[Nettime-ro] Cosmin COSTINAS & Marina GRZINIC: "HOW TO TRANSFORM TRANSITION? CONCEPTS AND PRACTICES OF INTERVENTION"

[Cosmin Costinas <cosmincostinas2004@yahoo.com>]

INVITATION

Galerie IG BILDENDE KUNST
Gumpendorfer Straße 10-12, 1060 Wien, TEL
++43-1-5240909, FAX ++43-1-5265501
galerie@igbildendekunst.at, www.igbildendekunst.at
____________________________________________________________________________

you are cordially invited to the podium discussion:

wednesday, june 7, 2006 7 pm
HOW TO TRANSFORM TRANSITION? CONCEPTS AND PRACTICES OF
INTERVENTION
panel discussion with Cosmin COSTINAS and Marina
GRZINIC


in the frame of:
________________________________


DE-REVOLUTION

opening april 26, 2006, 7 pm with a concert of the
garage band PINK BARRETT
duration april 27 to June 9, 2006

with artistic and discursive contributions by:
Robo BLASKO, Kristine BRIEDE/Carl BIORSMARK, Cosmin
COSTINAS,
Branka CURCIC, Harun FAROCKI/Andrej UJICA, Marina
GRZINIC, Dominik HRUZA,
kuda.org, Margarethe MAKOVEC, Dan PERJOVSCHI/Mark
SCHREIBER, Lia PERJOVSCHI,
PINK BARRETT (Peter KUCERIK, Lubos KOPTAK, Martin
SMATANA), WRO center for
media art (Piotr KRAJEWSKI/Violetta KRAJEWSKA),
Zelimir ZILNIK

curated by Luisa ZIAJA and Berthold MOLDEN

The concept of political and economic transition has
revealed itself as a
category under suspicion of ideology. Particularly in
connection with the end
of the Cold War and the social ruptures in Eastern
Europe, the widespread
"transition optimism" reflects Western hegemonies that
are rarely ever
questioned. All too easily have complex historical
situations been trimmed to
linear salvation histories that necessarily have to
produce Euro-American style
democracies. As a political project, the
elite-dominated paradigm of market
capitalism claims interpretative predominance for our
societies. Simultaneously
though, this very concept of progress is beginning to
totter while
friction-surfaces and antagonisms beyond the expected
emerge ? as Slavoj Zizek
has aptly summarised:
"The disappointment was mutual: the West, which began
by idolising the Eastern
dissident movement as the reinvention of its own tired
democracy,
disappointedly dismisses the present post-socialist
regimes as a mixture of
corrupt ex-communist oligarchy and/or ethnic and
religious fundamentalists.
[...] The East, which began by idolising the West as
the model of affluent
democracy, finds itself in the whirlpool of ruthless
commercialisation and
economic colonisation."
The exhibition DE-REVOLUTION locates this tension
between revolutionary
potential and post-transitive disillusion in a twofold
horizon of experiences:
on the one hand, the media?s event-oriented and
structurally ignorant glance
and, on the other, individual explorations of the new
social, political and
cultural realities. Three selected perspectives are
provided: "The Lost
Project" (2005), a photo-installation by Robo Blasko,
and the film "Borderland"
(2001) by Kristine Briede and Carl Biorsmark document
the changes in social and
spatial topographies, employing different approaches
to look into rural and
urban peripheries of Slovakia and, respectively, the
abandoned Latvian town of
Karosta. Zelimir Zilnik?s film "Cosmo Girls" (1999)
also chooses an individual,
life story-oriented approximation towards the
transition topic by dealing with
committed female biographies. The video compilation
"From Monument to Market:
Video Art and Public Spaces" (2005), edited by the WRO
Center for Media Art,
presents contemporary polish video art. Western
media's power of interpretation
? the second theme of the exhibition ? is picked up by
Dominik Hruza in his
poster installation "Televised Revolutions" (2006) as
he introduces the
inflationary use of the term "revolution" into the
format of advertising
posters. As a historical reference, "Videograms of a
revolution" (1992) by
Harun Farocki and Andrej Ujica show the central role
and the manipulatory
potential of the media in the context of the Ceausescu
regime?s overthrow in
Romania. As a third aspect, a structural analysis of
post communist
transition?s socio-political and cultural dimensions
is introduced by Dan
Perjovschi?s work "My World" (2006) and by the
newspaper project "Detective
Draft" (2005), realized together with Lia Perjovschi.

-- 
documenta 12 
Cosmin Costinas
coordinating editor

Museumsplatz 1
1070 Vienna
Austria

t +43 1 526 40 64 - 40
f +43 1 526 40 64 - 70
e costinas@documenta.de
www.documenta.de


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