Kunst im Fluc

Trancultural Emancipation

15. November 2017

mit Mila Pani, Levi Orta, Alexandru Raevschi Billboardprojekt in Kooperation mit BKA und Kulturkontakt Austria kuratiert von Ursula Maria Probst


Transcultural Emancipation

Im Rahmen einer Kooperation mit dem Bundeskanzleramt und KulturKontakt Austria bespielt das Fluc die an den Außenwänden der Fluc-Architektur installierten Billboardwände. Einer politischen Praxis von Kunst im Stadtraum folgend, wird damit im Austausch und in Zusammenarbeit mit internationalen KünstlerInnen, die sich als Artists in Residence für drei Monate in Wien aufhalten, eine Präsentations- und Interventionsfläche im urbanen, öffentlichen Raum geboten. Das Projekt "Transcultural Emancipation" ist Teil dieser 2013 gestarteten und fortlaufenden Initiative.
Worin bestehen heute emanzipatorische Prozesse, Aktionen zur Befreiung von gesellschaftlichen Normen und medienpolitisch forcierten, einschlägigen Weltanschauungen? Wie können in der Diskussion darüber neue Territorien besetzt werden, um in diesem Zusammenhang stehende transkulturelle Positionen zu thematisieren? Welche Fähigkeiten, sozialen Beziehungen, individuelle Lebensperspektiven spielen hier in der Ausbildung einer differenzierten Sichtweise hinein? Welche Möglichkeiten bietet das Verflechtungsmodell der Transkulturalität gegenüber jenem der Interkulturalität in der Auseinandersetzung mit kulturellen Differenzen und wie wird künstlerisch damit umgegangen?
Die Auseinandersetzung mit Mechanismen und Strukturen transkultureller Emanzipation im künstlerischen Feld gestaltet sich je nach Kontext und kultureller Rezeptionsästhetik unter verschiedenen Vorzeichen und ist folglich einem ständigen Prozess der Veränderung unterworfen. Bei den im Rahmen von "Transcultural Emancipation" realisierten Projekten ist die Auseinandersetzung mit der transkulturellen Situation am Wiener Praterstern ebenso immanenter Bestandteil wie die Hinterfragung dessen, wie künstlerische Arbeit in eine politisch gesellschaftliche Dimension überführt werden kann. Die Billboards bilden nicht bloß eine Schau- und Projektionsfläche, sondern sollen zur Kommunikation anregen, uns interessiert die Reaktion der PassantInnen, die Hinterfragung jener Konstellationen, einer in Veränderung begriffenen gesellschaftspolitischen Situation.

Levi Orta, Fuck the proletariat, I want to be the official painter of the Gunther Family, 2017, Billboards
Gunther IV, a German Shepherd, is the world's richest dog. The German Countess Karlotta Liebenstain left an inheritance $ 124 million to his faithful furry friend Gunther III, after she died in 1992. After the death of Gunther III, his son, Gunther IV, inherited the fortune of his father, who has grown to $ 372 million. In July of 2000, the agents who act on behalf of Gunther IV bought the former residence of Madonna in Florida, causing a big media attention.
Behind this charismatic German Shepherd we can find tax evasion practices, new power and domination relations and a quite original instrumentalization of the symbols of social status. But, what are the cracks in the law that allow that a dog can inherit a million dollar fortune and become the majority shareholder of a transnational corporation? Gunther Corporation. How the Marxist theory of class struggles become in front of the Gunther history?
In a first phase of this project, I initiated the contacts needed to be the official painter of Gunther Family. To do this, I followed the protocols set out to contact Gunther, even when everything pointed to Gunther IV was dead. Ironically, he continues answering his correspondence. As a gesture of approach I sent a portrait to him as a gift, showing its elegance and grandeur as the richest pet in the world.
Now, after contact the Gunther family and already having the title of official painter of the Gunther family, as a second phase of the project I will investigate the descendants of Gunther IV.
Levi Orta´s works explores the creative component of politics, focusing on the inaccuracies of the art- political boundary. He reproduces mechanisms, strategies and behavior of political-artistic situations that have been filed, thus highlighting its most subversive undertone; always from a cynical stance that threatens the hegemonic.

Levi Orta, *1984 (Cuba). He lives and works between Havana and Barcelona. Graduated from the Instituto Superior de Arte of Havana (2010), from Cathedra Arte de Conducta (2009) and the Home Work Program of Ashkal Alwan of Beirut (2016). In recent years, Orta has participated in exhibitions in several countries like Germany, Austria, EEUU, Spain, France, Israel, Brazil, Mexico, Canada, Croatia, United Kingdom, China, Japan, Lebanon and Cuba.

www.ortalevi.blogspot.com

Mila Panic, Burning Field, 2017, Photo/Billboard
The work presents the landscape I grew up with and the field which one day it is supposed to be mine, as a family inheritance. The fire is for burning crops and weeds after the autumn harvest, to clear and fertilise the land for next year, or at least we believe so. What is my responsibility towards my heritage? To the whole timeline and the stories that are incorporated within this landscape? One of our deepest needs is for a sense of identity and belonging. A common denominator in this is human attachment to landscape and how we find identity in landscape and place. Through living in it, the landscape becomes part of us, just as we are part of it.

Mila Panic *1991 (Bosnia and Herzegovina). Co-founder of project for popularisation of contemporary art in Bosnia and Herzegovina 'APARTMAN'. Graduated from MFA - Public Art and New Artistic Strategies at Bauhaus-Universität, Weimar (Germany). Participated in number of solo and group exhibitions, festivals, projects and screenings.
www.milapanic.weebly.com

Alexandru Raevschi, Open day, 2012/2017, Photo/Billboard
In 2012 when I lived in Linz during the development of my artistic research concerning territorial peculiarities, I discovered for myself a rather interesting segment for observation and analysis. This concerned the division according to the nationality of the public space of the city into separate zones. I decided to take interviews from the inhabitants of Linz. From the beginning, I took portraits of people who gave me an interview and then I asked them to write on the sheet of paper just one word or very short sentence, which for them was the most clearly reveals their opinions regarding the migrant workers.
Later, through photo collage, I combined the inscriptions with their authors. Thus, I tried not only to disclose the visible content of the inhabitants of the city of Linz, but also their state of mind with respect to visiting people from other countries who are trying to be integrated into a new reality in which they were often not thanks to their own will. The project was implemented in the form of an interactive, social - photo project in the public space of the city of Linz (Austria).

Alexandru Raevschi, *1979 (Chisinau). Lives and works in Marburg. 2016 Curator of the project " "Universe 69" (2nd phase), Gallery "co-ume lab" Tokyo. 2015 Curator of the project "Universe 69", "Gallery of sisters Mariam and Yeranuhi Aslamazyan", Gyumri. Solo Exhibitions: 2018 "All wars have already been canceled", Hosek Contemporary, Berlin (upcoming). 2017 "Universe 69", Center for Creative Industries (CCI)"Fabrika", within the 7th Moscow Biennale of Contemporary Art, Moscow. "Another Bukhara or personal is political", Bukhara Art Museum, Bukhara. 2015 "The country of verity", public space, Gyumri

Levi Orta, Fuck the proletariat, I want to be the official painter of the Gunther Family, 2017, Billboards
Levi Orta, Fuck the proletariat, I want to be the official painter of the Gunther Family, 2017, Billboards

Levi Orta, Fuck the proletariat, I want to be the official painter of the Gunther Family, 2017, Billboards
Levi Orta, Fuck the proletariat, I want to be the official painter of the Gunther Family, 2017, Billboards

Mila Panic, Burning Field, 2017, Photo/Billboard
Mila Panic, Burning Field, 2017, Photo/Billboard

Alexandru Raevschi, Open day, 2012/2017, Photo/Billboard
Alexandru Raevschi, Open day, 2012/2017, Photo/Billboard

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