WORKS

Heath Bunting
The Status Project (2005-8)

The Status Project highlights the contradictions in British society which, on the one hand, is known for its liberal principles and famous for not having an obligatory identity card, but on the other, is becoming increasingly bureaucratic. Heath Bunting explores the rules and requirements for gaining entry to the systems we encounter every day, by mapping them, publishing the data in the A to Z of the System, and showing their interconnectedness and overlaps. A key element of the Status Project is an online database, which tracks and maps the methods by which corporate, institutional, and governmental entities compile and compare our personal information.

Nancy Davenport
MayDay and What Do We Want? (2001)

“When you stop working or when there is a lull in computer activity, the protest begins and continues to generate itself.  So, the most vital site of recent political organization and dissent becomes endlessly repeating nostalgia until you click the mouse again.”



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Miklós Erhardt
Society of the Spectacle (2004-7)

“I attempted several times to go through it, both in original and in different English translations. Then I simply realised that unless I try to translate it, I will never understand it. Only after two years of work had I the idea of an exhibition which would consist of nothing more than the printed pages of my translation mounted to the gallery walls. The way of installing the text – beyond using the gallery as a platform to publish pure information – was also meant to inspire graffiti-like interventions, comments from the visitors.”

Jean Baptiste Ganne
Specchio (2007)

“Another recent historical moment I am more interested in is that particular time at the very end of the Second World War in Italy when “Partigiani” (partisans) were propagandizing for sabotage of work through “Volantini”. Those small leaflets were sent in the wind anonymously in cities and villages of fascist Italy. In this emergency moment, the tool for fighting the oppression was a “not working” or a “working badly or slowly” attitude.”

RugaNegra
The Fist Collection (2007)

“We members of the RugaNegra autonomous group started to collect images where a fist appears as a symbol. We are specially looking for those which have political meanings, which is why our archive contains mostly propaganda materials, posters, art works and logos. With this project our aim is also to critique the visual culture of the different resistance movements that is quite poor compared with the well-developed visual industry of the capitalist system.”

Kwiekulik
Shades of Red (1971)

Odmiany czerwieni (Shades of red),  prepared by Zofia Kulik and Przemysław Kwiek, consisted of several hundred slides of artistic actions involving some red element—a piece of fabric, a sign, or the like—in different contexts. The projection (again behind actors facing the public) created a very concrete impression of the ubiquity of the ideology symbolized by the red and of its close links to real life and to specific situations of existence. To describe their work, which consisted of a sequence of powerful symbolic images (or ‘clashes’ of symbols, as they would have it), the artists used the term ‘space-time political poster.’

Marko Lulić
Disco Wilhelm Reich Disco (1998-2007)

"I really think they were structurally similar things, the Reichian Orgone Box and the Disco, a space that is in a way a big box too, and they were both filled with energy. In one case it was supposedly the Orgone energy, in the other one light and sound. Both groups were also looking for a common experience, a bodily experience, a therapeutic one."

Csaba Nemes
Remake (2007)

‘To tell the truth, I was really stunned by the riots of the autumn of 2006. Not because I cannot accept that there can be unforeseen dramatic, tragiccomical or even bizarre events during the historical evolution of a state. Rather because I had to face the fact, that we, the citizens of this country, carry along with us such a political, philosophical burden, filled with contradictions that still haven’t been pointed out nor solved.’

Oliver Ressler
Globalising Protest (2004-7)

Globalizing Protest is an ongoing series of photographic montages consisting of images shot in inner cities during protests against the G8. Each photographic montage is based on 36 single images that document the wooden barricades protecting the shop windows erected during various G8 summit meetings, which activists use for graffiti, political texts, and slogans. Three photo works of this series have been produced: Untitled (Geneva 03.06.03) was shot during the G8 summit in Geneva 2003, Untitled (Edinburgh, 7/2005) at the G8 summit in Scotland in 2005 and Untitled (Rostock 6/2007) during the recent G8 summit in Heiligendamm in Germany in 2007.

Oliver Ressler and Zanny Begg
What Would it Mean to Win? (2008)

What would it mean to win? was filmed at the G8 summit protests in Heiligendamm, Germany, June 2007 and focuses on the current state of the counter-globalisation movement. The film combines documentary footage, interviews, and animation sequences and is structured around three questions pertinent to the movement: Who are we? What is our power? What would it mean to win?

Tamás St.Auby
Czechoslovak Radio 1968 (1969)

“When a military decree prohibited people from listening to the radios, a recipe was invented, and since it did not require talent, skill, knowledge, mastership, virtuosity, etc., anybody could make it in the sense of Fluxus, many people realized it: "Listen to a newspaper-covered brick on the streets". So, the soldiers confiscated thousands of this non-art-art pieces all around in the country. The Czechoslovak/ian?/ Radio 1968 was made in 1969 following the original recipe slightly changed to a portable memorial against war as homage to the natural inventiveness of the people: "Listen to sulphur-covered bricks on the streets".”

Fia-Stina Sandlund
The Way of Socialism (2004-7)

The Way Of Socialism is a sound and text piece, built on a Chinese communist song with the same title. The song was translated into Swedish and recorded in Sweden in 1972. The artist has asked a Chinese linguist to update the lyrics of the song so that it better reflected today’s China. With the updated lyrics she travelled to China where she commissioned a Chinese band to record a new version. The next step in the project was to translate the updated version into Swedish and to find a Swedish based band that could record a new Swedish version of the updated Chinese one.

Mladen Stilinović
Work is Disease (Karl Marx) (1981)

“Those virtues of laziness are important factors in art. Knowing about laziness is not enough, it must be practiced and perfected. Artists in the West are not lazy and therefore not artists but rather producers of something. Artists from the East were lazy and poor because the entire system of insignificant factors did not exist. Therefore they had time enough to concentrate on art and laziness.”

Stefanos Tsivopoulos
Untitled (The Remake) (2007)

‘In Untitled (The Remake), 2007, Tsivopoulos turns to archive material from the years of the 1967 dictatorship and the early years of Greek State Television. On one hand it is a rethinking on the possibility of the reconstruction of reality and the fundamental role technique plays in this process. On the other, it is a comment on the propaganda mechanisms of the regime and its reverse, from the supposedly existing, association between reality and its documentation in the news. What is more, the title Remake highlights the deep roots of contemporary political, television discourse in the typology, clichés and ideologies of the dictatorship era.’