclusion, entrapment and guided freedom, decoration, safety, user boundary, protection from hazard, flow control, visual screening and user separation.

fence is a permeable filter system defining permitted use and users. light, wind, insects, water, plants and sound pass unhindered while high order life forms such as ·humans, fish, cattle and cars are engaged:

development of fence.

up to now the vertical has generally been private while the horizontal public. increasingly, vertical fences are being rotated to the horizontal and enlarged over large areas of land, as all use and users are embraced in total control.

tour de fence recognises the transformation of framed freedom into restricted open-range roaming; the re-alignment of unknown possibilities into known repeatables. users are permitted to skate across flattened surface of fence, but not to pass through – the fence is everywhere.”

vahida_ramujkic_rio_chanca06vez_es_pt© Heath Bunting, BorderXing between Portugal (Mina de Sao Domingos) and Spain (Paymogo), Monday 25 June 2007, Borderxing Guide, make your own border check point funded by Tate/ Mudam, London/ Luxembourg, Uk/ Luxembourg, 2001-2011. Heath’s major project can be seen here

“Heath Bunting’s BorderXing Guide Web site primarily consists of documentation of walks that traverse national boundaries, without interruption from customs, immigration, or border police. The work comments on the way in which movement between borders is restricted by governments and associated bureaucracies.”

“Half way between Alcoutim and Mértola on the east bank of the river where the Guadiana turns inland towards the northwest and so ceases to be the border between Spain and Portugal is the very small village of Pomarão which in 1858 became a busy port as a result of a British company starting a mine at São Domingos 15 km to the north. Mining of gold, silver and copper had taken place in this area since Roman times, and with the advent of more modern machinery, between 1885 and 1966, 25 million tons of copper ore were excavated from this area. The ore was transported by a railway line from the mine to Pomarão where it was loaded onto ships and taken approximately 45 kilometres down the river and out to sea to various destinations for processing. Maps of the Guadiana made prior to 1885 show a ford between Alcoutim and Sanlúcar, the builders of this ford are not known, it could have been built by the Romans, the Visigoths or the Moors. It would have been built by filling barges with stone and sinking them in a long line across the river. With a maximum tidal range of around three meters it may have only been passable at low water on foot, but it would have been too shallow for ships laden with copper ore to pass over safely even at high water, it is therefore assumed that it was removed to allow their safe passage. There is no record of this, but remains of the ford extending from Alcoutim about 30 metres across the river are clearly still there.”

┐ Julius von Bismarck, what the fuck am I doing └

draw-1_detail© Julius von Bismarck, sketch for The Image Fulgurator machine, first version.

A camera device that projects images instead of capturing them. To understand how it works watch the video bellow.
adler-keil_detail4022915100_d40ecde089_z

6076488445_aaa71410d4_z© Julius von Bismarck & Santiago Sierra, as part of The No Project. more about the no projection here

1© Julius von Bismarck, from the project Punishment I, 2011/12 (above and bellow)6

some_pigeons_are_more_equal_than_other_Charrière_Bismarck9© Julius von Bismarck, in collaboration with Julian Charrière, Some Pigeons are more equals than others, Copenhagen, 2012 (above and bellow)

pigeon_safari_01pigeons© Julius von Bismarck, in collaboration with Julian Charrière, Some Pigeons are more equals than others, Copenhagen, 2012

“The project is about dyeing 35 pigeons in the city of Copenhagen. A ‘pigeon apparatus‘ was built with this purpose. The machine works as a bird trap with a conveyor-belt mechanism. Once inside the machine the pigeons get automatically airbrushed in different colors.”

Bismarck’s website here

┐ Ahmet Ögüt, Mind the System └

I have no mercy or compassion in me for a society that will crush people, and then penalize them for not being able to stand up under the weight.”
-Malcolm X

stone9© Ahmet Ögüt, from the project Stones to throw, 2011

stone2© Ahmet Ögüt, from the project Stones to throw, 2011

mts-ahmetogut-strategischschema02© Ahmet Ögüt,Strategic Diagram for Non-hierarchical Participatory Radical Democracy, 2011. In: Mind the System, Find the Gap

More of Ahmet’s work here

┐ Jane Hammond └

© Jane Hammond, Self-Portrait with Twin, 2011

© Jane Hammond, Face Facts, 2006

© Jane Hammond, The Touch-Up, 2009

© Jane Hammond, Cabrito, 2007

© Jane Hammond, Chai Wan Three, 2008 all selenium toned silver gelatin prints

“The photographs grew out of the scrapbooks, also. I began collecting photos to put in them, and quickly became obsessed with all the different depictions of the same thing. Soon, I had hundreds of snowmen pictures. I began collecting many more snapshots, other peoples pictures, and soon borrowed lots of my family’s own pictures. I began to think about them and in my mind’s eye I saw pictures, photographs with the appearance of photographs, that I didn’t actually possess. As you might have a dream which combines several otherwise incompatible aspects of your waking life, I saw photographs that were combinatorial and wove together things from different times and spaces.


I set out to make these photographs which were in my head. I sought the advice of many technical experts and created a way to make silver gelatin prints “actual photographs” of something that never happened.” Jane’s statement, 2007

More of Jane’s amazing body of work here

┐ Deborah Bohnert └

© Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005

© Deborah Bohnert, Untitled, from the series Bohnert and Bohnert, 2005

© Deborah Bohnert, Untitled, from the series The Little People, 2009

© Deborah Bohnert, Untitled, from the series The Little People, 2009

“…Dada had long operated according to the principle of instability, blurring distinctions between art and mass media (in photomontage), art and mass production (in the readymade), and intention and reception (in public provocations and spectacles). In 1921, Roman Jakobson characterized the movement as “transrational”—an indulgence in sheer relativity and paradox—citing Tristan Tzara as support: “I am against all systems, the most acceptable system is to have no system at all.” Framed by flou, Man Ray’s equivocations—photography is not art/photography can be art/art is not photography—strike one as a form of discursive repurposing that recalls the readymade, or at the very least, a cultivation of irrationality commensurate with automatic writing. What appears at first to be a show of dogmatic inconsistency is in fact an instance of Dada blur and flux, activated by a form of crit ical recycling that would later come to be called détournement—not a negation, precisely, but an intervention or interleaving of new forms into old that is put in play to expose conventional demarcations as redundant. “And yet you still paint?” “Yes . . . to persuade me of its inanity.”

(…)

The photographic medium further underscores the references to mass media: like the newspaper, it is itself a form of technological reproduction, and like the news, it is valued for its immediacy. Instantly obsolescent, all bear the double intimation of a frozen present, simultaneously past. Likewise, photographs prove to be the perfect analog to the automatic text in its relation to unconscious processes: inclusive of all that appears in the camera’s viewfinder, mechanically made “memory-records” constituted by visual residue. Deserved or not, photography’s reputation is still that of being an unmediated print—a myth that is foregrounded by the relative directness of the photogram process. The absent camera is replaced by mechanical actions: picking up trash at random on the street, drawing newspaper fragments from a bag . . . or, in Man Ray’s case, absent-mindedly misplacing objects in a developing tray.” excerpt from the article Flou: Rayographs and the Dada Automatic, by Susan Laxton, published in OCTOBER 127, Winter 2009, pp. 25–48.

more of Bohnert‘s work here

┐ Alexander Brener & Barbara Schurz └

On the night of October 15th, as I was leaving the demonstration, a guy shouted at me. As I looked back he asked me if I spoke english, I nodded, he grabbed a paper bag and gave me a book. He turned, walked away and cut the corner just in time for me to thank him. I opened the book and this was it!!! Thank you Alexander!

“In the beginning of 1999 we published a little book called What to do? 54 Technologies of Resistance Against Power Relations in Late-Capitalism (in Vienna, and before that in Moscow.) This book is a collection of a number of semi-anecdotes and semi-reflections about the possibilities of political and cultural resistance under the condition of a globalized market and multiculturalism. The centre of our examination were so-called technologies of resistance: familiar and traditional methods of political struggle and cultural resistance, as well as individual ‘transgressive’ techniques. On the one hand we tried to analyze critically technologies such as demonstrations, sit-ins, hunger strikes; on the other hand we discussed the effectiveness of showing your ass in front of your enemy, throwing eggs and spitting on your opponent’s dress. Resistance must take into consideration concrete circumstances of place and time and must act from very precise strategies and tactics of local struggle, if it wants to be effective. Borrowing from Foucault, who spoke about the ‘specific intellectual’ we suggested the term ‘local and specific resistor.’ Such a resistor doesn’t act from universal concepts or out of the doctrines of parties or groups, but struggles against these very doctrines and keeps moving endlessly, not knowing what he or she will do tomorrow. In combating the current art-system, local scandals, interventions, leaflets, graffiti etc. may be effective at a certain moment but useless in another context. Soft subversion, a heritage inherited from the 1980s, is no longer adequate, and the hidden undermining of the political context of the enemy is obsolete and has finally degenerated either into cynicism or into conformism and strategies of success and survival within the system. ‘War is necessary!’ was our answer to the question ‘What to do?’

However, the term ‘technologies of resistance,’ which we have used untill now, no longer satisfies us. From now on we want to talk not about technologies but about anti-technologies of resistance. After the works by Artaud, Bataille and Foucault, Lacoue-Labarthe, it becomes clear that the Greek term ‘techne,’ which denotes a mimetic ideal in the sphere of art and is directly connected with the art of politics, still subordinates itself to political and aesthetic activities in modern society. Techne implies a model of society that is based on the hegemony of certain technologies of power and on the subjection of the will of individuals in a direction favorable to the elite. Technologies are the skills and abilities which guarantee the functioning of knowledge and power in very different fields – from a shoemaker’s business to the construction of intercontinental ballistic missiles, from artistic collages to espionage satellites. Power relations produce technologies and distribute them partly through dictatorship, partly through seduction, but always in the interest of the ruling order. Even if one or another technology is employed in the service of resistance, at a certain moment it inevitably turns out to be the hostage of power and, deriving from power relations, it permanently return us to them. Technologies serve the oldest and most productive game of power, where its myths get the ‘final’ and ‘competent’ confirmation from experts. Nowadays techno-myths serve the neo-liberal elites, repressive tolerance, and the new Right. We no longer want to speak about ‘technologies of resistance’ because we associate the term ‘technologies’ with ‘power’ rather than ‘resistance.’ Anti-technologies of resistance are necessary!

This is a great manifesto by Alexander and Barbara. continue reading here

┐ Minna Pöllänen └

© Minna Pöllänen, Hiltop, from the project Attempts, 2010

© Minna Pöllänen, Water, from the project Attempts, 2011

© Minna Pöllänen, Ice, from the project Attempts, 2010

“Made on an undeveloped 0.75-hectare piece of family land, Attempts maps out a survey into the notion of landownership. Through collecting, containing and marking different pieces of the landscape the project explores the various geographical and topographical elements found within the lot. The apparently futile constructions depicted in the photographs aim to visualise and question the often illogical commodification of nature and the ownership of something that exists in a constant state of flux.”

Minna’s statement

More of her work here

┐ Robbie Nolan └

© Robbie Nolan, Untitled, from Trees

© Robbie Nolan, Untitled, from Trees

“The poet Keats spoke of how the ‘cold philosophy’ of science would, by explaining the mechanics of the physical world “unweave a rainbow”. In a sense the aim of this series of photographs was to display the falsity of this claim when related to colour. Colour is often thought of as something solid, immutable and objective. Certainly objective colour exists as measured in wavelengths of light, but this does not mean humans are able to view it objectively. The physiology of human sight is one easily susceptible to outside influence, and all manner of environmental factors can affect our perception of colour. In fact recent discoveries made by molecular biologists have found that miniscule differences in the amino acids of eye can occur between individuals, and as a consequence there is the potential for us all to perceive colour slightly differently. Colour as we perceive it has no physical reality of it’s own, instead it exists solely within the neural pathways of our brains.

It is this idea of colour as a liminal space on the threshold of existence which interested me. Inspired by early spirit photographers, with their use of slow shutter speeds and double exposures to create apparitions of the deceased, in these images I have created ‘ghostly’ shapes using coloured fabric and a prism filter to break the light into it’s constuent spectral colours, with no post-production editing. In doing so I have tried to use the camera to pin down the idea of colour as bridge between tangible and intangible, subjective and objective. Despite Keat’s claims against science the very nature of colour means it will always remain an essentially unknowable world – something I have tried to reflect in the work.”

Robbie’s statement

More of Robbie’s work here

┐ Jean-Noël Pazzi └

© Jean-Noël Pazzi, figure 5 – les cadavres exquis, from the project In(ter)vention

© Jean-Noël Pazzi, forêt 6 – paysage, from the project In(ter)vention

© Jean-Noël Pazzi, figure 3 – les cadavres exquis, from the project In(ter)vention

“Ménager les site frappés de croyance comme indispensable territoire d’errement de l’esprit. Gilles Clément Manifeste du tiers paysage


Cela aurait pu être une belle histoire, un doux romantisme entre l’homme et la nature. Mais il n’en est rien. Je trafique, reconstruis et extrais. Je recherche des formes à construire ou à mettre en lumière. La nature a toujours été mon terrain de jeu; je la transforme.
Michel Foucault disait à propos des hétérotopies qu’ils sont des lieux précis, que l’on peut définir sur une carte, mais investis par des mondes utopiques. Un théâtre ou un musée, par exemple, sont des hétérotopies, définissables géographiquement mais investis par des mondes imaginaires; des mondes dans un monde. La nature a, pour moi, aussi cette faculté. C’est un lieu magique, un lieu imaginaire.
Mon travail est fortement lié à cet imaginaire, qui est vu au travers d’un prisme intermédiaire, celui d’un appareil photographique. Composée de deux séries (Les cadavres exquis et Paysages), In(ter)vention est une recherche de formes et de textures, où la nature est détournée au profit d’une interprétation personnelle de ses éléments constitutifs.
D’un côté, c’est une nature décontextualisée et arrangée par mes soins; des compositions traitées en studio. De l’autre, c’est le studio qui s’invite dans la nature et dévoile par la lumière des formes et des ambiances. Dans les deux cas, il y a de cette inquiétante étrangeté. La présence de la mort dans Les cadavres exquis ou l’ambiance nocturne des Paysages confère à cette série une dimension surréaliste.
Mon univers est la nuit, le monde des rêves, celui des chimères qui sortent de leur caverne. Des bruits nous guettent, ils nous survolent, nous effleurent. Un craquement à droite, puis des ailes se déploient, elles ululent, tourbillon: silence. Le vent soulève les feuilles. Il caresse nos cheveux et chante entre les pieds de géants feuillus. Un éclair! L’appareil à tout vu. Pour moi, encore une fois, c’est une figure étrange qui s’est dessinée dans l’ombre des branches. Une interprétation innocente, mue par la curiosité: une aventure.
C’est à cette étrangeté nocturne et sylvestre que je veux convier le spectateur.”

Jean-Noël Pazzi

More of Jean-Noël’s work here

┐ Ting Cheng └


@ Ting Cheng, Icy Yoga Lesson, 2012

@ Ting Cheng, Where is my home, 2009

excerpt from an interview by Alexandra Plesner, from Dazed Digital

Dazed Digital: Your images give the impression of a dreamer, trying to escape this asylum called life. Why does this concept fascinate you so much?
Ting Cheng: As human beings, we learn from playing, we gain experience through trying. While I am not particularly good at planning, I am the queen of playing and trying. Inside the game, we are the controller. We press and release. We continuously select and restart, trying to break through the barriers that we encounter. The game will never be over, because despite all the set-backs that we’re facing, we will always continue playing and seeking those little victories. I indeed wish I could transform myself from a traveller, an outsider and a dreamer into a present experience maker.

DD: What was your first passion and how does this passion manifest itself today?
Ting Cheng: Being an outsider is really essential for me. It is the main inspiration for my work. The feeling of alienation urges me to step aside from my own body. It drives me to express this inner desire of exploring and discovering.

DD: What does photography mean to you?
Ting Cheng: I am a day dreamer and a visual thinker, so I turn to photography to communicate my feelings, thoughts, dreams and desires. I use photography to expose and document the absurdity and oddness of everyday life. Photography for me, is almost a way to prove my very existence. It is a way to escape from an ordinary and mundane reality, replacing it with a new reality.

DD: To look at your picture gives hope that the door to fairyland actually exists. How important is escaping reality for you personally and as a professional?
Ting Cheng: The image of the world has existed within our consciousness and cognition. If I am not satisfied with the reality I find myself in, I can reorder and reshape the map of the world through my imagination. Even more, I can build up a new reality. My work gives me an alternative to rethink and question the possibility of space and the relationship between our bodies and the objects that surround me.

More of Ting’s work here

┐ Michal Heiman └



CRITICAL IMAGE: MICHAL HEIMAN, By Dr. Ariella Azoulay

Michal Heiman chose the position of the spectator looking at someone else’s photographs taken by someone else, in which someone else is photographed, which someone else collected. Heiman turns this quintessential position of spectator (in a museum, but not only) into her own, elaboration and giving it back to it to spectator, whom she transforms not only into the subject of the artistic image but also into the subject of the psychological image. This is the spectator who is asked, on several levels, to assume Heiman’s position and to reproduce it. When Heiman looks at these photographs of her mother-in-law, she is following classifications which are latent in the family album, acting within the framework of the restrictions and advantages of her family relations with the photographed (her mother-in-law), attuned to the route she traced on her meticulously planned journeys as well as in random rambles. Though Heiman does this without relinquishing essential activities of the subject’s position, such as sorting, selecting, classifying, etc, she performs these activities as an accumulative sum of activities familiar from two institutions and practices – the musial and the psychological. The images she presents to the “subject” of her “test” are mediated through these two institution/ practices. They are presented in a “test” box by an “examiner”, who also duplicates Heiman’s positioning, obviously without the possibility of identity between the two of them, between them and the photographed, or between them and the “subject” of the “test”. These relations of similarity and difference between the personae/ positions dissolve the established hierarchical relations which institutions/ practices such as the museum and the psychology apparatus seek to preserve, and point to their fluidity. Heiman is attracted to these two systems, seduced by one and functioning within the other, but at the same time she criticizes them, especially by turning one against the other. She bypasses the museal apparatus by way of the psychological apparatus. Within the framework f the museum institution she develops exchange relations borrowed from the psychological apparatus, rather than those practiced in the museum I which the boundaries of the subject are predetermined by the way he or she is placed in front of the artistic object. The relations of replacement that Heiman proposes are those existing in the psychoanalytical situation, with one crucial difference: they are not continuous in time, and the analyst cannot gain knowledge relating to the analysand and take an active part in subjectivizing her. Thus the therapeutic situation is divested of its characteristic power relations. The activating of the general patterns of the structure of the therapeutic situation in a museum setting through the “test” mode of the M.H.T., provides an opportunity to disrupt the museum order. This order is based on complex relations of silence, both on the part of the museum object and on the part of the museum subject, and on the distinction between the different subject of art – -the artist and the spectator. The museum spectator is invited to induce the mute object to speak, but only later, and outside the boundaries of the site. Heiman’s spectator is invited to induce the scene to speak at the site itself. The existence of the images Heiman offers for viewing and voicing violates the standard norms of presentation, and serves as a point of departure for unexpected encounters with conveyor of parallel, contradictory, other images, encounters in which she finds herself being led no less than leading.

Michal Heiman’s “test” is intended for women. It suggests that they look at a number of pictures of a woman-a mother figure and her own mother-in-law – and a few pictures of women who were inscribed in a history which is not only theirs. The first photographed figure is like a magnified stereotype of the (Jewish) mother figure. She is more (and less) than a citizen of the (Jewish) state. She doesn’t tour like a tourist, looking rather like the proprietress who comes to collect the rent or to be nice to the tenants and improve their conditions of living. She embodies much of what is repressed in that State, and precisely the close relationship to her presents an opportunity to take a straight look and see how it “really” looks. How the overbearingness, excessiveness, and unusefulness of this figure looks. She has herself photographed incessantly, in any place, on any occasion. She is always ready with the camera “just in case”- this may be the decisive moment, so she had better have proofs, evidence, in her hands. For one mustn’t let destiny rule the world alone. Together with her, in the same box, there are seven other women. These are women whose “decisive moment” indeed caught up with them. Each of them experienced a “crucial” moment, performed an act, and this actually justified a portrait, an image, an immortalization, but there was no camera to immortalize the moment. The portrait that they bequeathed is thus a portrait which does not bear witness to the incisive moment but keeps manifesting the decisive relation between them and the social order they disturbed and whose rules they sought to suspend. It thus constitutes a double portrait- a portrait of them and of the social order they challenged. The first one is of the three (surviving) quintuplets the Dionne sister, who having been put on public display as children together with their two other sisters, eventually broke the silence to bring this glaring abuse of a child’s body to light (and to claim damages for themselves). The second is of Ulrike Meinhof, leader of the Baader Meinhof group, from whose portrait it is always possible to revert to the boundaries of the rules of the game of the democratic state, a game in which everything is negotiable, except the rules of the game and so allowing the exclusion o any player attempting to put those rules I question. The third photograph is of Leila Khaled, the Palestinian freedom fighter who became famous for skyjacking in which she was involved. Khaled expropriated the time of the flight passengers to point to the time and the place of which her people, the Palestinian people, had been robbed. The fourth portrait, of Eva Hesse, an artist who put her body in the center of her art long before the artistic discourse could have contained such a manifestation, evidenced an apparatus saturated with violence and the tensions between an individual, a body, and a position from which to see, speak out, and act, and the last portrait, of Kochava Levy, who found herself in a hotel that was occupied by terrorists, and masterfully played – with her unprecedented feat of conducting negotiations with the terrorists – the role assigned to her by history.

(Dr. Ariella Azoulay, D’Israel: Barry Frydlender, Michal Heiman, Efrat Shvily, and Dana & Boaz Zonshine, Le Qartier, Center of Contemporary Art, Quimper, 1999 [pp. 33-34] )

More of Michal’s work here

┐ Zlatko Kopljar └

© Zlatko Kopljar, from the series K11, 2007

© Zlatko Kopljar, from the series K11, 2007

Although Zlatko is known for his performances (his k9 compassion series leading the show), I hereby present two photographs from a series intended to dignify his fellow colleagues and artists who never aimed to be apart of the mainstream, to become a brand, to sell their art. Some of us borderline the idea of being marginal and/or being apart of the market. Apart from each one considerations, I do believe ethics and the strength of the work are above all. I publish these photographs not to applaud this so called marginal artists but to speak of the idea that not all of us need to be published, loved or appreciate to feel that work is successful or accomplished its purposes. It depends on why you do what you do and whether or not the reasons to be apart of the market are purely capitalist ones.

More of Zlatko’s work here

in collaboration with photographer Mario Kučera

┐ Gunnel Wåhlstrand └

© Gunnel Wåhlstrand,

© Gunnel Wåhlstrand, White Peacocks, 2007/2009

109 x 160 cm, ink-wash on paper

“For eight years, Wåhlstrand has worked exclusively with a kind of re-development of private photographs, using black ink and water, a precise and time-consuming technique that she masters to perfection. The earlier body of motives consisted of her father’s family photo album, but has now been expanded to a wider family group. One of the larger works, Mother Profile, is a rendering of a studio photograph of the artist’s mother. In the exhibition, it is placed so that she gazes at the landscape where her father dramatically crashed and fell to his death. Further on in the room, a portrait of him can be seen. It is the smallest work in the exhibition and the only one in colour. The artist decided that the fact that no colour photographs ever existed of her grandfather, was a strong enough reason to return to colour, for her sake as well as for his.

Wåhlstrand’s depiction is a both deeply personal and universal process. The precise and demanding task of depicting these documents is a way for the artist to physically and psychologically approach a personal history of which she, without any own experience of it, lives the consequences.”

source: Andréhn-Schiptjenko gallery

More of Gunnel’s work here

┐ Carole Condé and Karl Beveridge └

© Carole Condé and Karl Beveridge, 1909, from the series Work in Progress, 1980

© Carole Condé and Karl Beveridge, 1956, from the series Work in Progress, 1980

“Work in Progress is a short history of working women from 1909 to 1979. Each decade is represented by a different woman posed in a kitchen in which the props change with each period. Each image has a window into which a documentary photo indicates the politics of the period, a calendar that indicates the predominant type of work in which women were employed and a family photo that indicates the family structure of the time (from extended family to a single mom).


The women are posed in relation to their job. 1909 shows a woman doing piecework at home with the last remnants of the slave trade in the window. 1919 shows a woman about to go out the door to work with her lunch bag while she is momentarily distracted by the window which shows the Winnipeg General Strike. 1928 shows a office worker (telephone operator) with Soviet woman tractor drivers in the window. 1938 shows an unemployed woman looking through the want ads with women from the Spanish Civil War in the window. 1945 has a woman war worker with soviet women pilots in the window. 1956 shows a woman retail or service worker fading into the background with a baby bottle (women being pushed back into the home) with the Hungarian uprising in the window. 1968 portrays a Quebecois woman with the Vietnam war pictured in the window. 1979 shows a South Asian women holding a photo of union women with women celebrating the independence of Zimbabwe.”

Carole and Karl’s