online memory of 10.2–26.2 2012 in Candyland, Gotlandsgatan 76, Stockholm
rec by Michal Ureš
Long grill that stretches from one side of the display window to the other one manifests the social situation of human multitudes. The long wheel is rotating slowly as social transformations are happening. It is traditional narrative of different cultures where the values are evaluated, codified, standardized and publicly explained and where high expectations of the future of current society are present.
Dlouhé grilovací břevno protíná výstavní vitrínu z jedné strany na stranu druhou a manifestuje společenskou situaci společenské masy. Dlouhé kolo pomaluje rotuje, paralelně probíhají společenské proměny. Je to tradiční popis, představení, symbol odlišných kultur, které své hodnoty předefinovávají, kodifikují, standardizují, normalizují a zveřejňují. Velká společenská očekávání se vytváří.
interview in Czech lang
Magic Carpets Flash Art edition
profile steel, asphalt tape
8 April 2019 opening
‘Per Forma’ is a two–day event exploring the relationship between contemporary performance art, theatre and their audiences.
It takes place on December 8, 2pm at Intercult Studio and December 9, 7pm at Fylkingen, Stockholm.
How do we perceive performance in the age of constantly commodified performativity?
The ephemeral nature of performance and theatre has been facing numerous existential challenges, where the focus lies on simplified, readily accessible pleasures and where institutional structures are being shaped according to political and economic agendas.
Transition and identity is the theme these events center around. Who is an actor, a performer, a spectator in a performance today and what dynamics and possibilities of transformation does the relationship between those offer? Are these firlmy institutionalised, untraversable roles or can it be transitioned and developed in response to current context?
Thursday December 8:th, 2 pm – 6.30 pm + informal reception
Venue: Intercult Studio (Nytorgsgatan 15A, Södermalm, Stockholm)
Invited speakers include practitioners from theatre, performance art and interdisciplinary sectors. In short 30 minute blocks, the speakers will present their practices and professional experience. The session will continue with a panel discussion and finish with a performance by Ukrainian artist Maria Kulikovska.
2.00 Introduction by Alice Maselnikova
2.20 Anders Paulin (SE)
2.50 Sergey Samodov (RU)
3.20 Maria Kulikovska (UA)
4.00 Alexander Peroutka (CZ)
4.30 Fia-Stina Sandlund (SE)
5.00 Gustav Broms (SE)
5.45 Panel Discussion: Joakim Stampe, Teater7, Anna Korbašová/Ezra Benus.
Moderated by Chris Torch & Alice Maselnikova
6.30 Performance by Maria Kulikovska
Followed by an informal reception
Friday December 9, 7-10 pm and then till late ***sparkling afterparty with DJ Kaosart***
Venue: Fylkingen (Torkel Knutssonsgatan 2, Södermalm, entrance from Münchenbryggeriet)
Performing: Teater 7: Ola Wallinder/Amanda Jalmberger (Director: Peter Bark), Joakim Stampe, Ezra Benus & Anna Korbašová.
3 performances in one night ! All created around the theme of transition& identity in performative acts, as approached from three different angles. It is a one-evening musing upon similarities and differences in the processes of creation, audience interaction and performativity.
19.15 Anna Korbašová/Ezra Benus (SK/US)
20.00 Teater7: Ola Wallinder/Amanda Jalmberger (Director: Peter Bark) (SE)
20.45 Joakim Stampe (SE)
22.00 DJ KAOSART live PARTY
Plus the evening continues with a live party hosted by the amazing DJ Kaosart!
Per Forma is curated by Alice Maselnikova as part of a degree project within Curating Art, International Master’s Programme at Stockholm University. The project is presented in collaboration with Europa Direkt Intercult and Fylkingen Studios.
The New Humanism
openning 19:00 – 23:00, 13.7.2016, Berlínskej model, Pplk. Sochora 9, 170 00 Prague
sound performance Romano Krzych (FR/CZ) and http://rkz1.blogspot.cz/
The unity of any sort is becoming obsolete or at least temporary and it is often just an opportunistic choice. We do recognize fluidity of the reality and the world order and we adjust our everyday life to this new environment. It is technically some kind of living on the edge. We do learn that even the truth is relative to the environment and is based on specific conditions that allow its appearance. New world order has many poles and corners and it demands new type of ethics. But after realizing all that we can use (and throw away), this new ethics doesn’t seem to be new at all. Old ways of hierarchy, rivalry, class, conflicts and priorities find the way through our new world. Then what is humanism in the end? The edge that we accept and live with.
vernisáž 19:00 – 23:00, 13.7.2016, Berlínskej model, Pplk. Sochora 9, 170 00 Praha
zvuková performance Romano Krzych (FR/CZ) a http://rkz1.blogspot.cz/
Jakákoliv jednota se stává zastaralou nebo spíše dočasnou a je často jen oportunistickou volbou. Rozpoznali jsme těkavost reality a světového řádu a přizpůsobujeme náš všední život tomuto novému prostředí, které je prakticky jen druhem bytí na hraně. Chápeme, že I pravda se vztahuje k prostředí a je opodstatněná konkrétními podmínkami, které ji umožňují se zviditelnit. Nový světový řád má mnoho pólů a koutů a vyžaduje nová etická pravidla. Ale při vědomí si všeho, co máme k dispozici (a zárověň k vyhození), tato nová pravidla se vůbec nejeví jako nová. Zastaralé druhy hierarchií, soupeření, tříd, konfliktů a předností nalézají nové cesty v našem novém světě. Co je tedy nakonec humanizmem? Hrana, kterou akceptujeme, a se kterou žijeme.
/Post-Trauma /Henrik Ekesiöö & Nongkran Panmongkol & Jan Stolín & Lexa Peroutka /Avoid Floating Gallery /Prague
openning 19:00, 7.7.2016, Avoid Floating Gallery, Náplavka, 128 00 Prague 2
Henrik Ekesiöö (SE), Nongkran Panmongkol (SE/TH), Jan Stolín (CZ), Lexa Peroutka (CZ/SE)
sound performance by Romano Krzych (FR/CZ) and http://rkz1.blogspot.cz/
Post-Trauma is a collective exhibition of artists from Stockholm and from Czechia. In this context, traumas are meant to be sudden social changes that have great influence on cooperation and communication, as well as defining our living space – the space that we identify ourselves with, and the space that we feel connected to. The individual artists involved are working with three-dimensional and multimedia materials. Their work is an attempt to define the space/room on the basis of its material and/or social quality. Because each artist has a different vision of the space and they are occupying different geopolitical spaces, their work is the “documentation” of a struggle for the concrete space.
Everyday we consume more than we necessarily need. It is embedded in our consciousness, we accept it, it is drive of our life. It is its fulfillment. Consumption is necessary part of functioning economy. I am investigating ground principles of the market/capital and peoples’ manipulation within the market environment. I translate the results of my investigation into new visual and functional forms where I apply my personal conclusions and critique.
Naše spotřeba přesahuje naši každodenní potřebu. Jsme si toho plně vědomi. Konzumace je motorem našeho života – jeho smyslem – jeho naplněním. Je součástí fungující ekonomiky. Zkoumám základní principy trhu/kapitálu a překládám je donových vizuálních a funkčních forem, kde používám moje osobní shrnutí a kritiku.
Czech review of “A New Sweden” in DADS Gallery (Liberec) by Kamil Nábělek >>>
Victor Marx (1983) is visual artist and architect who lives and works in Stockholm. He works with contemporary social themes that he incorporates into his urban interventions/projects. Scale of his work is somewhere between architectural forms and more sculptural forms with elements of performance, social interaction and participation.
His work goes over several fields of cultural/art production – his main focus is on social and urban solutions within the context of Sweden. But his themes have much broader importance, rather global – changes of current social fabric, multicultural identity, art and cultural activities within economically defined environment and their independence, DIY architecture and architecture in the margins, regeneration of unused public spaces, renewal of local social interaction etc.
Victor Marx’s work is frequently mentioned in Swedish media because of its connection to ongoing heated public debate about Sweden’s future and future of public/street art.
Victor was one the founders of Cyklopen independent culture house of which he is architect as well.
Cyklopen has gained its firm position in Stockholm’s contemporary cultural/art scene because of its community oriented approach and distancing from traditional and official cultural/art institutions that are having its limitations when being organized on hierarchical and bureaucratic base. Cyklopen is situated in the part of Stockholm where different cultures meet (Eastern European, Middle Eastern…) and where future Sweden is just taking shape.
Work if Victor Marx was currently documented by Martina Iverus for the new art program ARTityd (Swedish TV 1).
Mikael Tofvesson (1983) is visual artist working in the city of Stockholm. He is commited to street art for a long time and he uses street art related expressions and techniques – graphic, illustration, 3D animation… He was also taking part in Cyklopen independent culture house project and he is a member of street art collective (its name is hidden) together with Victor Marx and others. Micke does not prefer to use his real name – strong anonymity has ethical and practical use for street art artists but this time we meet him under his civil name.
Victor Marx (1983) is visual artist and architect who lives and works in Stockholm. He works with contemporary social themes that he incorporates into his urban interventions/projects. The scale of his work is somewhere between architectural and more sculptural forms using elements of performance, social interaction and participation.
His work transcends several fields of cultural/art production with main focus on social and urban solutions in Swedish context. However, his themes have a much broader character and more of a global importance, dealing with topics such as changes of current social fabric, multicultural identity, art and cultural activities within economically defined environment and their independence, DIY architecture and architecture in the margins, regeneration of unused public spaces, or renewal of local social interaction etc.
Victor Marx’s work is frequently mentioned in Swedish media because of its connection to ongoing heated public debate on Sweden’s future and future of public/street art.
Victor was one the founders of Cyklopen, an independent culture house in Stockholm, of which he was also the architect. Cyklopen gained its firm position in Stockholm’s contemporary cultural/art scene for its community oriented approach and differentiation away from the traditional and official cultural/art institutions, often limited by their hierarchical and bureaucratic nature and rigid organizational methods. Cyklopen is situated in Stockholm suburbs, the melting-and-meeting pot of various cultures (Eastern European, Middle Eastern…) where future Sweden is just taking shape.
Work of Victor Marx is currently documented by Martina Iverus for the new art program ARTityd (Swedish TV 1).
Accommodation Tower (2008, under Liljeholmen Bridge, Stockholm)
Vitrin Gallery (2008, Masmo subway station, Stockholm)
Cyklopen Independent Culture House no.2 (2013, Högdalen, Stockholm)
photos by Oskar Stolín
Victor Marx (1983) je vizuální umělec a architekt, který působí ve Stockholmu a pracuje se současnými společenskými tématy, které interpretuje svými urbanistickými intervencemi/projekty. Jeho práce kulminuje mezi architektonickými objekty a více sochařskými formami s aspekty performance, společenské interakce a participace. Jeho práce překlenuje několik oborů a žánrů – hlavní důraz klade na řešení společenského tématu v kontextu současného Švédska. Tato témata mají globální charakter – proměna současných společenských vazeb, multikulturní identita, umělecká a kulturní činnost v čistě ekonomicky definovaném prostředí a její nezávislost, architektura svépomocí a architektura na okraji – regenerace nevyužitého veřejného prostoru a obnovení lokálních společenských vazeb.
Práce Victora Marxe se několikrát objevila v popředí veřejné debaty (v médiích) ve Švédsku. Victor je iniciátorem a architektem nezávislého kulturního domu Cyklopen ve stockholmské čtvrti Högdalen, která je ovlivněna silnou vlnou imigrace z Východní Evropy a Předního Východu. Jeho práce je mapována v dokumentu švédské televize SVT1 v novém programu o současném umění – ARTityd (film Martiny Iverus).
Mikael Tofvesson (1983) je vizuální umělec působící rovněž ve Stockholmu, který se dlouhodobě věnuje street art a příbuzným technikám uměleckého projevu – grafika, ilustrace, 3D animace… S Victorem Marxem se podílel na realizaci nezávislého kulturního domu Cyklopen a je členem street art kolektivu (jméno je skryté), kterého je Victor Marx rovněž členem. Z etických a praktických důvodů prostředí street art upřednostňuje anonymitu autora. Mikke tak pod svým pravým jménem vystupuje vlastně poprvé v kontextu vizuálního umění.
Pals Play Tag! Part Two: Czechia-Sweden
Date: 31 Oct 2015 18:00-24:00
Place: Fylkingen, Stockholm
Adress: Torkel Knutssonsgatan 2, Stockholm
Multinational performance art evening at Fylkingen!
A collaborative exchange project between PALS-performance art links from Stockholm and Ferdinand Baumann Gallery from Prague. This is a first attempt to connect these two distant performance art scenes. Both participating art organizations have several years of history and they represent the young emerging performance art scene in their own domestic and international context. Their first exchange took place during “Hunger“ performance festival from 22 to 23 May in Prague this year. The second stage in Stockholm is part of a series of new international exchanges of performance art organized by PALS with other art initiatives abroad (a previous event was held at Fylkingen this year; Pals Play Tag Part One: Poland-Sweden).
Milan Kohout (Prague)
Barbora Šimková (Prague)
Vladimír Turner (Prague)
Karíma Al-Mukhtarová (Prague)
Darina Alster (Prague)
Gaby Billa-Günther (Berlin)
Louise Dahl-Lindvall (Stockholm)
Henrik Ekesiöö (Stockholm)
Nongkran Pangmogkol (Stockholm)
Curators: Erik Wijkström, Darina Alster, Alexander Peroutka
Ferdinand Baumann Gallery
PALS – Performance art links
The Czech Center Stockholm
Pals from Stockholm (www.palsfestival.se) and Ferdinand Baumann Gallery in Prague (www.fbgallery.cz) with the help of The Czech Center Stockholm (http://stockholm.czechcentres.cz/) organize Czech-Swedish performance event at Fylkingen in Stockholm (www.fylkingen.se).
Gaby Billa-Günther (Berlin)
Curators: Erik Wijkström, Darina Alster, Lexa Peroutka
Title: Rudolf Valenta. Rekonstruktion
Sborník textů a dokumentů v kontextu tvorby autora v emigraci (1970–2014)
Eds: Alexander Peroutka, Frantisek Zachoval
160 pages, 14,8 x 21cm, black & white
Berlin, January 2015
price: 14 EUR (+ extra postage)
Rudolf Valenta left socialist Czechoslovakia in 1970; renouncing
the environment that was his home and the nurturing place of his
profession. In the modern world, the phenomenon of mobility is
considered to be an important tool for unifying Europe, with greater
mobility being both initiated and supported. During the years
of Valenta’s exile and his artistic career in Germany (Berlin), Czech
society had transformed; with its integration into a unified Europe
and adoption of a new scale of values and beliefs. Czech cultural
history is an amalgam of instrumental references, which do not
pay adequate attention to creators residing abroad. For this reason,
this publication devotes more attention to studying the material of
those works which Rudolf Valenta created during his time in his
period of German residence.
info(et)thekarte.org or editor(et)thekarte.org
/Rudolf Valenta /Rekonstruktion /Sborník textů a dokumentů v kontextu tvorby autora v emigraci (1970-2014)
(EN) An Anthology of Texts and Documents in the Context of Rudolf Valenta’s Work in Exile
After necessary delay the book is ready to print (only in Czech language). Coming soon!
The international conference EXILE probes the problematic of contemporary global/European mobility (global/European citizenship). The development of contemporary art is understood as a simultaneous process which is part of contemporary global geopolitical changes. The interdisciplinary conference connects authors representing their specialisms in the different geopolitical environments. Organizers follow this subject from the perspectives of visual art opened to new positions, interpretations, research, engagement and critique. The conference is structured into blocks of presentations facilitating a deeper focus into social movements as integration, (cultural) assimilation and dominance.
Presentations by: Giles Ji Ungpakorn (Oxford, political scientist and political activist); Zdeněk Uherek (Prague, ethnologist, social anthropologist); Stefan Tiron (Bucharest, art critic); Lars O Ericsson (Stockholm, art critic, philosopher and writer); Dror Feiler (Stockholm, artist, composer and activist); Avdej Ter-Oganjan (Prague, artist) and Adriana Kiss (art historian).
Organized by: Milan Mikuláštík, Alexander Peroutka a František Zachoval
Production: DigiLab AVU
Registration form: http://exile.avu.cz/
Invitation / Einladung
Sa. 11.10.2014, 20.00 Uhr / 8pm
Klas Eriksson, Nagkran Panmongkol und Alexander Peroutka arbeiten mit sozialer Intervention. IhreArbeit wird von ihrem Aufenthalt bzw Leben in im geopolitischen Raum Schweden beeinflusst. Traditionell haben soziale und politische Ideen in Schweden eine eigene autonome Interpretation und Umsetzung. Die Gesellschaft scheint hier homogener zu sein und sich rund um ein allgemeines Einvernehmen zu organisieren. Diese Interventionen erwarten ein soziales Umfeld, das seine eigenen Limits aufweist, Grenzen, seine eigenen einzigartigen Erwartungen.
Klas Eriksson erforscht soziale Macht, Hierarchie, soziale Kontrolle und Gewalt innerhalb kultureller Vorstellung und den Einfluss von Pop-Kultur auf die Funktion der heutigen Gesellschaft. Seine Forschung verleiht seiner Installationen und Videos einen performativen Charakter.
Nongkran Panmogkol wurde in Thailand geboren und lebt in Stockholm. Sie arbeitet mit Vorstellungen von kulturellem Konflikt, kultureller Hegemonie und analysiert die Probleme, die durch die non stop Modernisierung der westlichen / globalen Gesellschaft, Grenzen der menschlichen Einwirkung und persönliche und gemeinschaftliche soziale Verantwortung.
Alexander Peroutka lebt und arbeitet in Prag und Stockholm. Seine Arbeit basiert auf der Erforschung der Logik kultureller und politischer Strukturen, die innerhalb jedes geo-politischen Raumes authentisch sind. Er schafft seinen eigenen kritischen Ansatz, der dreidimensional wird in Form von Installationen, die auf Dokumentationen, Datenbanken und sozialen Modellen basieren.
Klas Eriksson, Nongkran Panmongkol and Alexander Peroutka work with the idea of social intervention. Their work is influenced by their stay or life in the geopolitical space of Sweden. Social and political ideas in Sweden have traditionally their own autonomous interpretation and implementation. Here it seems the society is more homogeneous and is organized around common understanding. The focus of the presented work lies on artistic investigation into social realities limited by geopolitical space. These interventions expect a social environment that has its limits, borders and its own unique expectations.
Klas Eriksson is investigating social power, hierarchy, social control and violence in cultural imaginary and the impact of pop-culture on function of contemporary society. His investigations leads to a certain performative character of his installations and videos.
Nongkran Panmongkol was born in Thailand and lives in Stockholm. She is working with the ideas of cultural conflict, cultural hegemony while she is analyzing the problems that are created by non-stop modernization of western global society in terms of human interaction limits, personal and collective social responsibilities.
Alexander Peroutka is an artist from Prague and Stockholm. His work is based on investigations into a logic of cultural and political structures that are authentic in every geo-political area (geo-body). He creates his own critical approach that takes three-dimentional form of his installations. His installations are based on documentaries, databases and social models.
Public transport / ÖPNV : U1 / U8 Kottbusser Tor
On Oct 23rd 2014 /19:00 – 21:00/ there is opening of Rudolf Valenta’s solo show in Czech Center Berlin (curated by František Zachoval and me, text in Czech/German)
The Observation In A Second Order >Alexander Peroutka<
public reading of segments of “The Communist Manifesto” that are still relevant for explanation of today’s social reality
Hidden Economy, Invisible Economy, Backyard Economy, Spatial Economy, Underground Economy, Informal Economy, Economy of Resourcefulness, Black Economy,… Relational Economy
We are living in the world that seems to be defined mainly by the category of economy. We often hear that our living standards are declining; when we worry about the economy and its negative implications. Our belief in the future falters when economy is not doing well. Our democratic aspirations don’t matter anymore if they cannot create or support economic growth. When the general outlook of the economy is positive our future is positive, too.
Let’s see what this means. Are we strictly defined by economy? Our life is heavily dependent on our attitude to the interpretation of this word. But we don’t know what this interpretation is supposed to be. There are many ideas but there doesn’t seem to be the real thing that has a visible connection to our lives. The word ‘economy’ is like a magic and there are a few magicians who are telling us ‘impenetrable truth’.
But what may happen when we think for ourselves without listening to magicians/truth-interpreters?
Isn’t economy just about definition of our relations? Does it tell us how we are seen as members of a greater society? Does it tell us what we should to do for others and what they should do for us? One word but its interpretation may have many consequences. It can be suggested that the interpretation of this word defines the way we are seen, we are heard, we are known and the way we hear, we see, we know, we learn etc.
In this exhibition we are going to test rules of economy and the implications it is supposed to carry. We are approaching the impenetrable category of economy with all the tools available to us.
(foto by Daniel Vlček)
I have only a few things to speak of…
Firstly, I would like to thank all you for your presence. It is not a time when participation in public events is easily done thing, particularly when your private time may be spent in so many other ways. It is a time when we are living from one day to the next, and assessing the activities we partake in from the point of view of maximum possible return for the investment of our time.
There is no more time that we can take from our personal business. The future of our social-political system is not clear yet, but we all know, what the values that we were serving in the past were. Maybe we don’t know everything, but with a bit of luck, we might know more in the near future.
These values are not the values we have chosen, but these values were given to us under the disguise of forced necessity. It is the results of such necessities that we may realize today, and now is the time to uncover these hidden truths. Today is the time to look back and see the fruits of our past actions. Have we been in full control of our lives, or was it someone or something else? Who is deciding what? How far can we understand and identify the consequences of our actions?
Why have we been introduced into other realities, which have forced us to believe and participate in things that we have no respect for?
We have lived through different beliefs and environments of different norms, prospects, values and futures.
I thank this country for fulfilling my basic human rights.
I thank it for giving me the free education as long as I wanted to study and the free access to health services whenever I needed it.
But it is exactly these pleasant social gifts which are in question now. There is no trust in free public services any more, and they are distributed more unequally today than ever before. There exist citizens of our society who are more equal than we are. They demand that we have enough passion and for us to be ready for any service that will keep the current “status quo” functioning – it has become our duty to serve. We are unknowing servicemen chained to perform at any time and carry out any duty.
But now we want to bring an end to all of this, to say ‘stop!’. We have realized that we didn’t act with the full knowledge of what we were serving for! We have realized the hidden truth, which before was masked and invisible to us.
So take back the honor of our acts of false duties! I can’t take the time back, but I can return these devalued pieces of metal!
There were different forms of duty in different times, for different social systems. All of these values are set to become only memory one day and they are easily replaced. So there is no special individual necessity to remember, but what we cannot forget is that it was not through our own free will that we have been living! We have hurt others in the name of cold, impersonal Powers!
So take it back again!
I have been in the service of values that people no longer believe also, and I am giving these memories back to the anonymous space. This space may be free one day and will be accessible to everyone. But these little pieces of forgotten value never need be evaluated again. These are formed from the same materials as coins – money that we receive to do our jobs – an entity that we didn’t understand properly and that made us slave to tasks that we never wished to do.
These jobs were done with our belief that we serve a just cause. But what has happenned? Finally we can see that the promises made to us were different from reality as it stands today. We have been given the chance to see where we really stand and what it is that we really do.
We will have no more of such values that are hidden from our comprehension. No more values that will be replaced soon after. No more misunderstanding and no more cheap coins that defy our honor.
No more values that will keep our eyes closed and our ears deaf.
I do not accept the service that changes its logic over time, and that hides its purpose from public sight. I champion transparency!
Here I want to finish and let you to decide on your own if there is any future for common peoples’ reasoning or if there are just distinct individual wants and needs and Powers to listen to.
I want you to decide if there is any future possible for us when it looks as though there is no future for that benefits everyone; only a future that benefits the few.
Thank you for your listening!
Installation av Alexander Peroutka (CZE /Tjeckien)
10 februari 17-22
02 10 – 02 26
Den tjeckiske konstnäre Alexander Peroutkas fontän med skräp i och videofilm med intervjuer på offentliga platser, vill väcka frågor kring en alltmer krympande rörelsefrihet.
The water basin installation occupying the gallery room represents an approximately neutral public place. It is a place where the various remnants of our one or more days´ valued things meet. However, even though the room is public, it doesn’t even mean that it is available to all. There is no sense of permanency, and all is subject to flux and change.
Public spaces are in a constant state of flux and are currently shrinking in favour of entrepreneurship and competition for business growth worldwide.
So, although public places seem to be in the public domain, they have in fact often already been sold off, leaving people isolated in an ever-diminishing realm of connectivity.
The litter and remains of our small private joys, and the results of hidden market mechanism are circulating inside the pool, switching places in reflection of the material
metamorphic cycles evident within urbanized spaces.
The basin is there to remind us of that which we value and is there to be compared to the personal interviews being presented on loop in the next room of the gallery.
„How to conduct critical dialogue“ – lecture and presentation, performance
Lecture about the ways artist (art) can participate in processes of society change and obstructions to it.
Art as tool to democracy? (South East Asia)
Limits of artistic freedom – paradoxes of engaged art practices, question of ethics, visuality, political adherence and institutionalization.
Market ideology, Internet society and problems of cooperation, communication, organization, identity.
Screening (presentation) of several works by artists challenging power institutions, public discourses or dealing with community problems:
actions of Voina art group and its paradoxes versus other Russian engaged art collectives and civic movements
Nongkran Panmongkol: EUBeef (performance), Status Up (video)
Keiko Sei and her application of artistic knowledge in community struggle for democracy and common rights
Victor Marx – temporary architecture, squatting in Sweden (Kulturkampanjen, Ultra Huset) in relation to artistic engagement in consensus society
Symbols of Power from Tallin