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Reality Manifestos, or Can Dialectics Break Bricks?

A study of dtournement as Art Forms

Agroup

exhibition

at

Kunsthalle

Exnergasse,

Vienna

19January 3March2012;Openingon18January,7pm

ParticipantsintheExhibitionMarcBauer,SabinaBaumann,MareikeBernien&KerstinSchroedinger,PaulineBoudry&Renate

Lorenz,BognaBurska,BriceDellsperger,KonstantinosManolakis,MicheleOMarah,CoraPiantoni,

ElodiePong,Schmale,Scheirl,KneblWerke(ToniSchmale,HansScheirl&JakobLenaKnebl),

RebeccaAnnTess

WithaperformanceattheopeningbyTheCentreofAttention,andasoundperformanceandDJSetbyDJSweatproducer(AnneKthiWehrli).

Atthefinissageon3March,HansScheirlwillgiveapublicinterview,at7pm.

TheexhibitionandsymposiumarecuratedbyDimitrinaSevova

Ideologycanonlyshattertopiecesoncontactwithradicalsubjectivity.

From:RenVinet,CanDialecticsBreakBricks?

Theprojecttakesasitspointofdeparturethefirstentirelydetournedfilminthehistoryofcinema:

CanDialectics

Break

Bricks?(1973)byRenVinet,whichadaptsaspectacularfilmtoaradical

critiqueofculturalhegemony.TheFrenchworddtournementisemployedhereforstealing,

derailing,appropriating,misusing,reenacting,ratherthanthespecifictermofappropriationthat

hasacquiredaspecialaurainanarthistoricalcontext,followingJohnStezakersrecognitionthat

appropriationisactuallyamisleadingterm,becauseitsuggestsmastery.

Comprisedofaninternationalgroupexhibitionandatwodaysymposium,theprojectdevelopsin

thefieldofinquiryandinvestigationofhijackingandreadymadeincontemporaryartinrelationto

thecinemaindustry,andthepossibletransmissionofpropertiesbetweenthem.Itinvestigatesthe

spaceandtheconfusionoftheborderbetweenimageandrepresentation,andspeciallyfocuseson

theruinsofrepresentation,whatarethepossibilitiesfortranslation,andwheretheideaoforiginal

andcopyislost.Itfollowsthesocial,politicalandaestheticcontentcreatedasadialecticclash

betweeninvisibleandvisible,orshiftsbetweenthenotionsofproductionandconsumption,reality

andfiction,creatingtemporalitiesinbetween,bringingtogetheradiversityofartpracticesthatoffer

singulartacticsofspeculativemisuse,repetition,faithfulmimicryanddtournementofexisting

images,visualicons,narrativepatternsreenacting,rewritingandtranslatingthem.

Theprojectservesasaplatformforinvestigatingthestructureandinstitutionsofcommercialcinema

inrelationtotheinstitutionsofartandimagesandtheprocessofprojectionbothinthemost

mechanicalsenseasacinemacameraandprojectorandtheirsimilaritytothefunctionofhuman

perception,aswellashowpsychoanalysislooksatthesameprinciplesofprojectioninthesubjective

andsocialfield,asinhowweprojectourfearsanddesiresontoothers,andhowthenormsofthe

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psychosymbolicformationofrace,classandsexualityarerepetitivelyperformed.Theworkson

displayinvestigatethemachineofcinemawithitsnarrativestructures,mythologies,representations,

reproducibility,lookingmoregenerallyathowthesestructures,institutionsandbordersarecreated,

howvalueiscreated,howtruthisimposedbythesymbolicandeconomicconditionsofaspeculative

industry.Iftheartistdisruptsthesurfaceofcinema,isthereapossibilityforupholdingtheclaimfor

theautonomyofartasaninstitution?Ultimately,theprojectisaboutthespectacle,andwhat

possibilitieswehaveforsubvertingit,wakingtheviewersgazefromitstorpidcontemplationwhile

stillgettingjouissancefromtheimagesseductivepower.

DimitrinaSevova

PublicTheoreticalSymposiumMuseumHalls,WUK,WhringerStrae59,1090Wien

1920January2012

Thefirstentirelydetournedfilminthehistoryofcinema:CanDialecticsBreakBricks?

Afilmproducedbythepersonlistedhere[YeoBanYee],whonaturallyhasnoideawhathas

happenedtohisfilm.Letitbesaid:allfilmscanbedetourned:potboilers,Vardas,Pasolinis,

Caillacs,Godards,Bergmans,aswellasgoodspaghettiwesternsandallcommercials.

From:RenVinet,CanDialecticsBreakBricks?

Thetheoreticalsymposiumisorganizedinconjunctionwiththeexhibitionprojectofthesamename,

andservestocontextualizetheexhibitionandtheartistsworksandraiseapubliccriticaldiscussion

amongscholars,theartistsandabroadaudience.Theexhibitionandthetheoreticalsymposium

reflectuponeachotherinordertotheorizetheworkoftheartistsanddeepentheunderstandingof

thetopicsandsubjectsaddressedinthetheoreticalframeworkoftheproject,andissuesconcerning

therelationbetweencontemporaryartandcinema.

ThesymposiumisorganizedcollaborationwiththePostgraduatePrograminCurating,Zurich,

www.curating.org.Aspecialissueoftheoncurating.orgmagazineontheexhibitionandsymposium

willbepublishedinMay2012withexpandedtextsbasedonthelectures.

ParticipantsintheSymposiumMareikeBernien&KerstinSchroedinger,TheCentreofAttention(PierreCoinde&GaryO'Dwyer),

BriceDellsperger,EvaEgermann,MarenGrimm,EstherKempf,LucieKolb,ElkeKrasny,Boyan

Manchev,Innol,BerndOppl,MagorzataRadkiewicz,DorotheeRichter,NicolaRuffo,Wolf

Schmelter&SimoneSchardt,DimitrinaSevova

And:artisttalksbytheparticipantsintheexhibition