As Rights Go By — On the Erosion and Denial of Rights
Exhibition at freiraum Q21 INTERNATIONAL
Press Tour: Wed, Apr 13, 10:00
Opening: Thu, Apr 14, 19:00
Curator's Guided Tour: Fri, Apr 22, 14:00
Location: freiraum Q21 INTERNATIONAL
Photos from the Opening night
How do we link restrictions on civil rights and the deprivation of refugees' rights? Economic interests as well as promises of high yields and national security are increasingly undermining constitutionally guaranteed rights — rights not even conceded to refugees. The exhibition, curated by Sabine Winkler, explores judicial, social and emotional shifts in the relationship between citizens, politics, economics and violence.
Post-democratic developments have accelerated in the last ten years: unregulated financial markets, which are increasingly dominating political agendas, as well as uncontrolled mass surveillance, which increasingly aims at predicting and influencing (purchasing) behavior, are shaping our reality. In the current, highly explosive scenario it makes sense to take a look at the causes and consequences of de jure inequalities.
The purported necessity for political policy to submit to market interests is leading to a shift in individual rights to the advantage of investors. Debt and trade agreements are being instrumentalized to establish and institutionalize inequality. The radicalization and globalization of markets is, in turn, leading to the entrenchment of inequalities between rich countries and poor ones in the battle for cheap raw materials and labour. Neo-colonial strategies are among the reasons for migratory movements.
The artworks shown in the exhibition explore the impact of globalization, financialization, and mass surveillance on civil rights and human rights, as well as the social and judicial inequality they entail. The issue of the distribution of rights is also topical in an art context. The art system reflects the social and judicial inequalities to be observed in society at large. Reflection on one's own behavior and position plays a decisive role in aesthetic practices that render judicial, social or societal asymmetries in the conditions of production visible.
The video by Lorenzo Pezzani and Charles Heller (Forensic Architecture), ‘Liquid Traces — The Left-to-Die Boat Case’, adopts a forensic approach to reconstruct a tragic event and find evidence of guilt. The two artists examine the evidence available from the information gathered by surveillance technology, and show the extent to which the authorities are guilty of breaching international human rights conventions and that they committed the crime of non-assistance.
Nikita Kadan engages with police torture, a practice widespread in Ukraine, in his project ‘Procedure Room’. His drawings of torture techniques on porcellain plates in the style of the ‘Popular Medical Dictionary’ of the Soviet era address the ideologically motivated depiction of torture as a medical procedure, as a 'necessary surgical intervention' to legitimate state violence. The loss of rights is proclaimed necessary for the wellbeing of society, or as 'protecting liberty.'
Lina Theodorou's installation ‘The Amazing Board Games Club’ invites visitors to understand everyday reality in crisis-torn Greece by playing a board game. The financial board game ‘Pawnshop – Days of Mistrust’ is conceived as a satire of the textbook capitalist game Monopoly, while the board game ‘Save the Pensioner’ is one element in a fictive advertizing campaign for pharmaceutical concerns, aimed to prepare the population for 20 more years of working and of keeping fit. Lina Theodorou alludes to the social and legal consequences associated with debt and austerity programs, as well as to the companies' profiting from poverty and people who lose their rights.
James Bridle's video ‘Seamless Transitions’ shows animated visualisations of three inaccessible sites of immigrant judgement, detention, and deportation in the UK. Based on planning documents and eye-witness reports, the video uses architectural visualization techniques to reconstruct these physical spaces, but also the complex legal and social apparatus.
The work ‘Obsidian Contract’ by Carey Young shows a legal contract written backwards and reflected in a black mirror as public space and jurisdictions imagined in a context of the exhibition.
In contrast, Yuri Pattison shows footage of the hotel room 1014 in Hong Kong, where Edward Snowdon gave his interview exposing the NSA in 2013, and combines these with amateur hotel room evaluations and video footage of Hollywood film locations shot by fans. The work reflects the rapid transition from a political event in the entertainment sector, and refers in this specific case to the NSA's multiple human rights transgressions featured in Hollywood movies.
In his film ‘Sequence Error’, George Drivas alludes to the aphorism by Karl Marx, 'history repeats itself, first as tragedy, then as farce,' and then adapts parts of speeches by Che Guevara (1963) und George Marshall (1947). The scene is set in a contemporary company that collapses under the impact of a sudden system crisis. The company represents the capitalist system, the crisis stands for the emergency that is used as a pretext for the suspension of rights. Resistance grows.
Silvia Beck* (DE), James Bridle (GB), George Drivas (GR), Özlem Günyol*/Mustafa Kunt* (TR/DE), Adelita Husni-Bey (IT), Nikita Kadan* (UA), Kollektiv Migrafona (Belinda Kazeem, Petja Dimitrova, Radostina Patulova, Vlatka Frketić, Vina Yun) (AT), Vladimir Miladinović* (RS), Yuri Pattison (IE), Lorenzo Pezzani und Charles Heller (Forensic Architecture) (IT, USA/CH), Julien Prévieux (FR), Andrea Ressi (AT), Judith Siegmund* (DE), Lina Theodorou* (GR), Carey Young (GB) et al.
Curator: Sabine Winkler (AT)
As Rights Go By is organised in cooperation with the Federal Ministry for Europe, Integration and Foreign Affairs.
Image: Nikita Kadan, Procedure Room, 2010, Installation (Detail)Apr 15 thru Jun 12, 2016, Tue-Sun 13-16:00, 16:30-20:00
frei_raum Q21 exhibition space less
Film screening at Raum D / Q21
Venue: Raum D / Q21
In times when the acquired human rights, set out in the constitutions of all European states as the guiding principles and laws of democratic society, are becoming subject to polemics, we must urgently resist different institutions in their surreptitious attempts to impose their opinions on the basic issues concerning human existence. Humiliation, marginalisation and inequality of any human being are threats we must stand up against engaging all social mechanisms, be it national statutory provisions, civic initiatives or religious dogmas.
Presenting position of three artists of younger generation brings together aspects of today’s issues of obvious and omnipresent inequality, violation of basic human rights and neglecting the collective trauma of weaker. All three presented works directly comment upon the present political and social reality, and scrutinize the position of the individual in these turbulent times of rapid change. A close and critical inspection of social values has been a constant in artistic practice since the times artists shook off the shackles of guilds, and art no longer had to obediently serve the invisible powers of state institutions or other institutions of authority. As Karel Teige says, real social art is art that is ruthless in its commentary of society and inherently revolutionary. Political change, new social and political regimes, and new ideological premises should transform art from a compliant servant into a fierce critic of the state and society.
"Newsreel 63" by Nika Autor follows newsreel-related practices and tries to position and understand a particular image – a shred of video taken on the once famous Belgrade - Ljubljana rail-line, where refugees now travel not in couchettes but between the train’s wheels. "Newsreel 63" drifts into a visual investigation of railways and explores its historical, social and political narrative. The essayistic and associative elements of "Newsreel 63" link this historical narrative to our pursuit of happiness, the idea of voyage in the current social constellation, where our longing for happiness is all too often tied to the idea of travelling somewhere – or indeed the need to secure the means for mere basic survival. In her conception of the newsreel, Autor refers to traditional forms of the genre and employs various layers of content, connecting them through essayistic narration and visual elements. What makes "Newsreel 63" specific is the way it straddles the line between the traditional informative, committed anti-newsreel form and a more textually-driven and experimental cinema, guiding viewers through the story while leaving them to fill in the blanks with their own thoughts and reflections.
The content of Lana Čmajčanin’s work usually fluctuates in the relation with the social narratives as well as in identity discourses through prominent issues from recent or past history with special emphasis on the position of women. The video "Woman with the Candle" is vertically composed with a chiaroscuro effect and a reference to baroque “women with candle” motifs from the European art history. The film is eighteen long and shot in a single take. The long shot captures the gentle change from night into day, the birth of a new dawn. The spectator is invited to become a co-witness of an intimate struggle to come to terms with the trauma and horrors of the war. In the light of the dawn, with the sounds of a muezzin calling for the early prayer and barking dogs, the reflection of a mourning woman’s face vanishes away.
The video "The Factory" by Sanela Jahić shows a network of dialogues stretched between the poles of machine, work, worker, owner and c/Capital, filmed in the context of local manufacturing plants. The film intro begins with short statements from anonymous individuals employed in industrial production. Many of them declined to be filmed for fear of losing their jobs. The individual’s relation to technology and the way that the latter influences the nature of labour and thus one’s subjectivity is further illustrated with the story of the factory owner (Act I: Love) and the story of a female worker (Act II: Birth). The video discloses man’s relation with machines and his or her submission to the question of power, which, in our society manifests itself through property.
Curated by Alenka Gregorič
Presented by Open Space - Verein für ein neues Forum von Kunst und visueller Kultur
Image: Lana Čmajčanin, Woman With the Candle
www.openspace-zkp.org/Fri, Nov 24, 18:00
Daniel Egg: Blackouts
Exhibition at SCHAURAUM Angewandte
Opening: Thu, Oct 12, 19:00
Venue: SCHAURAUM Angewandte
On the basis of selected avant-garde movies Daniel Egg explores the medium of film. He concentrates on ruptures, impurities, emulsion resolutions, torn film. Focusing on these fragments, he separates essence from reality, expands it, and uses it to create analogous sculptures. It is not the narrative that manifests itself as the essence, but the lapses and flaws that serve as a reality check.
born in Vienna 1973, 1994-2001 University of Applied Arts (Prof. Peter Weibel) lives and works in Vienna
https://digitalekunst.ac.at/schauraum/Oct 13 to Nov 24, daily 10-22:00
Regular event on data protection, and civil rights on the Internet.
Location: Raum D / Q21
The main topiqs of q/uintessenz are the current governmental and private sector surveillance overkill, new data retention law proposals by the EU, the Council of Europe or the so called G7 states that undermine fundamental rights: freedom of information, the right to personal privacy and data integrity, the right to communicate freely.
former q/talks at Raum D / Q21
www.quintessenz.atTue, Nov 28, 20:00
Curated Media for #Q21vienna
Opening: Thu, May 11, 18:00
Venue: Electric Avenue, Q21
A cultural institution thrives on lively exchange. As a result, visitors and employees share social media content every day. A cooperation with Downtown Vienna presents a selection of these impressions on screen, making them easily accessible. Q21 creates a new, distinctive image consisting of many individual perspectives. The project invites people to participate in the creative process in an uncomplicated way.
Tag your content with #q21vienna!
Image: Say Say Say, Inc.ongoing, daily 10-22:00