Unmissable events at Schauspiel Köln: A play about Wikileaks and the NSA, a panel discussion with, among other figures central to current affairs, Jake Applebaum, and on Sunday, the beginning of a discussion series called Surviving under Surveillance.
Saturday 23 Nov 2013: Assassinate Assange – Reloaded
von Angela Richter
Regie: Angela Richter
ANSCHLIESSEND PANEL (IN ENGL. SPRACHE) MIT JACOB APPELBAUM (JOURNALIST), RENATA AVILA (MENSCHENRECHTSANWÄLTIN), JOSEPH FARRELL (WIKILEAKS), ANGELA RICHTER, JENNIFER ROBINSON (RECHTSBERATUNG WIKILEAKS). DAS GESPRÄCH FÜHRT JOHN GOETZ (JOURNALIST).
Sunday 24 Nov: Assassinate Assange – Reloaded
von Angela Richter
Regie: Angela Richter
Überleben unter Überwachung
Jacob Appelbaum lädt ein
MODERATION ANGELA RICHTER
We’ll make the Sunday events an excursion, keep your ticket and receipt, and we’ll reimburse you.
Some selected material on Applebaum: His keynote talk at last year’s Chaos Communication Congress:
And an interview in N+1 mag. Note, both of these are from before the NSA revelations, and in retrospect look quite lucent. Quote:
But the thing is, taking precautions with your communications is like safe sex in that you have a responsibility to other people to be safe—your transgressions can fuck other people over. The reality is that when you find out it will be too late. It’s not about doing a perfect job, it’s about recognizing you have a responsibility to do that job at all, and doing the best job you can manage, without it breaking down your ability to communicate, without it ruining your day, and understanding that sometimes it’s not safe to undertake an action, even if other times you would.
I have some comments and notes that I would like to share with you, but please post yours here below first (anonymously if you like).
If I may translate the last paragraph, about the power of art:
“All the theater would need to do, in order to do justice to the issues at heart, is ‘just’ to develop the self-confidence and go back to its roots and trust its artistic powers and possibilities. Then it would be, by pulling the audience into a process of understanding that is, by being subjective, ambiguous, playful and exceeding the simple transmission of information, the last public space that the NSA can not spy on. A medium that would be as suspicious as it would be indispensable.”
“Dabei müsste das Theater, um dem Thema gerecht zu werden, „nur“ das Selbstbewusstsein entwickeln, sich auf die eigenen Wurzeln zu besinnen und seinen künstlerischen Möglichkeiten zu vertrauen. Dann wäre es, wie es den Zuschauer in einen subjektiven, vieldeutigen, spielerischen, über die bloße Mitteilungsebene weit hinausgehenden Verstehensprozess zieht, der letzte öffentliche Ort, in den die NSA nicht hineinspionieren kann. Und als Medium so verdächtig wie unverzichtbar.”
Michael Krebber has a professorship at Städelschule in Frankfurt. He visits the Surveillant Architectures seminar at KHM with his students from Frankfurt. This Aula event will take place Thursday, Donnerstag November 3rd for what will sure to be an exceptional time. Afterwards snacks in the Mensa.
Michael Krebber’s work resists categorization. From painting to anti painting, from physical involvement to avoidance of a signature style, from role maker to blog mocker, his rebellious statements continuously shock, surprise and inspire discussion.He visits the KHM after just returning from New York.
New exhibition at Greene Naftali New York thru November 19th.
From the exhibition announcement:
MICHAEL KREBBER C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting 20 October – 19 November, 2011
Michael Krebber arrived at his temporary studio, housed in the same building as Greene Naftali Gallery, several weeks before the opening of the present exhibition, with the content of several blogs printed out in his suitcase. Working within a highly circumscribed packet of time, Krebber copied selections from these blog pages onto appropriately proportioned canvases.
C-A-N-V-A-S, an acronym for Corpse After Negating Visual Art Strategies, and Jerry Magoo are both anonymous blogs, the first based in Brussels and the second in New York, with which former students of Krebber at the Staedelschule in Frankfurt-am-Main are involved. Written from the perspective of young artists currently emerging in the gallery circuit, both blogs are known for posting vitriolic commentary on contemporary art exhibitions, which Krebber frequently passes along to his e-mail list of current students.
Uhutrust is the personal blog of Michaela Eichwald, an associate of Krebber since the early 1990s and now a Berlin-based artist represented by Reena Spaulings Fine Art (New York) and Vilma Gold (London). Since the posts which Krebber had planned to paint have been deleted due to controversial content, the Uhutrust paintings in the present exhibition take the form of blanks.
The Guardian.co.uk art blog is written by Jonathan Jones, who posted a negative review of an exhibition at the Serpentine Gallery by Mark Leckey, a London-based artist represented by Gavin Brown’s Enterprise (New York), Cabinet Gallery (London) and Galerie Daniel Buchholz (Cologne and Berlin). This review, published on May 23, 2011, has generated 308 posts to date in the Comments section of the blog, including interventions by the artist under his own name.
By parasitizing the negative socio- pedagogical influence networked painting, Krebber agency to hasten collapse.
This exhibition is presented simultaneously with “Here Comes the Sons,” at Real Fine Arts, 673 Meeker Ave., Brooklyn, October 22 – November 20.
virtual_group (cologne) and School of intermedia art (hangzhou) present Vision Quest, an event of some (art) exchange and data-Streaming about how being looking forward to seeing (more).With the participation of art Institute of Basic Visual, Johannes AmoroSa, Malgorzata Calusinska, Chen Si, Vera Drebusch, Theresa Krause, Li Ming, Karin Lingnau, Henning Frederik Malz, Ou Wenting, Evelina Rajca, Zhang Jianyun, Zhang YiShen.
coordinated By Deng Yuedream and Susanna Schoenberg.
Juli 3rd 2011, 10 am – 10 pm
Boutique am Ebertplatz 50668 cologne germany
and madein Space 18 wuwei road putuo district Shanghai 200331 china www.liveStream.com/virtual_group
Tanya Ury presents half dimensional poems as power point presentation and live performance, 7 pm, as part of the Jewish Cultural Days, at the Great Art Exhibition North Rhine Westphalia, in the Donnerhall, at the Kunst Palast, Kulturzentrum in Düsseldorf (D).
The seminar continues with an analysis of surveillant cultural practices. Where observation itself has become art, various forms-, films-, video surveillance have amplified and tested the role of observation in social, cultural, political and institutional relationships.
Talks and lectures as art praxis today, have also raised issues of observation.
Talking Avital Ronell‘s »The Test Drive« as »inspiration testing the terrain of what might be possible« – the seminar will engage new electronic communication tools and consider the event spaces and audiences for which they are develoyed.
The midterm assignment is to develop three ideas for a talk utilizing any number of forms including: recitation; scholarly reading; introduction to a screening; performative lecture; performative installation; artist lecture; literary performance; historical lecture; music; clothing activism;
political proclamation; architecture or community action.
Final project presentation of a 40 minutes talk live or online.
For the next streaming session VIRTUAL GROUP is going to introduce statements and actions referring to the two entities of “perception” and “safety”.
On schedule are:
a statement on anonymity in the internet by Bela Usabaev from the Net Media Group of the Frauenhofer Institute;
a performative contribution by Artur Hollig using a baseball pitching machine;
a performative video by Franziska Windisch testing an ultra-sonic sensors navigation system in a museum;
and some korean cooking by Ji Hyun Park.
surveillance and self-surveillance are belonging to the actual setup of understanding and actingpublicspace, intimacy and (tele-)communication, not only between individuals, but also between situations and “formats” of/for space.
The figurative idea of Surveillant Architectures coined by artist Julia Scher, is (maybe?) not just referring to the imperative that,
if you want to “understand” – explore, discuss, maybe practice – surveillance, then you have to “think on” or to “argue with” architecture/s,
but much more that there is a kind of (post historic?) perspective on the issues of public space, intimacy, questioning the privatization of spaces, the publicity of privacy, the defensible attitude of semi-public spaces, the generalized practice of “doing” public opinion – making opinions and preferences public -:
all this could be asked to declare itself as surveillance-related, in a surveillant perspective.
VIRTUAL_GROUP is inviting you to participate in the upcoming broadcast