Issue 34 / December 2017

ONCURATING Notes on Curating

www.oncurating.org

Decolonizing
Art Institutions:
The Artists’
Book
Contents Decolonizing Art Institutions

02 11
Editorial Artistic Contributions
Dorothee Richter & Ronald Kolb by

04 13 Maria Thereza Alves

Summer Academy & Symposium 16 Song-Ming Ang
De-Colonizing Art Institutions: 18 Priscila Arantes
Questions And Ideas After Ten Days 21 Stefan Baltensperger + David Sieper
Of Intensive Propositions 23 Fabiana de Barros
Giovanna Bragaglia 26 Mabe Bethônico
30 Flavio Cury
08 33 Jimmie Durham
De-Colonizing Art Institutions 34 Gabriel Flückiger and Vera Leisibach
exhibition images 36 Hikaru Fujii
at the Oncurating Project Space 40 Szuper Gallery
43 Patrick Hamilton
46 Taloi Havini and Gabriella Hirst
49 Ana Hupe
52 Balz Isler
55 Daniel Jablonski
57 San Keller
59 Astrid S. Klein
62 Kai Fong Pai Dong
63 Marinka Limat
64 Nkule Mabaso
67 Filippo Minelli
70 Lisl Ponger
74 Raghavendra Rao K.V.
77 Roee Rosen
80 Sally Schonfeldt
83 Katrin Stroebel and Simo Laouli
84 Túlio Tavares
87 Navid Tschopp
90 Lucie Tuma
97 Maíra Vaz Valente
98 Claire Wintle
101 Casa da Xiclet
104 Zou Zhao

108
Imprint

The Oncurating Project Space is supported by

1 Issue 34 / December 2017

Editorial Decolonizing Art Institutions

Editorial
Dorothee Richter & Ronald Kolb
For the Oncurating Issue 34, we asked artists, theorists, and researches to send us their
proposals for a decolonized art practice, or how to deal with institutions in that
regard.1 The 34 invited artists were given a carte blanche to contribute to the topic
decolonising art institutions. The only restriction given was in the format, with artists’
contributions to take the form of either an DIN A4 -sized PDF. The aim: to provide a
platform for a multiplicity of voices from the arts. These voices would propose an
image of a decolonised art practice, all the while raising questions with regard to how
one can engage with pre-existing institutions in a congruent manner. The format of the
material was crucial. It too was thoroughly accessible, printable by everyone from
readers of the magazine, to the very students and teachers in the postgraduate
Curating Programme who had initiated the project. Thus the form mirrored the
democratic modes of presenting and distributing art that were being explored in the
contents of the issue. This issue contains proposals from 34 artists and an implicit call
to action. You can download the material and assemble it in your preferred way: a
book, an exhibition, or something else. The curatorial role liberated, it stands open and
available to any reader of the issue, mutable between various local contexts.

These local contexts were as apparent in the creating of this issue, as they are in the
final product. The diverse group of students in the Postgraduate Programme in
Curating – from Brazil, Mexico, the US, Russia, Germany, Switzerland, the UK, and
Australia – incited a multiplicity of approaches to the topic. This, in turn, led to contact
with a great assortment of artists. This was an opportunity to take into consideration
the myriad of situations within which these practitioners work. Thus we could find not
only highly specific solutions that work within their local contexts, but also provide
platforms for strategies that might surprise us by extending across different, unex-
pected networks. They would become newly discovered constellations of decolonising
tactics.

And yet, the longer the specifics of these ideas were engaged with, the more fraught it
was to grapple with the very idea of decolonisation, as a broader concept. While there
was an advantage in the variety of frameworks within which the issue was problema-
tised, this also functioned as a point of friction. It exposed the difficulty of decolonising
across such divergent contexts, and rendered it nearly impossible to speak on a
common ground. Furthermore doubts were seeded about the efficacy of approaching
these concerns from the perspective of the arts. Nabil Ahmed argues, for example, how
colonialism, reinforced through capitalism, works in a destructive manner against the
environment, with a breadth of reach and depth of effect one can hardly imagine. A
malignant force spread far beyond the scope of the arts.

“Environmental violence can only be understood via the field of environmental

history, which, broadly, gives a dialectic accounting of humanity-in-nature and
nature-in-humanity. It incorporates a history of the externalization of nature,
from the mineral to the vegetal, silver to sugar, that allowed for the fetishization
and commodification of the environment in ways foreign to the peoples that
colonialism encountered and whose forms of knowledge it would obliterate.”2

2 Issue 34 / December 2017

Editorial Decolonizing Art Institutions

“Environmental colonialism” then, along with all its disastrous consequences, is

enforced in accelerated capitalism. This naturally has implications for any discussion
of decolonisation that takes art institutions as its basis, particularly when the focus
inevitably broadens to that which is under a political jurisdiction – land, heritage,
appropriation. And yet, as responses to the invitation manifested themselves, they
provided further evidence for the ability of art-driven processes to disrupt representa-
tional space. The proposals were a microcosm of the broader reality of the art world,
which constantly propagates ideas concerning how to live together in new and
different ways; how to use representational space in a radical manner; how to disrupt
the hegemonic ideas of communality and subjectivity.

What is clear is that how, who, and for whom a representational space is used is of
utmost importance. These questions must be brought to the fore in order to effect
structural changes, in policy and otherwise. What’s more they apply as much to the
museum and the gallery, to these institutions respective collections, and modes of
representation, as they do to society at large. Further a re-reading of existing collec-
tions through the lens of texts such as Fred Wilson’s “Mining the Museum” can
dramatically expose those that have misjudged the parameters of these questions.

It is to that arena of discourse that exposes, enlightens and, proposes that the
contributions collected herein may be added. They surprise, with unforeseen
approaches, drawing our attention to specific issues, and ultimately, to specific
understandings. Not a final word but diverse offerings to a diverse problem.

The material can be used to create an instant exhibition, wherever it can be printed.
We are extremely grateful to the artists, who so generously shared their thoughts and
images. And to you, the reader, or perhaps better put, the curator of the works
collected herein.

Notes
1 The Oncurating Issue 34 arose from a shared project with the students of the
Postgraduate Programme in Curating, ZHdK in summer 2017. We invited artists
related to the symposium “De-Colonizing Art Institutions” at Kunstmuseum Basel,
Switzerland. The material we received was organized to print out and be displayed
by us and the audience of the exhibition in the Oncurating Project Space.
2 Nabil Ahmed, „Negative Moment: Political Geology in the Twenty – First Century,“ in
Quinn Latimer, Adam Szyceck, South Magazine Issue 8, documenta 14, 2017.

3 Issue 34 / December 2017

Questions and Ideas after Ten Day of Intensive Propositions Decolonizing Art Institutions

Summer Academy & Symposium

De-Colonizing Art Institutions:
Questions And Ideas after Ten Days
of Intensive Propositions
Giovanna Bragaglia
In Zurich, studying at ZHdK in the MAS Curating Programme, one of my aims is to be
able to look at cultural institutions from a distance and have the time to reflect on its
structures. Taking part in the De-Colonizing Art Institutions Summer Academy &
Symposium helped me to understand and exchange ideas about museums and art
institutions that all over the world tend to have a uniform appearance, following
“Western” examples. Today, it is more important than ever to understand and reflect
on how art institutions and museums could work differently, and what and how would
be the new formats.
With this in mind, in May 2017, a group of curators1 asked artists and researchers
worldwide to contribute with proposals, images and concepts regarding De-Colonizing
Art Institutions. The material is available online2 and can be freely accessed and
download. Access to the material was also available within the On Curating Project
Space, in an exhibition project, which was proposed to recreate and rethink the
exhibition space and its visitor perspective. There, one could find a computer and a
printer available to access and print out the contributions. Exploring and expanding
the sense of curating, visitors could decide by themselves what to print out and hang
on the space’s wall (with hammers, nails, and tape), or take the printed material with
them.

Exhibition project De-Colonizing

Art Institutions, Oncurating
Project Space, June 2017, Zurich.
Photo: Giovanna Bragaglia

4 Issue 34 / December 2017

Questions and Ideas after Ten Day of Intensive Propositions Decolonizing Art Institutions

It is well known how intimidating the white cube can be. Curiously, in Rio de Janeiro, I
was working in an institution that was once an inhabited house, the Instituto Moreira
Salles, but I don’t know if one can say that being there feels like home. It is not only
about the architecture.
However, building a familiar environment can take time. When far away from home, in
an unknown environment, it is more than natural to try to find a certain comfort so
you don’t feel like a stranger anymore, and you can feel safe to go wrong. By the way,
who said what is wrong and what is not?
The Brazilian artist Maria Thereza Alves, one of the 34 artists invited to the project
De-Colonizing Art Institutions, describes in her text an interesting passage about her
mother approaching museums:

My mother had such fear of visiting museums that years later, when working as
a maid in the Upper East Side of Manhattan, and living quite close to the
Metropolitan Museum of Art, she never visited it until after I took her there.
That day, she held back climbing up the stairs and even after we purchased
discounted tickets and walked to the entrance door—which are quite tall and
fascistic, she was dragging back and nervously whispered that the guard would
not allow us to go inside. She thought he would shout at us to get out of the
museum and as a naturally shy person feared being publically embarrassed. We
made it in and after that she would often visit the museum but never one in
Brazil.

In the book The Birth of the Museum, Tony Bennett narrates the emergence of
museums, fairs, and exhibitions in nineteenth and twentieth century within a process
that he calls the exhibitionary complex. Within it, visitors observe the show at the
same time that they are observed. The author analyses how institutions have not only
organized their collections, but also their visitors, teaching them how to behave and
regulating their social routines.

Home sweet home

Museums have, or at least should have, very different aims; however, how can they
continue using the same structure as before? There is a need to rethink its nature as a
social space, as a space of representation, observation, display, and regulation. How to
build a place that people are not afraid of ? How to engage people to be part of it? In
order to make contemporary art more open to the world, perhaps the solution is to try
to transform it into a home, where visitors and artists are not received as numbers or
even guests, but in a place that they can feel at home.

The contemporary art space located in São Paulo, Casa da Xiclet, which was also
invited to collaborate in the De-Colonizing project, briefly describes themselves in the
received contribution as follows:

(…) the mixture of someone’s house and art gallery, the latter being a kind of
anti-gallery (since it is democratic, nonrestrictive and having a contaminated
“whitecubeness”) and the former, a kind of non-house (since the private ends up
turning into public…). A blend, thus, of house and gallery.

And not by chance, they cite the concept of mess by Robert Filliou, who says that a
real democracy is not possible if we do not welcome lack of discipline. Improvisation is
needed in order to allow for creation.

5 Issue 34 / December 2017

Questions and Ideas after Ten Day of Intensive Propositions Decolonizing Art Institutions

And what is the concept of home if not a place where you feel comfortable, where
mess is allowed, where you feel you can stay and that you are more than welcome? A
place that is part of your life since it may contain stories with which you can identify
and thus somewhere you may wish to go more often.

Take Your Time And Feel Free

The concept of home also carries the idea of a place where you can fail, such as The
Centre for Less Good Idea. Founded by the artist William Kentridge, it is an interdisci-
plinary incubator space for the arts based in Maboneng, Johannesburg. The place’s aim
is “to find the less good idea by creating and supporting experimental, collaborative
and cross-disciplinary arts projects,” as described on the website:

The Centre is a space to follow impulses, connections and revelations. It’s a

physical space for artists to come together over two seasons every year and for
curators to bring together combinations of text, performance, image and dance.
The Centre believes an ensemble sees the world differently to how one indi-
vidual does.3
The place functions as a home for artists. “It is a safe space for failure, for projects to be
tried and discarded because they do not work. It’s a space for short form work, which
doesn’t have a natural home in a theatre or gallery.”4 As pointed out by Jeebesh Bagchi
in his talk at ZHdK, art is not an object; it is about the production of a space. It is
perhaps something that you inhabit rather than see. However, it is not a laboratory, as
one might think, since no one is looking for results.

Still reflecting on the production and role of this space called museum, the Brazilian
artist Daniel Jablonski, another of the invited artists of the project, presents “No
museum exists, none has ever existed,” a montage over the introductory pages of the
book Le Musée Imaginaire by the French writer André Malraux. Jablonski simply
flipped the colors of the facsimile, showing its “reverse” side and replacing the original
images—an image of an exhibition room at MoMA and a reproduction of a painting by
David Teniers—with two photos of the fire that destroyed the Museum of Modern Art
of Rio de Janeiro in 1978. It is interesting to point out, in this introduction, Malraux
reminds us how museums seem so fundamental nowadays that we can no longer
understand that they are a very recent Western invention.

Art is the world without absolute answers, boundless and timeless—it is not possible
to delimit either the beginning or the end. Museums and art institutions should be a
place where people should feel safe to navigate, since, “It is navigation out of any ship,
sometimes with any safe or correct direction, with no wave, and with no sand,” as the
Brazilian poet and politician Jorge de Lima5 once wrote. We may never arrive, and even
when we arrive, we will never have actually arrived anyway, because there will be
always more and more paths to navigate. What is most important is not drowning and
having the tools to be able to go forward, looking for the means to grow and overflow.

Notes
1 The curatorial team of the project De-Colonizing Art Institutions: Giovanna Bra-
gaglia, Emilie Bruner, Ronald Kolb, Miwa Negoro, Swati Prasad, Dorothee Richter,
Silvia Savoldi, Regula Spirig, Laura Thompson.
2 All the contributions of the project “De-Colonizing Art Institutions” described in the

6 Issue 34 / December 2017

Questions and Ideas after Ten Day of Intensive Propositions Decolonizing Art Institutions

text can be found in this publication or accessed online http://www.on-curating.org/

issue-34.html
3 “The Center for the Less Good Idea.” Accessed 19.06.2017. https://lessgoodidea.com/.
4 Ibid.
5 A reference taken from the 29th São Paulo Biennial, 2010, titled There is Always a Cup
of Sea to Sail In–a line borrowed also from the poet Jorge de Lima in the work Invenção
de Orfeu (The Invention of Orpheus), 1952.

For about six years, Giovanna Bragaglia has worked in cultural institutions in
Brazil focused on contemporary art. At Paço das Artes, an experimental,
dynamic, and multidisciplinary institution, linked to the Cultural Secretary of
São Paulo, she worked closely with young critics, curators, and artists as a
researcher and as a producer, promoting national and international art through
exhibitions, catalogues, and educational activities. After that, she worked as a
curatorial assistant on international exhibitions at Instituto Moreira Salles in
the Visual Arts and Photography Departments, including shows of Richard
Serra, Tacita Dean, William Kentridge, and Luigi Ghirri. She curated the
exhibitions Processos Públicos (2010), Paço das Artes, São Paulo; Alice Brill:
impressões ao rés do chão (2015) IMS, São Paulo; De-Colonizing Art Institu-
tions (2017), OnCurating Project Space, Zürich, and Say The Same Thing
(2017), OnCurating Project Space, Zürich. She currently lives in Zurich and
studies in the MAS Curating Programe in ZHdK.

7 Issue 34 / December 2017

Exhibition images Decolonizing Art Institutions

Exhibition images
at the Oncurating Project Space

8 Issue 34 / December 2017

Exhibition images Decolonizing Art Institutions

9 Issue 34 / December 2017

Exhibition images Decolonizing Art Institutions

All images taken from the opening of the exhibition in the Oncutating Project Space,
Sihlquai 55, Zurich, 2017.

10 Issue 34 / December 2017

Artistic Contributions Decolonizing Art Institutions

Artistic Contributions by

14 Maria Thereza Alves

17 Song-Ming Ang
19 Priscila Arantes
22 Stefan Baltensperger + David Siepert
24 Fabiana de Barros
27 Mabe Bethônico
31 Flavio Cury
34 Jimmie Durham
35 Gabriel Flückiger and Vera Leisibach
37 Hikaru Fujii
41 Szuper Gallery
44 Patrick Hamilton
47 Taloi Havini and Gabriella Hirst
50 Ana Hupe
53 Balz Isler
56 Daniel Jablonski
58 San Keller
60 Astrid S. Klein
63 Kai Fong Pai Dong
64 Marinka Limat
65 Nkule Mabaso
68 Filippo Minelli

11 Issue 34 / December 2017

Artistic Contributions Decolonizing Art Institutions

71 Lisl Ponger
75 Raghavendra Rao K.V.
78 Roee Rosen
81 Sally Schonfeldt
84 Katrin Stroebel and Simo Laouli
85 Túlio Tavares
88 Navid Tschopp
91 Lucie Tuma
98 Maíra Vaz Valente
99 Claire Wintle
102 Casa da Xiclet
105 Zou Zhao

12 Issue 34 / December 2017

Maria Thereza Alves A Question of Aesthetics and Colonization

A Q uestion of Aesthetics and doing there and I in turn asked him, who did
Colonization not like art, why he was in a museum. He said
that he had just done a political favor for the
Maria Thereza Alves, May 10, 2017, Berlin director, a large one and suggested that we
both go and speak to the director and I could
ask for a solo exhibit and we could look at the
calendar and see when was the best time for
me. I was shocked and said that that was not
how things are done in the art world. I had
graduated from art school three years
previously. Alone I went into the director’s
office. He asked my name. He asked which
Alves family was I related to. I said, “None
Domingos Fernandes and Maria Thereza Alves that you would know”. He would not, my
(along with Jose Gaspar Ferraz dos Campos), family at the time were peasants or small scale
founders of the Green Party of São Paulo . farmers in the countryside of the state of
Photograph by John Ashley of the Missoulian. Parana. The director then refused to look at
my portfolio. This was the first time, as an
artist that I was presenting my work to a
In 1987, I along with Domingos Fernandes museum director having followed all the steps
and José Gaspar Ferraz de Campos were I had been taught in art school. So I placed
discussing how to make politics in the new the portfolio on the table but he would not
possibility of the end of the military flip through it. I then opened the portfolio. He
dictatorship and the beginnings of democracy still would not flip through it. I then flipped it
in Brazil. At the time, there was a celebration for him. As we were reaching the end, and he
of political freedom and there were over fifty had been silent throughout, I explained to
parties registered for the upcoming elections him that it was his obligation to discuss with
and we tried to figure out where we would the artist about the work – what he thought
best be able to contribute politically to Brazil. was interesting or not. At this point, my
I had worked as the representative for the frustration with his rude and arrogant silence
Workers’ Party of Brazil (the Partido dos was obvious. The director was then forced to
Trabalhadores - PT) but was no longer active explain that he was actually a medical doctor
within the PT due to an influx of upper class and that his family had been helpful in getting
people who had taken over many positions the mayor elected and in return the
within the party. Both Domingos and Jose directorship of the museum had been given
Gaspar had belonged to a wide range of to them. He confessed he knew nothing
political parties and movements. We thought about art.
that none of the parties reflected new
potentials of working in politics and founded A few months later, I dropped off my portfolio
the Green Party (Partido Verde) in São Paulo. at a renowned local cultural center, SESC also
In between this and my paying job, working as in São Paulo. They also did not bother to look
an English teacher I would also work on my art. at my portfolio. Then I asked Domingos to call
The Museu da imagem e do som in São Paulo in a political favor. Some months later, I
was in my neighborhood, Pinheiros. I took my received a call from the cultural institution
heavy and large portfolio which was not who were now enthusiastic about giving me
allowed on buses and walked the 2.6 an exhibit whenever I wanted one. I declined
kilometers to the museum. I had previously to participate in corruption and explained I
called and made an appointment with the was only verifying if that was how things were
director, whose name I can no longer done in Brazil.
remember. I arrived just as Domingos of our A few years later, I was working on an issue of
nascent Green Party was coming out of the Documents magazine published in New York
director’s office. He asked me what I was

13 Issue 34 / December 2017

Maria Thereza Alves A Question of Aesthetics and Colonization

and met with some people from the culture years later, when working as a maid in the
department of the state of São Paulo. I was upper east side of Manhattan, and living quite
treated well – I mean I was taken seriously as a close to the Metropolitan Museum of Art, she
person. I was not interrogated as to which never visited it until after I took her there. That
family I am connected to and if I am not day, she held back climbing up the stairs and
connected to any important family who was even after we purchased discounted tickets
my political ‘godfather’. (As a young woman and walked to the entrance door – which are
with a family of no political or social import at quite tall and fascistic, she was dragging back
the time, all this could possibly mean would and nervously whispered that the guard would
be that I was the mistress of politically or not allow us to go inside. She thought he
socially powerful people. I was given this would shout at us to get out of the museum
opportunity several times –that is to be the and as a naturally shy person feared being
sexual mistress of someone - as I looked for publically embarrassed. We made it in and
employment in fields for which I was qualified after that she would often visit the museum
but had no social connections to assure but never one in Brazil. It would take me
employment and finally settled for teaching another year to have enough nerve to walk
English for a small company run by a woman into the Guggenheim and Whitney in
who agreed I did not have to accept any Manhattan.
sexual offers to hold my job.) I returned a
week later to continue my discussions with the
cultural department and was treated as I am
normally treated – that is as an intrusion where
I am not welcomed because I do not belong
– and wondered what I had done wrong to
merit this. I was to be enlightened - they
explained that originally they thought I was
connected to the secretary of culture of Rio de
Janeiro who was an Alves and were
disappointed to have discovered during that
week that I was not.
Detail of the installation: The Return of a Lake.
Lina Bo Bardi’s Museo de Arte de São Paulo
Courtesy CAAC.
is thought to be appealing due to what is
considered by some to be its “democratic
openness” in design. To us it is a fortress In 2014, I exhibited at the MUAC in Mexico
which begins with its moat like entrance as the City, a large installation, The Return of a Lake,
building floats above the ground and originally made for dOCUMENTA (13) of 2012.
becomes more intimidating because the The aesthetics of the work is in homage to the
entrance is not visible and is reached only Museo Comunitario del Valle de Xico in the
after a flight or two of stairs and therefore you state of Mexico, whom I have worked with
cannot figure out if someone like you would since 2009. Some of the staff of MUAC did
be allowed in. I must confess that I myself not and still do not consider this work to be
never thought I would be allowed in and only art, due to its popular aesthetics.
finally went in when I was invited to
participate in the São Paulo Biennale in 2010. How to decolonize the museum? Staff that
And neither my mother nor my father, who have a colonial idea of art can retire to Europe
lived in the city would ever have thought they and the Museo Comunitario del Valle de Xico,
would be allowed to visit such a place. My can take over.
mother had such fear of visiting museums that www.mariatherezaalves.org

14 Issue 34 / December 2017

Maria Thereza Alves A Question of Aesthetics and Colonization

Genaro Amaro Altamirano of the Museo Comunitario del Valle de Xico and Maria Thereza Alves during the
installation of The Return of a Lake in MUAC in Mexico City. Photograph by Pedro del Llano.

Meeting of members of the Museo Comunitario del Valle de Xico. Photograph: Courtesy of the Museo
Comunitario del Valle de Xico

15 Issue 34 / December 2017

Song-Ming Ang Silent Walk Wall

Silent Walk Instructions

Song-Ming Ang
1. Participants should 5. After five minutes, the
turn off all phones and leader tags another
sound-emitting devices, group member who has
Silent Walk is an and remain silent not yet been the leader.
improvisational exercise during the walk. This tagged participant
in which a group of becomes the leader and
participants takes an 2. There should be at leads the group for five
improvised walk least one timer/watch to minutes.
keep time.
through their immediate 6. The tagging process
environment. 3. Participants take continues until every
turns to become the participant has led the
Participants stay silent group leader, who leads group once. The walk
throughout the walk, the walk for five ends when the last
minutes. The suggested leader has led the group
listening to the sounds group size is six to ten for his/her five minutes.
they encounter. participants.
7. It is suggested that
4. During these five the group gathers after
minutes, the leader the walk to exchange
decides which path or experiences on what
direction to walk in. All they heard during the
other participants follow walk. This can be done
the leader. in a formal or informal
setting.

16 Issue 34 / December 2017

Song-Ming Ang Silent Walk Wall

Photo credits: 
Song-Ming Ang, Silent Walk, Institute of Contemporary Arts
Singapore, 2014. Documentation photos by Olivia Kwok.

17 Issue 34 / December 2017

Priscila Arantes Paço Comunidade (Paço Community) Project | Paço Das Artes – São Paulo – Brazil

PAÇO COMUNIDADE (PAÇO COMMUNITY) PROJECT | PAÇO DAS ARTES – SÃO PAULO – BRAZIL

Paço Comunidade (Paço Community) is an art education project whose objective is to generate closer ties between
Paço das Artes—an institution connected to the Culture Secretariat of the State of São Paulo—and the surrounding
community. The program aims at expanding sociocultural accessibility, contributing to contemporary art training of
the participants and encouraging the creative potential of these individuals based on the demands of the community
itself.

It was from the perspective of rethinking its institutional role, aiming at creating devices that are more connected to
the community surrounding the institution, that Paço das Artes created the project in 2013. Idealized by Priscila
Arantes, the project was born from a basic perception: that most of the Paço das Artes visitors were middle to upper
class, and that the population surrounding the Paço das Artes, especially the residents of the São Remo community,
did not know or visit the institution. The project objective was to create a device that could somehow bring Paço das
Artes closer to the people who lived nearby but who did not have access to what it provided. Based on this initial
perception, we started investigating and mapping the region to bring us closer to Jardim São Remo, a poor
neighborhood in the western zone of São Paulo while Paço was based at the University of Sao Paulo (USP), the major
institution of higher learning and research in Brazil.

Stencil and painting workshops in the São Remo community (Photos: Mariana Ambrosio/Paço das Artes)

Thus, we established a fluid “format” for Paço Comunidade, and it is remodeled with each edition, based on dialogue
between the participants and featuring a guest artist to offer workshops to the residents of the community. As a result
of the workshops, an activity is developed, be it an exhibition and/or intervention at the Paço das Artes space or in the
community itself. The first edition of the project took place in 2013, based on the stencil and painting workshops
taught by artist Anderson Rei. Topics covered included urban interventions and public spaces, and the actions
developed at the workshop culminated in a collaborative intervention at Jardim São Remo, especially on a wall that
separates São Remo from the University.

In the first half of 2014, it was the turn of artist, teacher, and art educator Alberto Tembo. Working on the theme
“Obra-jogo de construção, uma instalação artística coletiva” (Building work-game, a collective artistic installation),
Tembo and the participants, based on several workshops, collectively created tridimensional objects, like toys,
sculptures, and prototypes for a playground that was set up together in the community.

18 Issue 34 / December 2017

Priscila Arantes Paço Comunidade (Paço Community) Project | Paço Das Artes – São Paulo – Brazil

For the 3rd edition of the program, Paço das Artes invited artist Mônica Nador, a reference in the art/community field,
to teach weekly workshops on stenciling on fabric to women at the NGO Girassol. During the meetings, the
participants created forms from their experiences and personal memories that were replicated in stencils and printing.
Later, the fabric and the prints gained another conceptual dimension, being transformed into clothes by textile
designer Renato Imbroisi, invited to participate in the project by Mônica Nador. In addition to the clothes being made
with prints developed by the participants, the model for each garment was a replica of the preferred clothes of each
participant in the workshop. The results of these workshops—the prints, as well as the clothes developed—were then
exhibited at Paço das Artes, at the exhibition Mônica Nador + JAMAC + Paço Comunidade, January 25 through
March 22, 2015. On the day of the opening, the participants got dressed and presented a fashion show with the items
they printed, to the sound of live music.

Exhibition Mônica Nador + JAMAC + Paço Comunidade (Photos: Letícia Godoy / Thais Scabio)

For the 4th edition, Paço das Artes promoted activities in several phases to resignify the community space at the Circo
Escola (Circus School). For the activity, Paço das Artes invited the artists of the SHN (Coletivo Rua Produções
Artísticas [Street Collective Artistic Productions], which includes Eduardo Saretta and Haroldo Paranhos), responsible
for street art theoretical-practical meetings and for the occupation of the spaces with contributions by graffiti artist Izu,
who lives in the São Remo community. As a result, as proposed by the young participants, walls were painted in the
lateral and external areas of the Circus School, in São Remo, covering 100 sq m in paintings.

In 2016, while searching for a permanent headquarters (Paço das Artes lost the headquarters in which it had operated
from 1994 to 2016, at the University of São Paulo/USP), the program expanded its coverage and started running
throughout the city of São Paulo. Thus, Paço das Artes promoted the 5th edition of the project between September and
December, within the sewing workshop in the Occupation at the former Hotel Cambridge, located at Avenida Nove de
Julho, 216, in partnership with the Occupation of the Homeless Movement in the Downtown Area (MSTC).

This Occupation, which includes over one hundred families, currently counts on several external and internal
activities, including language teaching to foreigners; an artistic residence; a bakery; a sewing workshop; a beauty
parlor; a vegetable garden; a second-hand clothes store; a dentistry office, etc. In 2016, the occupation also started
housing several activities geared towards culture and arts, fields that include Paço das Artes’ activities. For the

19 Issue 34 / December 2017

Priscila Arantes Paço Comunidade (Paço Community) Project | Paço Das Artes – São Paulo – Brazil

occasion, curators Claudio Bueno and Priscila Arantes invited artist, stylist, and fashion consultant Agustina Comas to
hold workshops alongside the Occupation sewing team, focusing on the upcycling concept.

Upcycling is the process of making residues or disposable products into new materials, increasing their value, use, or
quality, and placing it back into circulation. Different from discarding a product for a new one to be produced—as is
typical in the recycling process of plastic material—the upcycling work method makes use of the structural qualities of
something existing. Working together with the sewing group of the Occupation, it was, therefore, proposed as the
sharing of practices by artist Agustina Comas, with the production of garments that use the waste of the textile and
garment industries in the city of São Paulo as input.

Finding the fabric or the discarded clothes to be remodeled allowed us, in this context, to find an abandoned building
that we desired to inhabit, but it was, firstly, necessary to transform it, sensitize it another way, turn it inside out, from
hotel to housing, from square to cultural institution (current situation of Paço das Artes, while prospecting new spaces,
in 2017). In the process experienced, the garments—produced intentionally by the industry, as excess material,
something that was known would not be turned to sales—were transformed by manual manufacturing, modelled to the
singularity of each body, in the time and intimacy of the creative school-workshop, with no engagement with the
fashion market or the industry, but with total freedom for experimentation.

Paço Comunidade in the Occupation in the former Hotel Cambridge (Photos: Carolina Ferreira)

The five editions of Paço Comunidade are a testament to how it is possible to build alternatives that, in fact, may
contribute to the formation of citizenship and empowerment of individuals. We hope that, with these actions, and with
the future editions of Paço Comunidade, Paço das Artes, as a public and democratic institution, may play its role:
contributing and fostering the creative potential of an audience that often has no access to institutional subsidies.

Priscila Arantes
Artistic director and curator of Paço das Artes
Creator of Paço Comunidade
www.pacodasartes.org.br

20 Issue 34 / December 2017

Stefan Baltensperger + David Siepert Destined to fail

BALTENSPERGER + SIEPERT

DESTINED TO FAIL
text fragments by Stefan Baltensperger + David Siepert

We are used to fail

People expect us to fail
Failure is in our DNA

The terms Decolonizing and Institution fit so well

together – just like like Diversity and Unity. We are stuck
trying to think about the idea of Institution without
thinking about power structures, the apparatus that
defends values.

We fail

The field of art is a hierarchic one and aesthetics is just

another word fort the way we perceive and interpret
what surrounds us – the world. Visual expression is
embedded into culture and tradition. To develop a
forward-looking visual discourse means to encourage
a continuation of modernism and a declassification
of everything that does not originate from a western
tradition.

We try to spin the wheel, mix the ingredients and squeeze them through the
pastry tube — another device, a kaleidoscope for reality. It‘s great to be curious
and to have no expectations. If we try to think beyond the scope of a single
civilization, we have to forget about traditional terms and think about their
meaning within the context of other traditions. At this point it starts becoming
complicated when we try to use intellectual terminology.

Maybe it is more of a burden to have Institutions are bound to the

gone through a formal education, to established. Consequently
know what other people have approved they are backward looking,
as important, to find oneself in this tried- one foot in the past, the
and-tested system, and to repeat what other in the present, while
already has been said before. If you trying to exercise their
aren’t familiar with existing traditions, influence and authority onto
you are less likely to follow them. the future.

We invent imagination machines through At birth we’re all allocated a place in

which we dare to try and understand the society. We learn how to behave according
world, a kaleidoscope for reality, which to this placement and we value ourselves
is, philosophically speaking, just another accordingly. This applies to social class, as
fiction. Machines for confusion with no well as to regional identities. We learn to
answers but countless questions – We identify ourselves through what we were
really should think about establishing our taught to be like. Over time it becomes
own institution to defend our own values. natural … the stigma is internalized.

Baltensperger + Siepert www.baltensperger-siepert.com

21 Issue 34 / December 2017

Stefan Baltensperger + David Siepert Destined to fail

Players continue to push the ball across the field. De- Shall we really limit the ability
and re-contextualizing thoughts and values, goods and to shape one’s society to a few
individuals, and thereby accepting that individuals are selected people, or do we have
subjected by being divided into the different functions to invent a new machine to
of a economic system. This stigma, the “trust machine” make the subaltern heard?
works well, and spins the wheel again and again.

We are in a whirl, playfully

oscillating between definition
and redefinition. Defining one-
self through the other, through
differences, stigmatizing not Friction can be produced by
only the self, but creating the confusion and unusual connec-
other as a fiction, a collage of tions. Deviations from leading
exoticism and fears. A house discourses, displacement and
of cards, built to collapse, fragmentation of things we
endangered by knowledge thought were clear, but actu-
and a lack of distance and ally aren’t. A multifaceted net-
imagination. work of thoughts, emotions,
and connections, right and
wrong ones (the wrong ones
are usually the more interesting ones). If we think about new fictions,
we create a multitude of fictional spaces — third spaces located on
a neutral playground that make no claim to truthfulness – spaces in
which we might be able to escape our prejudices – Different shades
of gray appear inside of zones that used to be black and white, defi-
ning a new field by renegotiating space.

Again, we are destined to fail

There is a belief in tomorrow. It seems that tomorrow is more related to space

A tomorrow that will be than to anything else. Tomorrow happens on a stage
brighter — if not for us, maybe somewhere, and if you want to participate, you need to
for a future generation. More be the actor who is there, moving toward the future, to
specifically, we wish that those places where anything is possible, to write your
better and brighter future own story of success. The further you are physically
particularly for our own from those places, the longer it will take you to get
offspring, much more than for there. You actually might never get there, or else,
somebody else’s descendants you’re already there, but access is denied to you. And
– Again we should establish a then there is also the day after tomorrow — and one
different institution. day you will die.

Baltensperger + Siepert www.baltensperger-siepert.com

22 Issue 34 / December 2017

Fabiana de Barros FITEIRO, KIOSQUE, PERIPTERON, KIOSK, etc …

FITEIRO, KIOSQUE, PERIPTERON, KIOSK, etc…

18 ans d’une œuvre d’Art Public
Fiteiro Cultural [Kiosque à Culture] a été créé pour la première fois lors d’une résidence
artistique entre la Suisse, la France et le Brésil, à João Pessoa, au nord du Brésil, en 1998.
C’est alors que Fabiana de Barros a créé Fiteiro Cultural, un espace qui représente pour elle
un lieu culturel idéal, pouvant être transformé en atelier, en espace d’exposition, en scène de
théâtre, en lieu de rencontres privées ou publiques, ou même en espace de relaxation, de
lecture ou de réflexion.

L’artiste a pensé cet espace comme un kiosque aux multiples possibilités d’ouvertures, de
configurations et de positions. Fiteiro Cultural est inspiré de la forme prise par les kiosques
de rue à Joao Pessoa, propre au Nord du Brésil. De fait, après avoir dépensé toutes leurs
économies pour la construction et l’installation de leur kiosque, les marchands n’ont plus
l’argent nécessaire à l’achat de marchandises. Ils ouvrent alors leur commerce tel quel, sans
rien à vendre et attendent que les clients les conseillent sur les besoins du quartier et de ses
habitants. Ainsi, certains fiteiros réparent des objets électroniques, d’autres vendent de la
glace, donnent des conseils thérapeutiques, vendent des tickets de transport ou du café et
des gâteaux près des arrêts de bus. Ils offrent de tout et tout est décidé collectivement, à
l’écoute de la communauté dans laquelle le fiteiro est installé. C’est inspirée par cette
démarche que Fabiana de Barros a nommé son kiosque Fiteiro Cultural.

A l’invitation d’artistes ou de commissaires, en relation avec un lieu dédié à l’art, Fiteiro

Cultural a été installé tout autour du globe: Brésil, Grèce, Suisse, Arménie, Etats-Unis, Cuba,
Portugal, France, Italie, Palestine et Allemagne. Chaque nouveau Fiteiro Cultural a ainsi été
la rencontre de l’artiste avec un nouveau lieu, de nouvelles institutions et de nouvelles
cultures, à des modes de construction du kiosque différents, et surtout, à de nouveaux types
de collaboration avec les artistes qui proposaient des stratégies et des manières inédites
d’interpréter l’œuvre. Fiteiro Cultural est donc une pièce en constant changement, sans
début ni fin, sans évolution ni forme idéale. La découverte de l’autre faisant partie intégrante
de l’œuvre, l’artiste l’appréhende en tant que « sculpture sociale ». Le Fiteiro est un « non-
lieu » qui, pour exister, dépend de la communauté dans laquelle il est installé. A chaque
nouvelle construction, il positionne ainsi l’artiste en tant que spectatrice de sa propre œuvre.

Fiteiro Cultural, João Pessoa. Exposition Laboratoire, 1998.

Photo : Roberto Coura

23 Issue 34 / December 2017

Fabiana de Barros FITEIRO, KIOSQUE, PERIPTERON, KIOSK, etc …

Depuis que le premier Fiteiro Cultural a été installé à João Pessoa en 1998, le monde a subit
nombre de changements politiques, économiques, culturels et technologiques qui ont eu un
impact irréversible sur les dynamiques des sociétés contemporaines. Même si des progrès
ont été effectués dans de nombreux domaines, ont ne peut ignorer le contexte de crise
pluridimensionnelle à laquelle le monde est actuellement confronté.

« Je pense qu’il est impossible en tant qu’artiste, surtout en tant qu’auteure d’un travail
orienté vers l’art public, de rester indifférente à la globalisation des conflits, à la crise de la
démocratie, à la démission de l’Etat quant aux questions de bien-être social. Il est devenu
impossible pour moi d’occuper avec impunité l’espace public avec une œuvre d’art, quand la
priorité est de survire à un processus de déshumanisation extrême. »

Dans ce contexte d’incertitudes, l’artiste explique penser qu’il y a de moins en moins de

possibilités pour des projets comme celui de Fiteiro Cultural. Symboliquement, le projet a
terminé son parcours physique en Palestine, à Jérusalem, point décisif dans le travail de
Fabiana de Barros, constatant alors une évidence: les changements se produisant dans le
monde ainsi que leurs urgences, ne sont plus les mêmes qu’au commencement du projet.

Fiteiro Cultural, Festival, Eternal Tour 2010.

Université Al-Quds, Jérusalem, Palestine, 2010.
Photo: Dominique Fleury

« Dans la sphère des politiques culturelles, nous vivons dans un moment de peu de
motivations et de beaucoup de détérioration des espaces destinés à l’art. On ajoute à cela le
problème complexe de la frontière éthique entre ceux qui financent l’art et ceux qui défendent
l’Art Public. Détournée de ses buts initiaux, une œuvre d’art peut devenir un instrument de
manipulation et de propagande, servant des intérêts politiques et idéologiques avec lesquels
on est en désaccord. »

Paradoxalement, ce n’est pas dans les rues, ni sur les trottoirs, ni dans les parcs ou jardins
que les artistes se sentent les plus libres, mais dans les galeries ou les musées, non
seulement du fait de leur caractère privé, mais également du fait de leur public averti. Dans
ces environnements, hermétiquement construits pour l’art, les artistes peuvent créer sans
entraves; dans l’espace public en revanche, la liberté est sans-cesse renégociée. Or, savoir
jusqu’où l’art peut aller est précisément ce qui intéresse l’Art Public; l’œuvre nait de cette
tension. L’analyse d’une ville et de sa structure, tout comme de ses limites physiques et
administratives, fait partie intégrante du processus qui n’est ainsi pas sans conflits. Il n’y a

24 Issue 34 / December 2017

Fabiana de Barros FITEIRO, KIOSQUE, PERIPTERON, KIOSK, etc …

pas de travail public sans affrontements. En revanche, aujourd’hui, les espaces sont
restreints et le processus est rigide, ce qui devient de plus en plus difficilement praticable.

Incapable de continuer à occuper cet espace public, Fiteiro Cultural a alors pris une nouvelle
forme lui permettant de se réinventer et d’acquérir de nouvelles significations. En
investissant le web, sphère publique par excellence, Fiteiro Cultural a trouvé de nouvelles
possibilités d’existence. Après plus de quarante installations, c’est depuis 2007 en tant que
travail tridimensionnel dans l’espace virtuel Second Life, l’un des derniers à l’avoir hébergé,
que Fiteiro Cultural existe durablement. En occupant un tel médium, il assume encore plus
frontalement sa nature publique, préservée par les outils disponibles dans l’univers virtuel. Là,
il est transformé en une île, dans laquelle des milliers de personnes circulent chaque jour et
où l’on peut apercevoir l’utopie d’un monde interactif et sans frontières.

Tout au long de son développement physique, Fiteiro Cultural s’est ainsi détaché de l’artiste
qui l’a conçu pour devenir plus autonome, tel un objet archétypal qui serait défini par ses
usages et contiendrait toutes ses variations. De son côté, en explorant les caractéristiques
constructives de son œuvre, du virtuel au modèle physique, Fabiana de Barros a pu se
réapproprier ses formes, sa géométrie et son volume, réactivant de la sorte une pratique plus
intime, écho aux prémices de son œuvre lorsqu’elle n’avait pas encore de fonction publique.

Exposition Fabiana de Barros Mais é igual a menos (+ = -) 18 ans du Fteiro

SESC Pompeia, São Paulo, 2017
Photo : Michel Favre

Julie Marmet, sur Fiteiro Cultural de Fabiana de Barros

25 Issue 34 / December 2017

Mabe Bethônico MUSEUM OF PUBLIC CONCERNS

MUSEUM OF PUBLIC CONCERNS MUSEUM OF PUBLIC CONCERNS

ΈDh^hD&mZP&&Ed>/,E>/'EΉ MABE BETHÍNICO
MABE BETHÍNICO

In den vergangenen Jahren habe ich mich intensiv Over the years I have been working on the issue
mit dem Thema Bergbau befasst, vor allem in Minas of mining, especially in the Brazilian state of
Gerais, wo ich die kulturellen und sozialen, aber auch Minas Gerais, by studying the cultural and social
geologischen und physischen Konsequenzen der implications of its mining economy while also
regionalen Bergbauwirtschaft untersuchen konnte. Der observing the geological and physical effects of its
Abbau von mineralischen Rohstoffen ist ein weltweites presence. Mineral extraction is a huge global business
Geschäft, das von einer Handvoll multinationaler dominated by a few multinational companies,
8QWHUQHKPHQNRQWUROOLHUWZLUG$QGHUHUVHLWV¿QGHQGLH while the damage done to the local landscape and
Auswirkungen ihrer Aktivität auf Landschaften und surrounding community is conspicuously absent
umliegende Gemeinschaften in lokalen und nationalen from local and national public debate. In an effort
öffentlichen Debatten kaum Erwähnung. Um die to raise critical awareness and foster debate, I have
öffentliche Aufmerksamkeit auf dieses Problem zu compiled documentary and photographic material
lenken und eine Debatte anzustoßen, habe ich öffentliche ˆ”‘Š‹•–‘”‹…ƒŽƒ”…Š‹˜‡•ǡ–Š‡ϐ‹‡Ž†ƒ†‡†‹ƒ‘—–Ž‡–•ǡ
XQGSULYDWH'RNXPHQWHXQG)RWRJUD¿HQDXVKLVWRULVFKHQ and from both public and private sources.
Archiven und der Presse sowie vor Ort gesammelte
Materialien zusammengetragen. For the largest museum complex implemented in
Brazil in recent years, the Museum of Mines and
Für den landesweit größten Museumskomplex der Metals in Belo Horizonte, the state capital of Minas
jüngeren Zeit, das Museum für Bergbau und Metall Gerais, state-owned buildings were transformed into
in Belo Horizonte, der Landeshauptstadt von Minas corporate cultural centres. The museum was built by
Gerais, wurden Gebäude der öffentlichen Hand in private a mining group, and the largest multinational mining
Kulturzentren umfunktioniert. Das Museum wurde company was allowed to tell the history of the state
von einem Bergbauunternehmen errichtet, während in another building. The collective historical and
das größte multinationale Bergbauunternehmen der cultural production is being dictated by the private
Region in einem weiteren Gebäude die Geschichte des sector. In these places relevant questions are ignored,
Bundesstaats erzählen darf. Kollektive Geschichte und and implications and criticism are absent. Meanwhile
kulturelle Produktion werden hier vom privaten Sektor public institutions deteriorate for lack of public
diktiert. An diesen Orten werden wichtige Fragen zu funding.
Nachwirkungen des Bergbaus ausgeklammert, Kritik ist
QLFKWHUZQVFKW'HUZHLOIULVWHQGLHXQWHU¿QDQ]LHUWHQ The Museum of Public Concerns is a response to
öffentlichen Einrichtungen ein tristes Dasein. the corporate rewriting of history, characterised by
disinformation and/or lack of information on mining.
Das Museum of Public Concerns (Museum für The aim is to foster debate using a mobile digital
öffentliche Anliegen) versteht sich als Antwort auf photographic archive that will travel through the city
diese Geschichtsfälschung, die mit Desinformation of Belo Horizonte and the interior of Minas Gerais
beziehungsweise Mangel an Informationen operiert. and be viewable in various formats. It will serve as a
=LHOLVWHVDQKDQGHLQHVPRELOHQGLJLWDOIRWRJUD¿VFKHQ ˆ‘”—ˆ‘”†‹•…—••‹‘„›ƒ…ƒ†‡‹…•ˆ”‘˜ƒ”‹‘—•ϐ‹‡Ž†•
Archivs, das durch Belo Horizonte und durch Minas of knowledge. An accessible modular platform, it
Gerais touren und verschiedene Präsentationsformen will also provide a public forum for consultation and
annehmen wird, eine Debatte über die Bergbauwirtschaft engagement. While on the road, it will incorporate
anzustoßen. Das Museum of Public Concerns versteht further images from the public, allowing the archive
sich als Diskussionsforum für Akademiker aus to grow in a collaborative manner.
unterschiedlichen Wissensbereichen. Die modulare,
leicht zugängliche Plattform soll ferner eine öffentliche The Museum of Public Concerns takes as its
Anlaufstelle für Beratung und sozialpolitisches starting point various photo collections: photos by
Engagement sein. Während seiner Reisen wird es inspectors from the government agency responsible
weiteres Bildmaterial sammeln und so das Archiv auf for regulating the mining sector (Department of
kollaborative Art und Weise erweitern. Occupational Health and Safety of the State Ministry
of Labour and Employment); daily life recorded
Ausgangspunkt des Museum of Public Concerns sind continuously by Maxacali Indians, an indigenous
YHUVFKLHGHQHIRWRJUD¿VFKH6DPPOXQJHQ)RWRVYRQ group historically affected by land disputes and the
Inspektoren der für die Regulierung des Bergbausektors economics of agriculture and mining; a private diary
verantwortlichen staatlichen Agentur (Abteilung ‘–Š‡‡•–ƒ„Ž‹•Š‡–‘ˆ–Š‡ϐ‹”•–‹‹‰…‘’ƒ‹‡•

26 Issue 34 / December 2017

Mabe Bethônico MUSEUM OF PUBLIC CONCERNS

für Gesundheit und Sicherheit am Arbeitsplatz des ‹‹ƒ•

‡”ƒ‹•Ǣƒ’Š‘–‘ƒ”…Š‹˜‡‘ˆƒ
ǯ•ϐ‹‰Š–
Staatsministeriums für Arbeit und Beschäftigung); against the imminent destruction of water sources as
Aufnahmen des täglichen Lebens von Maxacali- the result of encroachments by the mining industry,
Indianern, einer indigenen Bevölkerungsgruppe, etc. The Museum will spotlight aspects ignored today
GHUHQ*HVFKLFKWHYRQ/DQGNRQÀLNWHQLP=XJHYRQ and in the recent past and produce a counter-history.
Landwirtschafts- und Bergbauprojekten geprägt ist;
ein privates Tagebuch über die Gründung der ersten –––
Bergbauunternehmen in Minas Gerais; das Fotoarchiv
einer NGO über ihren Kampf gegen die bevorstehende 1HROLEHUDOLVPDVZHNQRZLVWKHHSRFKRISULYDWLVDWLRQ
Zerstörung von Wasserquellen im Zuge neuer Eingriffe privatisation of hospitals and water supplies, knowledge
der Bergbauindustrie usw. Das Museum wird Aspekte and transport, the human genome and public space.
beleuchten, die nicht erst seit heute ignoriert werden, um Public powers are in retreat and corporations are
langfristig eine Gegengeschichte zu schreiben. invading, taking their place. In Italy, for instance,
historical monuments can no longer be restored without
––– a company sponsor covering the facade with a gigantic
advertisement. Equally, memory and perception are
Wie wir wissen, ist der Neoliberalismus das Zeitalter EHLQJSULYDWLVHGWKHFKRLFHRIKRZWRVSHDNDERXWWKH
GHU3ULYDWLVLHUXQJ3ULYDWLVLHUXQJGHU.UDQNHQKlXVHU past and the present of our world is increasingly left to
und Wasserversorgung, des Wissens und des private parties – or, to be more blunt, to big companies.
Transportwesens, des menschlichen Genoms und des Companies which in general are those whose work
öffentlichen Raums. Die öffentliche Hand zieht sich needs to be examined impartially by people who have no
zurück, private Unternehmen springen in die Bresche personal interest in defending them.
und nehmen ihren Platz ein. In Italien beispielsweise
ließe sich heute kein öffentliches Monument mehr ohne ,WLVDNLQGRIPHQWDOFRORQLDOLVPWKRVHUHVSRQVLEOH
riesige Fassadenwerbung für einen Sponsor restaurieren. IRUPDNLQJWKHZRUOGWKHZD\LWLVDOVRZDQWWRGH¿QH
what we think about their actions. If today the Church
Genauso werden Gedächtnis und Wahrnehmung were to create a museum about the Inquisition, or if
SULYDWLVLHUW'LH$UWXQG:HLVHZLH9HUJDQJHQKHLWXQG an association of sugarcane growers were to hold an
Gegenwart unserer Welt dargestellt werden, bleiben exhibition on slavery, there would no doubt be a scandal.
zunehmend privaten Interessenvertretern – oder, grob But when extraction companies in Brazil organise
gesagt, großen Unternehmen – überlassen. Es sind museums about mining, with public funds but in a private
dies in der Regel die gleichen Unternehmen, deren setting, is this not the same thing? Here, as elsewhere,
Arbeit unabhängig begutachtet werden soll, sprich von the soft totalitarianism of the market has replaced open
Menschen, die kein persönliches Interesse daran haben, political totalitarianism. All modern totalitarian powers
sie zu verteidigen. want to rewrite the past and have complete monopoly of
SHUFHSWLRQ6WDOLQLVPDQG0DRLVPDWWHPSWHGWRWDNHWKLV
Wir haben es hier mit einer Art mentalem Kolonialismus to extremes.
zu tun. Die, die dafür verantwortlich sind, dass die Welt
so ist, wie sie ist, möchten gleichzeitig festlegen, was wir If this is true the world over, it is even more so for a
über ihre Handlungen denken. Würde die Kirche heute country like Brazil. Here, public space has always been
HLQ0XVHXPGHU,QTXLVLWLRQHU|IIQHQRGHUHLQ9HUEDQG very limited. Not only in the sense that the state has
von Zuckerrohrerzeugern eine Ausstellung über Sklaverei been historically weak in comparison with the propertied
organisieren wollen, würde dies zweifellos einen classes (which is expressed today in the fact that, for
Skandal auslösen. Aber ist es nicht das Gleiche, wenn instance, the tax rate for the rich and big businesses is
ein Bergbauunternehmen in Brasilien private Museen very low, while there are huge fortunes that can afford
zum Thema Bergbau mit öffentlichen Geldern eröffnet? DQ\LQYHVWPHQWLQWKH¿HOGRIFXOWXUH%XWWKHSXEOLF
Hier wie auch andernorts hat der sanfte Totalitarismus space is reduced even in the primary sense that the street
des Markts den unverhohlenen Totalitarismus der Politik is generally abandoned to the poor and the “dangerous
abgelöst. Alle modernen totalitären Systeme wollen die classes”; those who can avoid it never set foot there,
Geschichte neu schreiben und sich das Monopol ihrer going from one protected space to another by car.
Darstellung sichern; Stalinismus und Maoismus trieben
dies auf die Spitze. 7KHRI¿FLDOGLVFRXUVHLQWKLV³HPHUJLQJFRXQWU\´LV
an unbridled enthusiasm for a future supposed to be
Diese Situation ist zwar ein globales Phänomen, doch bright; people are supposed to forget the often shameful
nirgendwo so offensichtlich als in Brasilien. Hier ist foundations of “economic development”. Of course, some
der öffentliche Raum schon immer sehr eingegrenzt important events – slavery, military dictatorship – are
JHZHVHQ±QLFKWQXUZHLOGHU6WDDWLP9HUJOHLFK]XGHQ periodically evoked, but it is always stressed that this was in
vermögenden Klassen historisch schwach ist (was sich the past .... But where does this leave the innumerable daily
heute beispielweise in dem Umstand zeigt, dass der sufferings and injustices that may remain forever hidden?

27 Issue 34 / December 2017

Mabe Bethônico MUSEUM OF PUBLIC CONCERNS

Steuersatz für Reiche und große Unternehmen äußerst This is what is particularly interesting about Mabe
QLHGULJLVWZlKUHQGVLFKJOHLFK]HLWLJULHVLJH9HUP|JHQ %HWK{QLFR¶VSURMHFWLWLVQRWDPXVHXPVSHFL¿FDOO\
angesammelt haben, die sich jede Investition im Bereich devoted to one subject or another, important as that
der Kultur leisten können). Doch der öffentliche Raum would be, but to the principle of public discussion itself.
Brasiliens ist auch buchstäblich eingeschränkt, insofern A place where everything can be said. Here, ‘public’
die Straßen in der Regel den Armen und „gefährlichen GRHVQRWPHDQµ6WDWH¶WKH6WDWHDOVRKDVWKLQJVWRKLGH
Klassen“ überlassen werden; jeder, der es sich leisten and it should not have the monopoly of representation.
kann, macht einen Bogen um sie herum und fährt mit Take for instance the Brazilian federal state of Minas
dem Wagen von einer geschützten Zone in die nächste. *HUDLVZKHUH%HWK{QLFR¶VSURMHFWLVWDNLQJSODFHZH
should remember the massacre of workers by police
,PRI¿]LHOOHQ'LVNXUVGLHVHVÄDXIVWUHEHQGHQ/DQGV³ in Ipatinga in 1963 and the “concentration camp” of
herrscht die Begeisterung für eine vermeintlich Barbacena’s psychiatric hospital, both kept in a distant
strahlende Zukunft vor; dementsprechend wird erwartet, past and never really accessed. Bethônico’s project
dass seine Einwohner die oftmals beschämenden creates a space for the emergence of another discourse,
Ursprünge der „wirtschaftlichen Entwicklung“ vergessen. a counter-history. Similarly to what the Bookmobile has
1DWUOLFK¿QGHQZLFKWLJH(UHLJQLVVHZLH6NODYHUHLXQG been doing since the 1920s with books, Bethônico’s bus
Militärdiktatur regelmäßig Erwähnung (wobei aber will bring the museum to those who do not otherwise
LPPHUZLHGHUEHWRQWZLUGGDVVVLHGHU9HUJDQJHQKHLW go to museums of their own accord. What it offers in
angehören). Doch was ist mit den unzähligen täglichen contrast to the shameless self-celebration of power is not
Leidensgeschichten und Ungerechtigkeiten, die für simply a different history, already written by supposedly
immer verborgen bleiben? independent journalists or alternative historians and
scientists, but the possibility that the very voices of those
Genau dies macht das besondere Interesse von Mabe who remain in the shadows – workers, indios, women,
Bethônicos Projekt aus. Es ist ein Museum, das sich WKHSRRUDQGDOVRQDWXUH±¿QGHDUVUHDG\WROLVWHQDQGWR
keinem (egal wie wichtigen) Thema widmet, sondern recognise their own history.
dem Prinzip der öffentlichen Debatte an sich. Es ist ein
Ort, an dem alles gesagt werden kann. Hier bedeutet Anselm Jappe
„öffentlich“ nicht „staatlich“, denn auch der Staat hat
Dinge zu verbergen, weshalb man ihm keinesfalls das
Monopol auf Darstellungen überlassen sollte. (In diesem
Zusammenhang ließen sich zwei Beispiele aus Minas
Gerais anführen, dem brasilianischen Bundesstaat,
LQGHP%HWK{QLFRV3URMHNWVWDWW¿QGHWGDV0DVVDNHU
von Arbeitern durch die Polizei in Ipatinga 1963 und
das „Konzentrationslager“ der psychiatrischen Klinik
in Barbacena – beides Ereignisse, die in eine ferne
9HUJDQJHQKHLWYHUEDQQWXQGQLHZLUNOLFKDXIJHDUEHLWHW
worden sind.) Bethônicos Projekt bietet Raum für einen
anderen Diskurs, eine Gegengeschichte. Ähnlich wie
das „Buchmobil“ dies seit den 1920er Jahren tut, wird
ein Bus Bethônicos Museum zu jenen bringen, die
ansonsten nie ein Museum besuchen. Der schamlosen
Selbstverherrlichung der Gewalt setzt es nicht nur eine
andere, von vermeintlich unabhängigen Journalisten,
alternativen Historikern und Wissenschaftlern
geschriebene Geschichte entgegen, sondern die
Möglichkeit, dass die Stimmen derer, die im Dunkeln
bleiben – Arbeiter, Indios, Frauen, Arme, auch die Natur
– auf offene Ohren stoßen und sie ihre eigene Geschichte
erkennen.

Anselm Jappe

28 Issue 34 / December 2017

Mabe Bethônico MUSEUM OF PUBLIC CONCERNS

29 Issue 34 / December 2017

Flavio Cury COYOTE

30 Issue 34 / December 2017

Flavio Cury COYOTE

COYOTE
TODA VIDA BUSCA A VIDA. PELAS FRESTAS, PELOS
BURACOS PEQUENOS, PARA CIMA, ESPARRAMA-SE EM
GALHOS QUE SE ESFORÇAM PARA TOCAR SEU
PRÓPRIO MISTÉRIO.

É UMA FORÇA INDIGENTE QUE ESPECULA E SE

ALIMENTA SEM ESCRÚPULOS DAS ÁGUAS.
UMA ERVA INDOLENTE, QUE POLINIZA DE MODO
DESLEAL O VENTO.
É UM ANDAR PERPÉTUO E COMPULSÓRIO. É UM
DIREITO.
E EU ODEIO TODO COMPULSÓRIO.

OUÇO ESSE ZUMBIDO MENDICANTE QUE ECOA

DE UM LADO PARA O OUTRO, ESSE ESTADO
INTERMEDIÁRIO…

HADES ERA UMA DIVINDADE CIRCULAR. EU

ATENHO-ME AO CHÃO, AOS PÉS, AOS PÊLOS
QUE COMIGO EMBARCAM. SINTO O CHEIRO DA PELE
QUE QUEIMA E DESIDRATA SOB O SOL, E O ODOR
SECO DA BORRACHA NEGRA FLUTUANTE DE
PETRÓLEO.

O BOTE.

31 Issue 34 / December 2017

Flavio Cury COYOTE

EU SEI COMO APRISIONAR O VAPOR.

VEJO POÇAS DE ÓLEO MULTICOLORIDAS, E MÃOS CO-

LADAS A ANTEBRAÇOS QUE DALI APONTAM, CHOCAN-
DO-SE TRÉPIDOS A OUTRAS MÃOS E ANTEBRAÇOS EM
LIAMES INÚTEIS. VEJO HOMENS SUBMERGIREM E PER-
DEREM SUA OPACIDADE EM GRAUS DE AZUL, NUM
AFUNDAR ÉPICO, HIDROMEDUSAS QUASE LUZ DE
CORPOS LÂNGUIDOS, DISSOLVENDO NA TINTA
SATURADA DE MAR.

SOU UMA PESSOA CURIOSA DO ABISMO.

MINHA VIRTUDE É, POR ASSIM DIZER, NEGATIVA.
EU VOLUNTARIAMENTE DESCONHEÇO, NÃO ME INTER-
ESSO, NÃO SEI.

MAS DA MÉTRICA INVERSA DO TEMPO, SIM.

O TEMPO, ESSE SIM É O MEU PRIVILÉGIO, PODER TRAN-
SITAR LIVRE PELO PÊNDULO DOS FATOS, NUM NÃO
LUGAR, O MEU, O NOSSO LUGAR ONDE TODA VERDADE,
SEMPRE CÍNICA E MODESTA, É PROPORCIONAL A MIM.
EU PASSO PELAS BORDAS.

POR ISSO NÃO PERGUNTE MEU NOME OU DE ONDE

VENHO. PERGUNTE APENAS PARA ONDE IREI.
E ESPERE POR MIM EM PORTOS, NOS CAIS, OU EM
BREJOS LAMACENTOS. ATRAVESSE COMIGO.

32 Issue 34 / December 2017

Jimmie Durham

&'(

+"(
(#
(
#)(

"+
##
-
"
!&'0
 

 /
 
  1
(
'
$) '
"
#"#"
-

#+!"
"
((  1

!&'
'$'
#)(
) ()&
'
"#
#"&
(
$&#$&(-
#
(
&
"#&(&"
+#& 

+(
*&-#"
 '
(&-"
(#
$
)$/
+(
"
&)(#"
((
'
'$
"
 +-'

#&
(
$)&$#'
#
 &(#"1
"
+"('
(#
%)#(
&#!
*&-
$/
"

+#) 


(#
'"

#$-
#
(
##
(#
*&-
!)')!
+#&&
"
)&(#&1



)(
(
')(

+&(
#)(
'
"
&(+#&

*
'"
#" -
"
$#(#&$/
"
*"

((/
!"-
-&'
#1
&
&.
 *'
"

'+
(
!
(#(&
"
'(

'$
#
(
#("1
(
'&*'
'

"
#
'("&
#
, "
#&
!1
(
 '#
&&''

!-
'#)
"
!-
!"
+"*&

$#"&
(
"1
(
'

') $()&
+#&
((


&!!&
+"
(&-"
(#
!
##
') $()&1
(
+'
(( 
"
(
##
+
/





  





 /
+
'!'
 '#

(( 
(#
&&-

)'
+-
&#!
"#&!
#"&"'1

$
'
"#(
&$&'"((#"
#
"-("
-(

'!'
(#
() -
/
'
(' 1
(
'
'#
#!$ , -
'-!!(&
((
'
*&('
*"

#"

##
$1
(
!'
"#
'"'1
(
#&'
!
+-
&#!
'"'/


()"
#("

#'1
"
("/
 !"(/
!(& /
#&
'$
#'
"#(

(#
"#(&1

+# 
'

"#(
#" -
&(&
("
(
')!
#
('
$&('/
(
'!'
&(&
("
(' 1


$
!'
'-!!(&-
##


$
(&
#
'!$ 2!"
(""1


&
'
&(
$&'"
"
(
+#&/
+(
"#
(#)('
#
&$&'"((#"
"#&

'(&(#"1
(
'
!)
# #)&
"
!)
'(&"''1

&"'
*
 $
##
#&
!'
((
#) 

" )
"
('
+&("/
)(
"

"#"1

(
!(

 $)
+"
##"
(
&(
(#
"#+

(
#
(
&#)"
#
(
&('(5'

) ()&
"
(!'1

+#) 

(#
"#+
!#&/
#&
,!$ /
#
(
) ()&
(#&'

"*# *
"
(
$&#)(#"
#
"
&(+#&
')
'
(
# 2"2$!"(
$"("

 /


7+

*
 '#
'"
#" -
'
$#(#&$
"
##'18

(
+#) 

 $)
(#
"#+
(
"&
(
"
!(#'
#
')''("
#
(

#&+"
$#$ /
"
#+
(-
$#'' -
!
(#
$&.
+(
(-
(&!

&$&'"((#"
"
&(1


#) 
(
'#!
((&
'"'
#
#+
(-
,$&"/

$&*
(&
 (
#
$"("'111

#
!
'$
!)')!'
((
'#+
#" -
#&+"/
#&
""*"/
#&
)&#$"

&(+#&'/

+(
,$ "(#"
#
& #)'
"
(&-
('/
!(

(##
!)/

#+*&1
-

'!$ 
"
#&
(+#
#)(
(
$# (#6#"#!
(&('
+#) 


"#)1
"-+-/
+-
'#) 
(#'
+#&'
"#(

" )
"
"-
!)')!
#
&(/

"'(
#
!)')!'
+
'!
(#
'#+
#" -
)&#$"
7#&
4+(58
&(3




!!
)&!
;9:<

33 Issue 34 / December 2017

Gabriel Flückiger and Vera Leisibach Manifesto for Self-Organization as an Institutional Principle

Manifesto for Self-Organization as an Institutional Principle

This manifesto questions what a decolonized institution should offer and

who is ordering this institutional space. It puts forward the idea of self-
organization as a perspective for decolonized art instituions. Self-organizing
PHDQVWRFUHDWHLWVRZQVWDELOLW\DQGORJLF$ORJLFWKDWLVDWLWVEDVH½H[LEOH
SRO\SKRQHDQGDSUDFWLFHRIPXWXDOUHFRJQLWLRQ

It’s the practice!

The start of self-organized initiatives encompasses many different

PRWLYDWLRQV7KHVHLQLWLDWLYHVFDQEHDQDUWLVWLFVWULYHIRULQQRYDWLRQDVRFLDO
SOHDVXUHRUDVWUDWHJLFDQGELRJUDSKLFYLVLRQ,QWKHHQGWKH\IRUPDVLQJOH
SUDFWLFHFRPSRVHGRIDVSDWLDOLPSOHPHQWDWLRQDVRFLDOHPERGLPHQWDQG
DURXWLQH7KLVGH¼QHVVKDSHVDQGGLIIHUHQWLDWHVZKDWDQLQLWLDWLYHLV6HOI
organization can therefore be described as an immediate and constitutive
SUDFWLFH FUHDWLQJ LWV RZQ KRUL]RQ SHUVSHFWLYHV DQG YDOXHV WKURXJK LWV
DFWLRQV7KHUHIRUHVHOIRUJDQL]DWLRQLVEDVHGRQSUDFWLFDOHQDFWPHQWV

,W³VWKH½H[LELOLW\

6WLOOWKLVSUDFWLFHLVDOWHUDEOH½H[LEOHDQGVXEMHFWWRFKDQJHRUDVDQDUWLVW
VDLG°2XUH[KLELWLRQVSDFHFRXOGDOVREHDWDEOH±6HOIRUJDQL]DWLRQDOFRQWH[WV
FDQEHVHHQDVSDUDGLJPDWLFZKHQLWFRPHVWRQHJRWLDWLRQLQWHJUDWLQJDQG
FRQWHVWLQJ FHUWDLQ IRUPV RI FRKHVLRQ ,QLWLDWLYHV FDQ EH OLNH DQ XPEUHOOD
D ODEHO IRU YHU\ KHWHURJHQHRXV VWUDWHJLHV RU VRFLDO UHODWLRQV WKDW DGDSW
UHIRUP DQG PRYH IURP SODFH WR SODFH7KH ½H[LELOLW\ RIIHUV WKH IUHHGRP
to react and embrace inputs. It’s an assembly of people whose order is not
¼[HGLQDEVROXWHWHUPV1RWRQO\DUHWKH\SHUVRQDOFRQVWHOODWLRQVEXWWKH\
are also the responsibility and decision making processes that need to be
negotiated.

It’s the reference!

6HOIRUJDQL]HGLQLWLDWLYHVKDYHDKLJKVHQVLWLYLW\RIFRQWH[WVZKLFKWKH\
ZRUNLQ7KH\UHVSRQGUHODWHDVVHPEOHGLVWLQJXLVKDQG¼JKW7KH\¼OO
HPSW\ VSRWV DPSOLI\ H[LVWLQJ PRGHV RU FLUFXPYHQW H[LVWLQJ IRUPDWV
and protocols. The logic of self-organization is highly cautious to its
surroundings.

34 Issue 34 / December 2017

Gabriel Flückiger and Vera Leisibach Manifesto for Self-Organization as an Institutional Principle

It‘s the polyphony!

6HOIRUJDQL]HGLQLWLDWLYHVVHUYHDVDYHVVHOIRUPXOWLSOHYRLFHVQRWRQO\
DV DQ LQWHUQDO KLJK UHVRQDQFH ¼HOG IRU DQ LQGLYLGXDO³V QHFHVVLWLHV EXW
also as terms of low resistance against collaborations and formats of
LQWHUWZLQLQJ H[WHUQDO LQWHUHVWV 'LIIHUHQW UROHV ZKHWKHU DV D FXUDWRU
DUWLVW RUJDQL]DWRU RU FRPSOLFH FDQ EH VKLIWHG IURP HQJDJHPHQW WR
engagement. Self-organization as an institutional principle also means
WRDQQH[VNLOOVDQGWRGH¼QHUH¼QHDQGUHPL[H[LVWLQJUROHVSURFHVVHV
DQGYLVLELOLWLHV,QWKHHQGLW³VDERXWDUWJLYLQJGLIIHUHQWDQVZHUVRQZKDW
art can be and what it means to handle art in an organized manner.

It‘s the criticality!

$GGUHVVLQJHDFKRWKHUKDSSHQVLQDPDWWHURIPXWXDOUHVSHFWLQWHUPV
RI UHFRJQLWLRQ RI GLIIHUHQW VXEMHFWLYLWLHV ERGLHV DQG HSLVWHPRORJLFDO
VWDQFHV$OVR WHPSRUDOLWLHV RI SURGXFWLRQ REVHUYDWLRQ DQG UHFHLYLQJ
DUHQRWWXUQHGDJDLQVWHDFKRWKHU,W²VDGLIIHUHQWLDWLQJIRUPRIH[LVWHQFH

It‘s the metaphor!

7KHXVDJHRIPHWDSKRUVLVDZD\WRLPPXQL]HWKHLQLWLDWLYH³VDFWLRQDELOLW\
to keep them mobile and as positively invasive ideas.

,WLVQRWDERXWHI¼FLHQF\

It is about us!

$FRQWULEXWLRQE\*DEULHO)OFNLJHUDQG9HUD/HLVLEDFKRQEHKDOIRIWKH
UHVHDUFKSURMHFWOff OffOff Of? Schweizer Kulturpolitik und Selbstorganisation
in der Schweiz seit 1980/XFHUQH8QLYHUVLW\RI$SSOLHG6FLHQFHVDQG$UW
&RPSHWHQFH&HQWHU¿$UW'HVLJQ 3XEOLF6SKHUHV

35 Issue 34 / December 2017

Hikaru Fujii The Educational System of an Empire

The Educational System of an Empire

57->AA655G->@5?@Nŋ8905>1/@;>H

The political commitments in art occur not by dealing with current political issues as the subject of
the work, but by examining the history and the space within which my work is placed. It appears as
the form of the work, the environment of its production, the system of reception, and the critical
succession to art history, to which I belong. I have been therefore constantly producing works that
>-5?1=A1?@5;:?-.;A@0;91?@5/<;85@5/-8-Ŋ-5>?5:@419;01>:5F-@5;:5:-<-:-:0@4110A/-@5;:-8
and social systems constructed in Asia. Politics in the arts—namely art education, museums, and
/A8@A>-8<;85/51? C45/4->15:@1>:-85F105:9E->@5?@5/<>-/@5/1?}?4;A80.1=A1?@5;:10

The Educational System of an Empire was initially a single video work, and it has a certain spatial
?@>A/@A>15:@411D45.5@5;: -@@411:@>-:/1 @41B5?5@;>ŋ>?@2-/1?-<4;@;3>-<4@-71:5:@41.135::5:3
of the 20th century. The photograph depicted the class at the Tokyo School of Fine Arts, which was
@41ŋ>?@5:?@5@A@5;:5:-<-:@;@>-5:->@@1-/41>?-:0->@5?@?&41->@?@A01:@?C1>1595@-@5:3-<8-?@1>
replica of an ancient Greek statue. The visitor may see the trace of the Hellenic Ideal, in the words

36 Issue 34 / December 2017

Hikaru Fujii The Educational System of an Empire

of admiration and adoration for ancient Greece that was revived in Europe in the 18th century.
&41 >1-85?@5/ @1/4:5=A1? ;2 8-??5/5?9  C45/4 C1>1 8-@1> -095>10 .E @41 -F5 >13591  1B1:@A-88E
@>-B1>?10@41;/1-:-:05:?@5@A@5;:-85F105:@419<5>1;2-<-: @;31@41>C5@4@41:8534@1:91:@
with which art reformed society following a right reason and strict moral. On one hand, this form
?A.?@-:@5-@10-<-:-?-:emancipator2>;9@41A>;<1-:/;8;:5F-@5;:5:?5- ;:@41;@41>4-:0 5@
>15ŋ10@41-A@4;>5@E;2-:oppressor, in the place of Westerners, to rule Asian countries.

The Educational System of an Empire;.61/@5ŋ1?@41/;9<;?5@5;:;21D<8;5@-@5;:?@4-@->5?1C5@45:

@41 />1-@5;: ;2 ->@ -? 5@? >1Ō1/@10 59-31 ;2 - /;8;:5-8 -:0 31;<;85@5/-8 ?<41>1   -: ->@5?@ C4;
descends from the history of the oppressor, gathered 23 young South Koreans in the studio. Firstly,
I ordered them to select several members among themselves and to watch the documentary videos
-.;A@ @41 -<-:1?1 /;8;:5-8 <1>5;0  @41: 05>1/@10 @419 @; 595@-@1 -:0 -/@ ;A@ @41 <-?@ 1B1:@?
shown in the videos, and to realistically show the rest of the group who hadn’t watched the videos.
Their bodily expressions, with some hesitation and yet earnestly trying to follow my orders, imply
in a fragmentary way that those videos show the scenes of tortures and massacres. The logic of an
Empire, the one that conquers its Lebensraum as the supplier of resources in Asia, recurs here by
acting—a collective act that includes self-subordination, in which it is unclear who has the power
to carry it out and how.

37 Issue 34 / December 2017

Hikaru Fujii The Educational System of an Empire

A>@41>9;>1  @41 /8-??5ŋ10 B501; <>;0A/10 .E @41 '% >9E 0A>5:3 );>80 )->  5? 5:?1>@10 
91>35:3C5@4@4159-31?;2E;A:3%;A@4;>1-:?:-8EF5:3@4110A/-@5;:?E?@195:-<-:-@@41
@591 @419585@->EB501;?4;C?-:0>18-@1?@4>;A34@41:->>-@5;:-<-:1?1/4580>1:C4;?-/>5ŋ/1
themselves for a country. The educational system adopted from Western societies is applied as a
means of strengthening the dictatorial authority and controlling the bodies of the children. What
->1@4105Ŋ1>1:/1?-:0@41?5958->5@51?.1@C11:@41.;051?;2@4;?1-<-:1?1/4580>1:-:0@4;?1
of the South Koreans, which are here at the moment .15:3 ŋ8810 C5@4 21185:3? ;2 19.->>-??91:@
and incoherence? At the end of the work, South Korean youths reenact the parade celebrating the

38 Issue 34 / December 2017

Hikaru Fujii The Educational System of an Empire

/;A:@>Ep? 5:01<1:01:/1 2>;9 -<-: -B5:3 - ?1:?1 ;2 A:5@E  @41E ŋ:-88E .1/;91 1D-8@10 &41E
1:/;9<-??@41-9.5B-81:/1;2E;A@4C45/459<851?-4;<1 5:05B50A-8?->1:;CA:5ŋ10-?919.1>?
of a nation-state, at the same time they think and act for themselves. Yet, it isn’t certain whether
their actions follow in each instance an independent decision or not.

The Educational System of an Empire questions anew the tension that occurs when a nation writes
45?@;>E:-<-: ;:191>18E>1-85F1?@41501-@4-@/;:@19<;>->E->@01@1>>5@;>5-85F10@41501;8;3E;2
a nation-state, being integrated with the speculative market world of the post-Fordism. After all, the
creation of art and the mechanism of its acceptance, even the work presented in global circulation,
has been regulated within the framework of a nation-state. The issues surrounding the recognition
;2 @41 45?@;>E ;2 ?5- 5? 1?<1/5-88E ?A.61/@ @; ?@>5/@ >13A8-@5;: -? @41 <;85@5/-8 -31:0- 5: @41 ŋ>?@
013>119;:3@4131;<;85@5/-8ŌA/@A-@5;:?-2@1>@41;80)-> @41<;?@
/;8;:5-81D<>1??5;:?-:0
practices did passingly recollect the oppressed memories in the occupied territory. Society today,
4;C1B1> 4-?/4;?1:@412A@A>1;2@41<;?@
019;/>-/E5:C45/4<->85-91:@2>11F1?@41->3A91:@?
around memories to eliminate the political situation that can reveal its dissensions. Art institutions
5: -<-: ->1 5:@13>-@10 C5@4 5@? 3;B1>:91:@  C4;?1 95??5;: 5? ?59<8E - ?@-.81 -095:5?@>-@5;: ;2
the social system. Is it possible to restore memories of those who were eliminated from the public
sphere within artistic creation through such an art institution? What and how can it be?

39 Issue 34 / December 2017

Szuper Gallery

40 Issue 34 / December 2017

Szuper Gallery

41 Issue 34 / December 2017

Szuper Gallery

42 Issue 34 / December 2017

43
Patrick Hamilton

Redressed Architectures for the City of Santiago (Costanera Center), 2013

Collage, black and white photograph, contact paper, 160 x 110 cm

Issue 34 / December 2017

44
Patrick Hamilton

False wall, 2008

Offset print, variable dimensions

Issue 34 / December 2017

Patrick Hamilton

45 Issue 34 / December 2017

Taloi Havini and Gabriella Hirst

Introduction
It’s fair to say that the loudest discourse embedded within Documenta14 concerns
the power dynamic between North and South, with the primary emphasis on the
relationship between a northern European cultural power implanted in a fetishized
European south. Documenta 14’s approach was to look at itself, looking at the south.

Rather than making blanket statements commenting upon Kassel in Athens

(Documenta 14 as a the theatre of European power play), we wanted to discuss
Documenta’s approach to global southness from the POV (point of view) of two
Australian artists temporarily living in Europe, as a focal point to more generalized
observations on how European Institutions represent art and peoples from the global
south, specifically Oceania. This written dialogue is a follow on to an actual
conversation between the two of us that took place in Athens, during the opening
week of Documenta 14. Our concerns revolved around a particular wing of the
EMST, about how specific works/objects presented themselves and also the manner
in which they were contextualized.

Taloi Havini: Let’s talk about that problematic corner of the National Museum of
Contemporary Art (EMST). I won’t mention all of the works, but we’re concerned
about that corner representing Indigenous societies. On the walls there were the
1895 B&W photographs of German anthropologist Franz Boas posing for a creation
of a diorama meant to represent a Hamat’sa ceremony of the Kwakwaka’wakw
society in Canada. I do get that this is a section of the Documenta exhibition where
we see how European history had this fascination on the “other”. It got problematic
when I saw the film ‘Why are you angry’ made by Nashashibi and Skaer, two British
female artists who filmed Tahitian women based on representations made by Paul
Gauguin’s paintings. I immediately felt oppressed.

Gabriella Hirst:
In context of these works I think that immediate responses are really significant,
especially because the curatorial framework surrounding the film eluded any
progressive or complicated approach towards the historical material that was being
referenced. Nearby Nashashibi’s film, and the aforementioned Franz Boas
photographs, archival images lifted from the Australian Museum (taken in the early
20thC by Thomas Dick) were pinned haphazardly to the wall. There was little
accompanying text that might have clarified the critical position taken, and as a result
everything was left to float in this state of ambiguity.

Taloi: Yeah. Without a critique or critical context it’s really just reiterating the
exoticicm that underpins Euro-centric views that western art history framed non-
European societies. Even if it’s intended otherwise, speaking as an Indigenous
contemporary female artist from Oceania, it was disempowering to see new work that
is returning to late 19thC European Romantic views on brown women in the Pacific.

Gabriella:
I get what you mean; the effect remains the same. I’m wondering about the intentions
here, which were surely nuanced, but perhaps nuanced beyond recognition, when
the resulting effect is a perpetuation of straight-up exoticization of the South by a

46 Issue 34 / December 2017

Taloi Havini and Gabriella Hirst

powerful European Cultural Institution. My follow-up impression was that perhaps

Documenta 14’s approach was simply to look at itself, looking at the south- a type of
self-observation could have the potential to be productively critical, if it were not so
inherently narcissistic, keeping the power of looking firmly in the hands of the
European institution. It’s an approach that I think underscored a lot of what was
happening at Documenta in Athens (down to the tagline ‘Learning from Athens’), and
that was starkly visible in that particular corner of the EMST. It’s colonizing, but from
a different angle, or colonizing with a self-awareness… and I think that is something
we should be careful of.

Taloi: The exploration on ‘the gaze’ itself could be interesting. Taken originally from
the white male gaze and now perhaps through a female artists or curatorial gaze.
The fact is that in reflecting on that western gaze, focussing on itself, is still as you
say, narcissistic and holding on to that power and control of representation when it
comes to Indigenous societies.
This is also a responsibility of the overall curatorial framework and how there is
danger in continuing a legacy of colonisation.
Gabriella: Totally, which is something that Documenta 14 has attempted to tackle,
but there is something uncomfortable in the language used. For example, in the
introductory essay of the Documenta Reader there is this passage:

“...it seemed most pertinent to work and act from Athens, where we might begin to
learn to see the world again in an unprejudiced way, unlearning and abandoning the
predominant cultural conditioning that, silently or explicitly, presupposes the
supremacy of the West, it’s institutions and culture, over the ‘barbarian’ and
supposedly untrustworthy, unable, unenlightened, ever to be subjugated ‘rest’. By
bringing Indigenous practises and techniques of knowledge from all over the world,
via Athens, to Kassel and elsewhere, we aim to question this very supremacist, white
and male, nationalist, colonialist way of being and thinking that continues to construct
and dominate the world order.”

I’m left wondering who comprises this ‘we’, the ‘we’ talking about the else who is to
be reconceptualised.

Taloi: The “we” assumes we are homogenous. The act of simply arriving at a place
assumes that we will “learn from” this place.
Gabriella: Following on from this, when we spoke last time you mentioned your
experiences so far in Europe in regards to language and othering.
Taloi: The year of 2017 is my first time in Europe and after a four-month residency in
Paris I have found that the general perceptions on where I come from (Bougainville/
Papua New Guinea) is through that ‘primitive’ and ‘savage’ eurocentric lens. For
instance, I asked someone (who was writing in reference to a work of mine) to
remove the word ‘primitive’ when describing an aspect of my work. Instead I asked
them to use the word ‘ancient’. Language is important isn’t it?

G: Absolutely, especially when it perpetuates fetishizing.

Taloi: I was looking forward to seeing the contemporary art discourses come out in
Athens. There was so much hype around it that began in Australia months ago. For

47 Issue 34 / December 2017

Taloi Havini and Gabriella Hirst

me it was going to be a reprieve from the kind of exhibition that claims Picasso as a
hero of ‘Primitif’ art which I did see at the musée du quai Branly in Paris. I thought
these would be two completely different views. Yet clearly, in speaking with you, a
contemporary Australian artist who being non-Indigenous but like me being from the
real ‘south’ with roots in Australia, were able to recognise together the patronising
representations experienced in that section of EMST.

G: There is a line in the introductionary essay of the Reader about how Documenta
has this history of laying down the paradigm of contemporary art discourse for years
to come, and I do think that that is the way I had thought of it. It seems that there are
still deep rooted reverberations in Australia of the old view of Europe as being the
epicentre of art and culture. So it has been surprising to see these back-reaching
displays in Athens in comparison with how an institution such as GOMA in Brisbane
addresses a non Eurocentric view of cross-cultural presentation in the Asia Pacific
Triennial. It’s an institutional dynamtic, but also one that occurs at a converstaional
level between practising artists. I was talking the other day with a UK-based
Australian curator who on a recent trip to Sydney had noted something when visiting
artists studios; a particular self-awareness of a certain identity politics of home and
post-colonialism that is a central feature of contemporay Australian art discourse.
Which I think is really valuable. Needless to say, I am endlessly ashamed and
revolted by Australian policy and ideas of nationhood that oppress and exclude, so it
is an unfamiliar experience to find myself discussing the value of these conversations
and dialogues that are happening in the arts scene, that go beyond the othering
perspective that we have seen are still being recycled in some European institutions.

Taloi: I think she’s right. Our age group of Australian’s (but more the kind of
Australian’s you and I would hang out with) are far more self- aware of the impacts of
colonisation. There are more non-Indigenous people supporting days like ‘Invasion
Day’, the same day where White Australians celebrate Captain Cook’s landing.
That’s why I saw this conversation with you as an important one to share and
possibly to build on as contemporary artists who have a long and dedicated practise -
we both want to show and be shown in places that are not oppressive to race or our
imaginations.

48 Issue 34 / December 2017

Ana Hupe Matrizes des Resistência

Part of the series Sources of resistance, 2016 © Ana Hupe

--!
$%

!00.1
-
(%0
.5-
/+!-%2
--!
5%!4%1
0!'1
.32
.&
)$%!1

)&
2(%0%
!0%
(3-'07
/%./+%
1(%
')4%1
2(%,
2.
%!2

(%
%6/%0)%-#%$
!##/%2!-#%
.-
2(%
$!-#%
&+..0

%6#(!-')-'
-%5
$!-#%
,.4%1
$)$
-.2
+%!0-
(%0

,.2(%0
2.-'3%

5(!2
&.0


!-$
0%'0%21
)2
-.5

2.$!7
1(%
5!-$%01
5)2(
2(%
4.)$
.&
"%+.-')-'
1)
,3+2!-%.31+7
2.
25.
5.0+$1
!-$
2.
-.-%
!2
!++

30)-'
2(%
1
2(%0%
5%0%
.-+7
2(0%%
&0)#!-

&!,)+)%1
)-
(%0
#)27
.5
1(%
(!1
+.12
#.3-2
.&

2(%
-3,"%0
.&
/%./+%
1.
,3#(
1.
2(!2
2(%
13/%0
,!0*%2
')0+
!$$0%11%1
2.
(%0
)-
-'+)1(
--!

2!*%1
!
$%%/
"0%!2(
!-$
5)1(%1
!
&3++5.0+$
#)2)
8%-1()/

-
2(%
.321)$%
1(%
.4%0
/%0&%#21
(%0
%0,!-
(%0

"%0+)-
'%1230%1
!1
2(.3'(
2(!2
#)27
5!1
".0-

&0.,
(%0
2.
2(%
%62%-2
2(!2
1(%
'%21
130/0)1%$

"7
13#(
!
&!,)+)!0)27
(%0
!"1.+32%
#.-20.+
.&
2(%

2%00)2.07
!++.5)-'
(%0
2.
2!*%
1(.02#321
4)!

"0)$'%1
2(!2
$.-92
!#23!++7
%6)12

49 Issue 34 / December 2017

Ana Hupe Matrizes des Resistência

Part of the series Sources of resistance, 2016 © Ana Hupe

(%*
!
!)+*&5

(+-0)
!/!-)%*!
/$/
+0-
)+./
%),+-/*/
)%..%+*

%.
2$!*
2!
! %/!
+0-.!(1!.
/+

0.!

(%*
#1!

$!-.!("
/+
/$!
$!(/$
+"
/$!
+ 3
2$%$

(.+
$,,!*.

/+
!
/$/
+"
/$!
.+0(
!+,(!
.'
$!-
"+-
$!(,
* 
%*

/0-*
/$!3
(.+
/-*.)%/
(+/.
+"
""!/%+*
$%.
"%((.

$!-
2%/$
!*!-#3

$!
(%'!.
/+
!
%*
(+1!
* 
&0./
(%'!
$!-
*!./+-.

-+..!
/$!
/(*/%
!0.!
+"
(+1!
$!-
,-/*!-
"+-

/2!*/3"%1!
3!-.
*+2
*
+- !-
/+
(!-*
/$!
(*#0
#!
*
(!*
%*
.$!
/++'
-!
+"
+(
( %!.

1!*
"-+)

"-
23

(%*
/'!.
-!
+"
/$+.!
2$+
-!)%*!
%*

$!-
$+)!
(* 

$!
(!/
$!-
$%-
+0/
2$!*
.$!
-+..!
/$!
+!*
%/

2.
,-/
+"
/$!
(%!-/%*#
,-+!..
.$!
2.
.+
-
%*/
/$/
.$!
)..!
+),(%)!*/.
!1!-
#%*
%

.$!
/%!
%/
0,
*3)+-!

(%*
,-/%!.
%*/!-%+-

(*!
+*

%(3
.%.
*
/!$!.
2$%/!
)+/$!-.

+"
"-+
$%( -!*
/$/
$-)+*3
%.
((
+0/
#/$!-%*#

*+/
.!,-/%*#

50 Issue 34 / December 2017

Ana Hupe Matrizes des Resistência

Part of the series Sources of resistance, 2016 © Ana Hupe

.&("*
& 6* &+

.&("*
((+3/
%"./"(#
0+
(".*
+*
*
+*$+&*$
/&/
/%"
."
0%&*'/
%"./"(#
0%.+1$%
!&##"."*0
35/
#/%&+*/
*!
"4,".&"*
"/
)/0".&*$
%*$
$(&!&*$
%"
.+1$%0
(+*$
0%"
"(&"#
/


$++!
*!
/
/++*
/
/%"
)"
&*0+
0%"
*"3
,(*"0
/%"
#+1*!

+10
3%0
3+1(!
%*$"
%".
(&#"
#+."2".

*0".*"0
1*&#+.)

*!
#.""
1/
0& '"0/

%"
(& '"!
.,!1.
&*/0"!
+#
/1 '&*$
&0
/+
/
0+
"40"*!
0%"

0&)"
&0
0++'
0+
$+
0+
0%"
/ %++(

2"*
3&0%+10
3".&*$
%".

*$7
.&!/
/%"
%".!

!++.
/()
"%&*!
%".
%"
.&/"!
%".

%&*
*!
/0.0"!
0+
/,&*
+*
0%"
#*
+2".
!,0&*$
0%"
,.0
0+

%".
#""0
%.!"*"!
5
0%"
*$+(*
/0.""0/
3%"."
/%"
3('"!

(&'"

$.//%+,,".
%"
+1(!
*+0
$&2"
1,
&0
3/

)1/0
0%0

0%"
"* +1*0"./
%,,"*"!
(0%+1$%
 &
".".6
3/
*+0
-1&0"

.7*&

51 Issue 34 / December 2017

Balz Isler

52 Issue 34 / December 2017

Balz Isler

53 Issue 34 / December 2017

Balz Isler

54 Issue 34 / December 2017

Daniel Jablonski “No museum exist, none has ever existed”

55 Issue 34 / December 2017

Daniel Jablonski “No museum exist, none has ever existed”

56 Issue 34 / December 2017

San Keller give me a reason

57 Issue 34 / December 2017

San Keller give me a reason

58 Issue 34 / December 2017

Astrid S. Klein Quartier Flottant. decolonizing mind and body

Quartier Flottant and multiple temporalities, it becomes possible to

decolonizing mind and body communicate, transmit, or foster another kind of
knowledge, potentially leading in the long term to
This text is conceived as a sketchlike description of an “shared agency” (A. Mbembe).
artistic practice and was created as a response to an In describing the process of my own “creolization”
invitation by the On-Curating Project Space in Zurich to (Stuart Hall) in this quest, that of an identity in flux, I
submit concepts on “decolonizing art institutions.” (as a female white artist) question the meaning of a
privileged West German, European background with
In my artistic practice, for more than ten years now, I view to fluent, circulating identities. In these open
have taken a question- and learning-based approach to research endeavors, I am seeking cultural producers of
dealing with relations between the Western and various backgrounds and disciplines, at both imagi-
non-Western world, or, in a metaphorical sense, the nary and real places in the world, and invite them to
Global North and South. join me in a performative process of negotiation. The
In 2005, an invitation from a self-organized cultural situations of learning, the experience of displacement
center in Kinshasa, Democratic Republic of the Congo, and of encounter, the concomitant surprises, coinci-
confronted me with realities that made the ideology of dences, misunderstandings, and conflicts serve to help
Euro-centrism and its ghosts directly experienceable orient us in the current transformation of the world
for me. Resistance against the racist colonial narrative and to create new spaces of agency through mutual
of white supremacy, along with its violent traces and reflection.
ramifications as a system of exploitation, slavery and
oppression, was unequivocally clear. In 2012, the transnational format Quartier Flottant
arose from this artistic, research-based practice—a
Personal experience and the consciousness of bodily format that describes a production context and the
and intellectual inscriptions of Western hegemonic relationships with others and can represent its designa-
thought and research, of the Western archive and its tion for this kind of artistic work. The Quartier
institutions, its power structures, its ways of conveying Flottant welcomes guests and denotes a momentary
knowledge, the limitations, exclusions, and commer- neighborhood and affinity. As a site or place, it re-
cialization of this knowledge production have led me mains unanchored, instead floating in space. The
to call it all into question. activities found inside move, design, and transform it.
The quartier cannot be described by a central perspec-
It would have pleased me to simply abandon this tive. Taking place there with temporary guests are
powerful framing, but we are part of a world without transdisciplinary encounters, dialogues, negotiations,
an exterior. The understanding that diverse kinds of artistic explorations and productions. As a format
knowledge and epistemic traditions exist, are equal beyond the institution, Quartier Flottant is meant to
and yet different, demands that we engage in a long, refuse to submit to a notion of the hegemony of
radical, emancipatory process of decolonizing one’s Western knowledge, its archives, methods, classifica-
own mind and body, as well as the knowledge systems, tions, and economies, and instead to communicate,
so that alternative capacities to think and act may arise develop, and learn from other diverse pluriversal
and have their influence on changing the “Western- histories and systems of knowledge and thought.
ized” institution.
Astrid S. Klein, 05/2017
My movement of seeking, questioning, and learning English by Dawn Michelle d‘Atri
therefore points toward the provocation and the mu-
tual experiencing of situations that are situated beyond In the project crossing-boundaries-of-doubt.net, you
the institution as a hard and soft place and beyond its will find an example of artistic productions produced
dualistic division between the known und the knower, by Quartier Flottant in collaboration with temporary
mind and body, nature and culture. Through displace- partners.
ment into other, unfamiliar contexts, sites, and poly-
lingual spaces, through an encounter with others and http://crossing-boundaries-of-doubt.net/
the experience of the simultaneity of different contexts info@crossing-boundaries-of-doubt.net

59 Issue 34 / December 2017

Astrid S. Klein Quartier Flottant. decolonizing mind and body

Bilingual reading of Sylvie Arnaud‘s text THE GREEN, THE GREY, THE RED WHITE BLUE, with
Sylvie Arnaud (r) and Lieko Schulze (l), Quartier Flottant at Crossing Boundaries of Doubt, WKV
Stuttgart 2014, Videostill

Kola Plant, diasporic guest in the Quartier Flottant, travelling from Botanischer Garten Berlin
Dahlem to Disparaître dans la nature, to decamp, to desert, to evaporate, das Weite suchen,
verduften; Kunstverein Heidelberg 2015, Photo: Astrid S. Klein

60 Issue 34 / December 2017

Astrid S. Klein Quartier Flottant. decolonizing mind and body

61 Issue 34 / December 2017

Michael Leung / Kai Fong Pai Dong Commons Community Communing

62 Issue 34 / December 2017

Marinka Limat Kunstpilgerreise 3

Kunstpilgerreise 3, Performance von Marinka Limat, 2017 (Woche 1–7)

Kassel–Athen zu Fuss, während der Documenta-14 (2 500 km, 163 Tage, 8. April –17. September)
Fotos: Marinka Limat, Wendy Pillonel, Ramon Königshausen

63 Issue 34 / December 2017

Nkule Mabaso Decolonisation and the Scopic Regime

Decolonisation1 and the Scopic Regime

Achille Mbembe in African Modes of Self Writing2 points out the sets of dogmas that
seem to pass for African discourse in both its political and cultural dimensions, as
lacking of historical criticism… and this lack reduces the discourse to three rituals:

the first ritual contradicts and refutes Western definitions of Africa and Africans by
pointing out the falsehoods and bad faith they presuppose.
The second denounces what the West has done (and continues to do)
to Africa in the name of these definitions. The third provides so-called
proofs which, by disqualifying the West’s fictional representations of
Africa and refuting its claim to have a monopoly on the expression of
the human in general, are supposed to open up a space in which
Africans can finally narrate their own fables (self-definition) in a voice
that cannot be imitated because it is authentically their own.

These rituals of discourse according to Mbembe reduce an extraordinary history to

three tragic acts: slavery, colonization, and apartheid--to which globalization as a
form of neo-colonisation3 is being added.

Without falling into these traps in the quest towards engaging with the call towards
decolosation in South Africa’s education institutions, how does one pose questions or
develop responses that reflect on how have we taken ownership of the ideological
space that creative production occupies in the popular imagination in the face of the
complexities of and representing a new post colonial if not a decolonised reality.
Especially in the context of an arts space that is within the embattled terrain of the
university, and still produce genuiwine platforms for reflection and imagination,
contigent of the political and moral positions of any reflection.

Through Decolonisation and the Scopic Regime the objective for me has been one of
developing space that is relevant in this environment and brought together various
people and their ideas that poses questions on aspects of the question at hand: the
development of critical, self-reflexive, locally specific responses to knowledge pro-
duction and dissemination in all its forms.

Decolonization as a political, epistemological and economic liberatory project has

remained an unfinished business. Already in 2006 Mario Pissarra of ASAI noted
several reasons for decolonization not featuring prominently in the South African
discourse on transformation, and the absence of a mainstream debate on decoloni-
zation, for him this was because South Africa prioritized the path of Reconciliation.

Arguebly there have been many debates and processes in post 1994 South Africa
that could be viewed as classic elements of decolonization: the promotion of indige

64 Issue 34 / December 2017

Nkule Mabaso Decolonisation and the Scopic Regime

nous languages, changing of place names, regulation of customary law and land
reform among them, overall these have been positioned within a discourse on trans-
formation that is primarily centred on redressing apartheid, rather than addressing
the colonial legacy4. However, blacks, women, and other historically marginalised
groups have been expected to assimilate into the discomforting institutional cultures
of universities5.

The majority of people holding leadership positions in institutions are people who
were in those institutions during apartheid and demonstrate a lack of willingness to
embrace change in teaching and learning6, and by extension exhibiting and curating.

At this time it is painfully clear that the greater presence of blacks has not automati-
cally translated into genuine respected for difference, appreciation of diversity, and
meaningful social and educational inclusion, whether social, linguistic, cultural, or
academic. Instead of dismantling and displacing previous institutional arrangements,
norms and practices, assimilation politics have instead closed of the posibitity for
genuine inclusion and meaningful participation.

These are all very important points when considering how institutions have posi-
tioned art and art practices and still more the role of institutional conventions that
have become edified or canonized modes of programming, curating and displaying
art works etc.

It is all part of why this comprehensive project necessary at this time, perhaps it is a
simplistic response to the hard questions that demanding less superficial reform…I
am very self aware of my position, and do not want to produce projects that fall into
existing and problematic tropes and want to rather work towards growing the offers
of some kind of historical or present criticism.
Notes
1 if “Decolonisation is not a metaphor”,Tuck and Wng 2012 contecnt, and its is not passive but an activity requiring praxis as Paulo Freire defined
praxis as reflection and action upon the world in order to transform it… Ngugi wa Thiongo contents deloconisation must occur in the mind and
so does the Tunisian activist Albert Memmi, the first step to decolonisation is to question the legitimacy of colonisation, only once we can
recognise the truth of the injustice one can think about ways to resist and challenge colonial institutions and ideologies, but without falling into
clichés.
2 Mbembe, A. 2001. African Modes of Self-Writing. Identity, Culture and Politics, Volume 2, Number 1, January 2001
3 Coloniality of power works as a crucial structuring process within global imperial designs, sustaining the superiority of the Global North and
ensuring the perpetual sub-alternity of the Global South using colonial matrices of power (Mignolo 2007, 155-167). This is the same methods
through which neo-colonilism maintains itself through globolisation…(Maldonado-Torres 2007, 240-270) refer to: Ndlovu-Gatsheni, S.J. 2013.
Coloniality of Power in Development Studies and the Impact of Global Imperial Designs on Africa1. Archie Mafeje Research Institute (AMRI) and
Department
4 Pissarra, M. 2009. Decolonising art in Africa: some preliminary thoughts on the relevance of the discourse on decolonization for contemporary
African art, with particular reference to post-apartheid South Africa.
5 Badat, S. 2016. Deciphering the Meanings, and Explaining the South African Higher Education Student Protests of 2015-16.
6 Badat, S. 2016. Deciphering the Meanings, and Explaining the South African Higher Education Student Protests of 2015-16.

65 Issue 34 / December 2017

Nkule Mabaso Decolonisation and the Scopic Regime

66 Issue 34 / December 2017

Filippo Minelli PADANIA CLASSICS, IDENTITY LOST

67 Issue 34 / December 2017

Filippo Minelli PADANIA CLASSICS, IDENTITY LOST

68 Issue 34 / December 2017

Filippo Minelli PADANIA CLASSICS, IDENTITY LOST

69 Issue 34 / December 2017

Lisl Ponger MuKul, Museum for Foreign and Familiar Cultures

Museum Mission Statement

The MuKul, the fictitious Museum für fremde und vertraute Kulturen [Museum for
Foreign and Familiar Cultures] is an institution without a home base. It makes guest
appearances in various institutions and presents changing special exhibitions.

Considered spatially, the MuKul is almost always a museum in a museum or art

institution and its mission statement is interpolated in different ways but almost
always as a counterpoint to the pre-existing institutional framework.

The MuKul uses intensive mediation and accompanying programmes to convey con-
tent to wide and differentiated publics. Since it only has its own small collection to
fall back on, maintaining and extending international contacts with museums and art
institutions as the source of loans is an important substantive focus.

Exhibition activities
Authentic objects and art works were the starting point for the first appearance of
the MuKul in the Vienna Secession in 2014. Two special exhibitions were on display:
The Vanishing Middle Class and Wild Places, the latter concerned with the works of
Austrian artist Lisl Ponger. https://www.secession.at/exhibition/lisl-ponger/

Facade
Room I, Details

70 Issue 34 / December 2017

Lisl Ponger MuKul, Museum for Foreign and Familiar Cultures

Room II, Details

Room II, Dioramas

Room III, Details

The show The Eldorado Task Force followed in 2016 integrated into the structure of
the exhibition Erzähl mir Salzburg, in the Salzburg Museum, is another museum in a
museum. The point of departure here were gold objects from the Salzburg Museum
collection that were used as the basis for a counter narrative about the Spanish
Conquest of the Americas and the search for El Dorado. The exhibition will be on
show till 30 April 2019. http://www.salzburgmuseum.at/index.php?id=2054

71 Issue 34 / December 2017

Lisl Ponger MuKul, Museum for Foreign and Familiar Cultures

Eldorado Task force, 2015

Exhibition view
In October 2017 the Weltmuseum Wien, the former Vienna Museum of Ethnology,
opened its doors after completion of a renovation and reorganisation. The MuKul is
presenting an exhibition entitled The Master Narrative till autumn 2019.
www.weltmuseum.at

While in the Vienna Secession, an art institution, it was an ethnological exhibition

that was on show, the Weltmuseum, a museum of ethnology, is hosting an art exhibi-
tion. It consists of six large light boxes with staged photographs dealing with issues
related to ethnology and art and an eight-hour 2-channel video installation with
the title The Master Narrative und Don Durito. The latter deconstructs the master
narratives contained in what, till recently, has been a ubiquitous part of everyday
life: postage stamps and first day covers. These quotidian celebrations of nations,
empires, famous people etc. have also formed the basis for innumerable collections
for all kinds of people from school children to monarchs and also parallel the collect-
ing activity of museums.
Participant Observer, 2016
Indian Jones II, 2010

72 Issue 34 / December 2017

Lisl Ponger MuKul, Museum for Foreign and Familiar Cultures

A further exhibition of The Vanishing Middle Class is planned for the Kunsthaus
Dresden (in spring 2019) and it will be accompanied with an international art
exhibition concerned with issues relating to ethnology and the middle class.

Follow us on Instagram: #mukulmuseum

73 Issue 34 / December 2017

Raghavendra Rao K.V. Trauma, Memory and the Story of Canada: A site specific art exploration

Trauma, Memory and the Story of Canada: A site specific art exploration
A Canada 150+ Project, commemorating 150 years since Canadian Confederation
Curator: Raghavendra Rao K.V.
With the South Asian Canadian Histories Association (SACHA)

Trauma, Memory and the Story of Canada will present a series of public art events and
exhibitions to explore experiences of trauma as neglected and yet foundational parts of
the story of Canada. The project emerges out of recent commemorative events and
reconciliation processes related to troubled aspects of the Canadian past, such as (a)
residential schools, which forced indigenous children across Canada into boarding
schools that did not allow them to speak their languages and practice their culture; (b)
the Komagata Maru incident in 1914, when 350 British Indian subjects were denied
entrance to Canada as a part of a broader effort to end immigration from Asia to
Canada, which had also led to the imposition of a high Head-Tax on all Chinese
immigrants, at a time when immigration from Europe was actively encouraged; and (c)
Japanese Canadian internment during World War II, involving the disappropriation of
property and forced removal of Canadians of Japanese descent from the West Coast
of Canada. Recent efforts to come to terms with these histories have made clear the
need to explore how the past shapes our present. The core of the project is an art
exhibition, at multiple sites, featuring works by artists across Canada who engage with
traumas that are a part, directly or indirectly, of the Canadian experience. This
exhibition will be accompanied by a theatrical production that explores the
intersections of the lives of Canadians coping with different kinds of trauma, distant
and near.

74 Issue 34 / December 2017

Raghavendra Rao K.V. Trauma, Memory and the Story of Canada: A site specific art exploration

As a practicing visual artist, I am curating this project to engage public spaces as sites
that express and are anchored within the histories of local communities and the theme
that we are working on. The main exhibition will take place in the "Punjabi Market" area
of South Vancouver, which has been the historic home of North America's oldest South
Asian communities and which is undergoing a major transformation at this time, and/or
a “Vancouver Special” home, a style of home associated with migration in the 1970s-
80s, when many Asian communities began to come to Canada in larger numbers. The
theatrical work will also be staged in the "Vancouver Special" home. Artists will choose
from a series of exhibition spaces in "Punjabi Market," or at the University of British
Columbia, to engage the story of Canada from the perspective of its traumatic aspects,
on the sides of buildings, on fences, and within active businesses in the Market.

The effort is to bring art out of institutionalized spaces and place it in the middle of
spaces that people don’t expect to see. It is a way of demystifying art and reducing the
gap between art and the viewer, and between the public and its own history. This is of
course not original⎯this is not the first project to move out of the museum and gallery
space⎯but it is something that needs to be done constantly, repeatedly, to break the
barrier between art and the viewer, between the work and life.

75 Issue 34 / December 2017

Raghavendra Rao K.V. Trauma, Memory and the Story of Canada: A site specific art exploration

Here another barrier that is broken is between past and present, through the eye of the
artist, and through the haunting of the past in the space of the community, at the
centre of its life.

Trauma in this project can refer to colonization and migration, but is not necessarily
something that happens in Canada, such as the partition of British India (which has its
70th anniversary in 2017), the expulsion of South Asians from Uganda in the 1970s,
and the violence against Sikhs in India in the 1980s, all of which are
events/experiences that have profoundly shaped the lives of South Asian Canadians.

As this list of events signals, this project is founded from a locally embedded South
Asian Canadian perspective. It reaches out and through such experiences to connect
with parallel processes of recognition, healing and recovery across communities,
peoples, and languages. What we will explore are not isolated events that pertain to
singular, homogenous communities, but instead opportunities for shared
understanding. In calling attention to them, we invite the public to embrace the
complexity of the Canadian story, its transnational dimensions, and the recovery and
healing at its core.

Raghavendra Rao K.V.

Curator
Trauma, Memory and the Story of Canada exhibition
Founding Member, SACHA

76 Issue 34 / December 2017

Roee Rosen Justine Frank, 1900–1943

77 Issue 34 / December 2017

Roee Rosen Justine Frank, 1900–1943

78 Issue 34 / December 2017

Roee Rosen Justine Frank, 1900–1943

Justine Frank, 1900—1943

The art of Jewish Belgian painter Justine Frank has long been neglected, suppressed and forgotten.
Frank first worked among the Parisian Surrealists and later in Zionist Palestine. Her work combined
erotic motifs and Jewish imagery—a disturbing, hallucinatory combination, quite unlike anything
else either in the Surrealist or the Zionist context. Following are museum wall text that accompanied
the museum retrospectives of the artist.

Utamaro et l’hystérique (Utamaro and the Hysteric)

Gouache on Paper, 37X56 cm, 1936
The sexual encounter conjoins two figures from far-removed cultural fields. The urinating woman is
based on an erotic print by the Eighteenth century Japanese artist Utamaro from his Kiku no Tsuyu
(in the original, a man masturbates while peeping at the women who urinates in the open air). The
figure of the hysteric is based on Paul Richer’s illustrations, commissioned and compiled by the
celebrated psychiatrist Charcot (This figure renders the second stage of the fit, the Clown Stage). The
conversion and sex change of the hysteric—so common in Frank’s work—have a special significance
here, not only because Hysteria was perceived as a woman’s disease, and not only because the
Surrealists championed feminine hysteria as an incarnation of desirable feminine sexuality, but
also because it underscores the Nineteenth century psychiatric perception of the Jewish man as
effeminate and prone to Hysteria.

A page from Le portfolio taché (The Stained Portfolio)

Approximately 100 drawings and gouaches on paper, 33X38 cm each, 1927-1928
This drawing presents the entire obscene alphabet Frank designed, and many of its other sheets
exploit the infinite lexicon of perverse postures bred by the various letter-combinations. Considered
in the Surrealist context Frank’s life-swarming words are a visual realization of Belgian-Surrealist
poet Camille Goemans’ suggestion that “…words are not mere signs but, in a certain sense, organic
bodies.”

Executed two years before her emigration to Palestine, the Boards foretell Frank’s antagonism
towards the nationalistic implication of the revival of Hebrew as the language of the future Zionist
State. Frank “revives” her Hebrew quite literally and obscenely.

Untitled (Self-Portrait as A Black Woman)

Oil on Canvas, 65X50 cm, 1938
The darkened complexion along with the skullcap and the side-locks, surprisingly connote a
religious Jew of North African descent rather than a woman. Thus, this odd work shares some
peculiarities with seminal attempts by early Zionist artists to forge authentic, indigenous “Hebraic”
art. Typical of this early search, ensued with the first Hebrew art academy, Bezalel, were renditions
of biblical characters and themes clad in orientalist garbs (numerous period photographs attest
the pleasure early Zionist pioneers took in having their picture taken in Arab costumes—a fashion
statement both exotic and local, real and fantasized). In this sense, the painting is intently outmoded,
since in the late thirties, local artists were heading in a different, less simplistic, direction in their
search for authentic local art.

And yet a Second glance at Frank’s “black woman” reveals her to be even less “authentic” and
indigenous, and here again, clothes are key: the dress is clearly modeled after those favored by
Elizabeth Vigée-Lebrun, the gifted court painter of Marie Antoinette (to whom Frank pays the rather
dubious homage, in her novel, of naming a vagina after her). Thus the “Hebrew” fantasy of a black
woman who is also a young Yemenite man turns out to be a hybrid rooted in pre-revolutionary
feminine vision of the natural and empowered woman. And perhaps this portrait, revealed as a
multitude of superimposed masks, is, in the end, the most realistic of Frank’s self-portraits, given
that she herself is a fictive persona.

79 Issue 34 / December 2017

Sally Schonfeldt Let’s get radical

Let’s get radical!

Thoughts on de-colonizing European
museum collections

How can we imagine the ethnographic museums of

the future? What might a de-colonized museum
collection consist of?

On a recent trip to London I visited the British Museum for the first time in over 10 years.
Since my earlier visits as a young woman I have immersed myself in post and de-
colonial theories so I approached the museum with a de-colonial lens. Despite this I was
profoundly shocked at the immediate sense of sadness and pain I felt oozing out of
pristine showcases stuffed with imperial booties; a showcase of the British Empire and
all those that were subjected to their violent, colonial oppression. The entire building and
the vast collection radiating with this violence. I was left with a heavy feeling of sorrow
and despair - how can such a museum still exist that so proudly covets objects and
human remains that were more often than not stolen or unethically traded? Can it still be
valid to have such a museum so obviously grounded in deep colonial violence and
inequality? Have we Europeans still not looked deeply enough in the mirror to confront
our ugly brutal past? To acknowledge the utter violence and human tragedy that our
colonial projects have wreaked on humanity, let alone to try and make reparations for the
incredible damage to cultures not our own? I began thinking how I would feel being here
in this museum if I was not a white Australian-German woman but rather a member of
one of the peoples whose objects were so carelessly displayed here? I spoke about this
with a good friend of mine, another white Australian, who told me a fascinating story
revolving around this same thought - she had visited the Musee de Quai Branly, the
French Empire equivalent to the British Museum, with a Papua New Guinean friend of
hers and was deeply disturbed when on viewing one particular section of the museum
her friend saw an object from her homeland that according to Papua New Guinean
custom women were not allowed to see. A small but poignant example of the utter
insensitivity involved in the handling and display of these vast colonially acquired
ethnographic collections, which brings me to the main focus of this piece - how might we
radically de-colonize ethnographic museums?

So, let’s get radical! Let’s empty the cases, let’s stop displaying “others” as if they
belonged to us, let’s reflect rather on ourselves and the brutality of how and why these
collections came to exist and in doing so reflect on the brutality of a colonial past that
reverberates deeply into the (colonial) present - let’s acknowledge our roles as the
perpetrators of deep inhuman injustices and represent that self to the world, rather than

80 Issue 34 / December 2017

Sally Schonfeldt Let’s get radical

proudly displaying the violent imperial treasures that fill our European museums. Let’s
de-colonize the museums!

I would like to now outline some concrete proposals for how I would envisage such a
radical de-colonialization of ethnographic museums happening within our immediate
future:

1. Repatriate all human remains unconditionally

Rather than going through lengthy complicated bureaucratic procedures, in which the
peoples whose ancestors remains are held in collections need to apply individually to
have their own people’s remains returned, European museums with collections of human
remains should actively seek to contact and repatriate all the human remains in their
collections through consultation with the affected source communities. Instead of adding
insult to colonial injury by requiring affected peoples to ask for their own remains to be
returned, European museums should be pro-active in amending for the violence and
unethical acquisition of such remains by taking the responsibility for repatriation upon
themselves.

2. Active consultation with source communities about repatriation of

objects
Again European museums should take the impetus on themselves to establish
relationships with source communities where their collections provenance from and to
actively engage with these communities on whether or not they would like objects
returned to them. If so desired by source communities, then this should be done
unconditionally, if not desired, then the context in which these objects were acquired
should be visibly reflected and contextualized to accompany any display of the objects
themselves. Let’s tell it how it is - how it was collected, why it was collected, who
collected it and for what purposes.

3. Fund museums or “keeping places” in source communities

An excuse often used by many European museums, who often understand themselves
as the keepers of world cultural heritage, for not returning objects to source communities
is that they are concerned it will not be properly conserved or looked after if given back
and will therefore represent a loss to world culture. Aside from the obviously patronizing
and insulting colonial belief embedded in this attitude it is not for European museums to
impose their own knowledge systems or values on source communities, who may have
different systems of knowledge and value-attribution. Once source communities have
had objects repatriated to them, it is for them to determine what they do with it. With this
in mind however European museums (and the state itself), when desired by source
communities, could fund museums or “keeping places” for returned objects in the source
communities themselves. To my mind this would act as a form of reparation for centuries
of plundering and desecration of objects and remains.

4. Re-name museums to reflect their true nature

There has been a vogue in both Europe and North America over the past 20 or so years
to rename ethnographic museums in order to try and reflect both this notion of being
keepers of the world’s cultural heritage as well as to change the more awkward former
names. For example in German speaking countries what were formerly “Völkerkunde”

81 Issue 34 / December 2017

Sally Schonfeldt Let’s get radical

(literally study of peoples) museums are often re-named as Museen der Kulturen or
Museen der Welt Kulturen - Museum of Cultures or Museums of World Culture. Why
don’t we radically re-name them instead to reflect what a lot of these ethnographic
museums really are? How about Museum of Colonial Ethnography? Museum of Colonial
Sciences? Museum of the Colonial Other? Museum of our Colonial Pasts? This could be
interesting here within Switzerland especially, as the commonly heard expression “But
Switzerland had no colonies” would finally have to be reflected to represent the true
nature of the provenance of the majority of the collections in ethnographic museums
here - it might not have had colonies, but it was colonial!

5. Make founding stories of museums visible

Let’s get radically transparent, rather than in the token way in which many European
museums try and reflect on their own history. Let’s tell it how it really is. How these
collections were acquired and under what sort of conditions. Who paid for the museum
to be funded and how was that money acquired? Which people collected each object
and how did they collect it? In what context were the objects collected and how was the
museum involved in this context? Let’s talk about how sadistically wrong colonial
empires were and are, about the violence that accompanies a lot of the objects in
museums collections as well as objects provenance from colonial empires or
entanglements, let’s tell the stories about the grave robbings, the plunderings, the
contract killings and scientific racism attached to the collection of skulls and skeletons of
non-Europeans, let’s lay it all bare and confront the very existence of ethnographic
museums.

6. Represent the self rather than the “Other”

Ethnographic museums should stop collecting any new objects before they have dealt
with the problematic provenances of those already in their collections. After actively
creating relationships with source communities and repatriating unconditionally any
desired human remains and objects to those communities I can imagine the vast
warehouses and showcases might be a lot barer than they are now. This would provide
a new opportunity to reflect exactly upon that emptiness and what has provoked it.
Namely the unethical and violent acquisition of so many objects and human remains and
their contemporary repatriation. Then perhaps we could turn the ethnographic museums
of the future into places of real education again, one of their initial founding missions, by
using these de-colonized museum collections to self-reflect and represent ourselves. We
could reflect on the violent injustices of the European colonial project, on European
scientific racism and its intertwining with the evolution of many natural sciences such as
ethnography etc., the scientists/explorers/adventures that collected and founded these
museums. In doing so we can transform the ethnographic gaze back onto ourselves,
rather than towards the Other that it has been focused on for far too long.

In the near future I would love to return to the British Museum and see empty cases with
labels telling the stories of how objects were originally stolen or dubiously traded and
how they were given back, to see cases full of the personal objects that belonged to
colonial explorers, anthropologists, adventurers, traders, to see exhibitions that tell the
story of imperial colonialism and how dreadfully wrong it was. Wouldn’t that be radical….

Sally Schonfeldt

82 Issue 34 / December 2017

Katrin Stroebel and Simo Laouli Ghorba wla lout (Exile or death)*

Ghorba wla lout (Exile or death)*

Printed Flag, installed at Kunstmuseum Mülheim/Ruhr
in front of a water colour by August Macke that he
made during his journey to Tunisia. Exhibition view
“Weltenwanderer”, March–July 2017

* Ghorba wla lout (Exile or death) is a well known

expression in Maghreb countries and in parts of
Western Africa used by migrants who want to reach
Europe by crossing the Mediterranean Sea.

83 Issue 34 / December 2017

Túlio Tavares Be Careful With The Fire

BE CAREFUL WITH THE FIRE

by Túlio Tavares

/ƐĂ;ƌͿƟǀŝƐŵĂũŽŬĞ͍
/ƐĂ;ƌͿƌŝǀŝƐŵĞƐĞƌŝŽƵƐ͍

,ŽǁŵĂŶLJďĞůůLJďƵƩŽŶƐŵĂŬĞĂĐŽůůĞĐƟǀĞ͍
ĞůůLJ;ďͿƵƩŽŶŝƐŵ͍

ƌƚŐŽĞƐďĞLJŽŶĚƚŚĞƉĞƌĐĞƉƟŽŶƚŚĂƚǁĞŚĂǀĞŽĨŝƚŝŶƌĞĂůƟŵĞ͘/ŶĨĂĐƚ͕ǁŚĂƚŝƐƐĞĞŶŝƐŶ͛ƚĞdžĂĐƚůLJĂƌƚ͕ďƵƚ
ĂŬŝŶĚŽĨĚŝƐƚŽƌƚĞĚƌĞŇĞĐƟŽŶ͘dŚĞƌĞĨŽƌĞŝƚŝƐĞĂƐLJƚŽďĞďůŝŶĚĞĚŝŶƚŚĞŵŽŵĞŶƚƚŚĂƚǁĞǁĂŶƚƚŽƵŶĚĞƌƐƚĂŶĚŝƚ͘

 /ƚĂůůďĞŐĂŶŝŶƚŚĞĞĂƌůLJϮϬϬϬƐ͘tĞǁĞƌĞŝŶĂŐƌĞĂƚƐĞƌŝĞƐŽĨƚƌĂŶƐĨŽƌŵĂƟŽŶƐ͕ƚƌLJŝŶŐƚŽĐƌĞĂƚĞƐƵƌǀŝǀĂů
ƚĂĐƟĐƐƚŚƌŽƵŐŚƚŚĞĞdžĐŚĂŶŐĞŽĨŝŶƚĞƌĞƐƚƐ͕ĐŽŶƚĞŶƚĂŶĚĂīĞĐƟŽŶƐ͘tĞƉƌŽĚƵĐĞĚŽƵƚƐŝĚĞƚŚĞĮŶĂŶĐŝĂůĐŝƌĐƵŝƚ͕
ǁŽƌŬŝŶŐĐŽůůĞĐƟǀĞůLJ͕ĐƌĞĂƟŶŐĐŽůůĞĐƟǀĞƐ͕ƚĂŬŝŶŐƉĂƌƚŝŶŽƚŚĞƌĐŽůůĞĐƟǀĞƐ͕ĂƌƟĐƵůĂƟŶŐǁŝƚŚĞĂĐŚŽƚŚĞƌ͘/ĞŶĚĞĚ
ƵƉ ŝŶ ƚŚĞ ŵŝĚĚůĞ ŽĨ Ă ŚƵƌƌŝĐĂŶĞ͕ ĂŶĚ Ă ŚƵƌƌŝĐĂŶĞ ŽŶůLJ ŚĂƉƉĞŶƐ ŝĨ ĞǀĞƌLJƚŚŝŶŐ ŝƐ ƌĞĂĚLJ ĨŽƌ ŝƚ ƚŽ ŚĂƉƉĞŶ͖ Ă
ŚƵƌƌŝĐĂŶĞŶĞǀĞƌĐŽŵĞƐŽƵƚŽĨŶŽǁŚĞƌĞ͕ƚŚĞĞůĞŵĞŶƚƐǁĞƌĞĂůůƚŚĞƌĞ͗ƚŚĞĐŽƌƌĞĐƚĂŵŽƵŶƚŽĨŚƵŵŝĚŝƚLJ͕ƚŚĞ
ƌŝŐŚƚĂŵŽƵŶƚŽĨĂŝƌ͕ƚŚĞĐŚĂŶŐĞŝŶƚĞŵƉĞƌĂƚƵƌĞĨƌŽŵŚĞƌĞƚŽƚŚĞƌĞ͕ǁŝŶĚdžƉĂƐƐĞƐũƵƐƚďĞůŽǁǁŝŶĚLJĂŶĚ͕
ŵ͕͊ĂŚƵƌƌŝĐĂŶĞĞdžƉůŽĚĞĚ͘tŚĂƚ/ƐĂLJŝƐƚŚŝƐ͗ĞǀĞƌLJƚŚŝŶŐǁĂƐŝŶƚŚĞĂŝƌĨŽƌƚŚŝƐĐŽŵŝŶŐƚŽŐĞƚŚĞƌƚŽŚĂƉƉĞŶ͕
ĂĐŚĂŽƟĐĐŝƚLJĂŶĚĂƌƟƐƚƐŽƌŐĂŶŝƐĞĚŝŶĐŽůůĞĐƟǀĞƐĂŶĚƐŽĐŝĂůŵŽǀĞŵĞŶƚƐ͘ůůƚŚĞůŽŐŝĐƚŚĂƚǁŽƵůĚĐĂƵƐĞƚŚŝƐ
ƚŽŚĂƉƉĞŶǁĂƐƚŚĞƌĞ͕ďĞĨŽƌĞĞǀĞŶƚŚŝƐŚƵƌƌŝĐĂŶĞ͕ǁŚŝĐŚŚĂƉƉĞŶĞĚĨƌĞĞůLJ͕ǁŝƚŚŶŽƐƚƌŝŶŐƐĂƩĂĐŚĞĚ͕ǁŝƚŚŽƵƚ
ĐŽŶƚƌĂĐƚƐ͘tĞŬŶĞǁƚŚĞƐLJŵďŽůŝĐĨŽƌĐĞƚŚĂƚƚŚŝƐƵƌďĂŶŶĞƚǁŽƌŬĐŽƵůĚŚĂǀĞŝŶƚŚĞŵŝĐƌŽĂŶĚŵĂĐƌŽƉŽůŝƟĐĂů
ƐƉŚĞƌĞƐ͘

 tĞƌĂĚŝĐĂůůLJ ƉŽƐŝƟŽŶĞĚ ŽƵƌƐĞůǀĞƐĂŐĂŝŶƐƚƐƉĞĐƚĂĐƵůĂƌĐƵůƚƵƌĞĂŶĚ ƐƉĞĐƚĂĐƵůĂƌŝƐĂƟŽŶ ŝŶ ŐĞŶĞƌĂů͕Žƌ

ƌĂƚŚĞƌ͕ĂŐĂŝŶƐƚƚŚĞŶŽŶͲƉĂƌƟĐŝƉĂƟŽŶ͕ĂůŝĞŶĂƟŽŶĂŶĚƉĂƐƐŝǀĞŶĞƐƐŽĨƐŽĐŝĞƚLJ͘tĞƉƌŽƉŽƐĞĚƚŚĞƉĂƌƟĐŝƉĂƟŽŶŽĨ
ŝŶĚŝǀŝĚƵĂůƐŝŶĂůůĮĞůĚƐŽĨƐŽĐŝĂůůŝĨĞ͕ĞƐƉĞĐŝĂůůLJŝŶĐƵůƚƵƌĞ͘

 ǀĞŶŶŽǁĂĚĂLJƐ͕ŵĂŶLJŽĨƚŚĞƐĞĐŽůůĞĐƟǀĞƐƉƌŽĚƵĐĞĂĐƟŽŶƐƚŚĂƚĂƌĞƉƌĂĐƟĐĞƐŽĨŝŶƚĞƌǀĞŶƟŽŶŝŶƉƵďůŝĐ
ƐƉĂĐĞƐ͕ĐŽŵďŝŶŝŶŐĂƌƚĂŶĚĂĐƟǀŝƐŵǁŚŝĐŚĂƌĞƐƉƌĞĂĚƚŚƌŽƵŐŚǀŝƌƚƵĂůĂŶĚĨĂĐĞƚŽĨĂĐĞŶĞƚǁŽƌŬƐ͘hƐŝŶŐŶĞƚǁŽƌŬ
ĐŽŵŵƵŶŝĐĂƟŽŶďĂĐŬƚŚĞŶ͕ǁĞĞŶĚĞĚƵƉŽƌŐĂŶŝƐŝŶŐĂĐƟŽŶƐĂŐĂŝŶƐƚŝĐŽŶƐŽĨƚŚĞŶĞŽůŝďĞƌĂůƐLJƐƚĞŵ͘

 ƌƚ ƉƌŽĚƵĐĞƐ ŝŵĂŐĞƐ͕ ƐŽƵŶĚƐ ĂŶĚ ŵĞŵŽƌLJ͘ /ƚ ƌĞǀĞƌďĞƌĂƚĞƐ ŝŶ ƐŽĐŝĞƚLJ ĂŶĚ ŝŶ ƉĞŽƉůĞ͕ ǁŚŽ ƚŚĞŶ
ƌĞǀĞƌďĞƌĂƚĞ ǁŝƚŚ ĞǀĞŶ ŵŽƌĞ ƉĞŽƉůĞ͘ ŝŽůŽŐŝĐĂů ŵĞƚĂƉŚŽƌ ĂŶĚ ĚŝƐƐĞŵŝŶĂƟŽŶ͘ ƌƚ ƐƉĞĂŬƐ ŽĨ ƐŽĐŝĂů ƟŵĞ͕ ŝƚ
ĐŚĂŶŐĞƐƚŚĞĐŽƵƌƐĞŽĨŚŝƐƚŽƌŝĐƟŵĞĂŶĚƚƌĂŶƐĨŽƌŵƐƐŽĐŝĞƚLJ͘

 tĞůŝǀĞŝŶǁĂƌŝŶƚŚĞĐŝƚLJŽĨ^ĆŽWĂƵůŽ͘/ƚƐƚĂƌƚƐŚĞƌĞ͕ǁŝƚŚƚŚĞŚLJƉŽƚŚĞƐŝƐƚŚĂƚƚŚĞĂƌƚĐŽůůĞĐƟǀĞƐƵƐŝŶŐ
ƉƵďůŝĐ ƐƉĂĐĞ ĂƐ ƚŚĞ ĮĞůĚ ŽĨ ĂĐƟŽŶ Ăůů ŚĂĚ ƐŽŵĞƚŚŝŶŐ ŝŶ ĐŽŵŵŽŶ͘ ŽůůĞĐƟǀĞ ĂƌƟƐƟĐ ƉƌŽũĞĐƚƐ ƋƵĞƐƟŽŶ ƚŚĞ
ƌĞůĂƟŽŶƐŚŝƉďĞƚǁĞĞŶĂƌƚ͕ƉŽůŝƟĐƐĂŶĚŝƐƐƵĞƐŽĨůŝĨĞŝŶƚŚŝƐĐŝƚLJ͕ǁŚŝĐŚƉƌŽĚƵĐĞƐĂƐƚƌĂƚĞŐŝĐĂůůLJĞdžĐůƵĚĞĚƐƉĂĐĞ͘
dŚĞLJŽƉĞƌĂƚĞŝŶĂŵŝŶĞĮĞůĚ͕ǁŚĞƌĞŝƚŵŝŐŚƚŶŽƚďĞƉŽƐƐŝďůĞƚŽĞŶƚĞƌǁŝƚŚŽƵƚƉƵƫŶŐƚŚĞŵƐĞůǀĞƐĂƚƌŝƐŬ͘

 ,ĞŶĐĞƚŚĞƐĞĂƌĐŚďLJŐƌĂƐƐƌŽŽƚƐŵŽǀĞŵĞŶƚƐ͕ƚŽŐŽƚŽƚŚĞĐŝƚLJ͕ƚŽƚŚĞƐƋƵĂƚƐ͕ƚŽĂďĂŶĚŽŶĞĚƉůĂĐĞƐ͕
ƉůĂĐĞƐƚŚĂƚŶŽ ŽŶĞƐĞĞƐ͘tĞŬŶĞǁƚŚĂƚŶĞǁƐLJŵďŽůƐ ĐŽƵůĚ ďĞƉƌŽĚƵĐĞĚ͕ĞǀĞŶŝĨ ƚŚĞLJǁĞƌĞƐLJŵďŽůƐ ƚŚĂƚ
ŵŝŐŚƚĨĂůůŽƵƚŽĨƚŚĞĐĂƚĞŐŽƌLJŽĨ͚Ăƌƚ͛͘ĞĐĂƵƐĞƚŚĞƐĞŐƌŽƵƉƐƐƚŽƉƉĞĚďĞŝŶŐĂŶĂƌƚŵŽǀĞŵĞŶƚĂŶĚďĞĐĂŵĞĂ
ŵŽǀĞŵĞŶƚŽĨƚŚĞĐŝƚLJ͕ĞŶǀŝƌŽŶŵĞŶƚĂů͕ƉŽůŝƟĐĂůĂŶĚƐŽĐŝĂů͕ďƌŝŶŐŝŶŐƚŚĞĮĞůĚŽĨĂƌƚĐůŽƐĞƌƚŽƚŚĂƚŽĨƉŽůŝƟĐĂů
ĂĐƟǀŝƐŵ͕ĂƐĂƌĞƐƵůƚŽĨŝŶƚĞƌǀĞŶƟŽŶƐŝŶŶŽŶͲŝŶƐƟƚƵƟŽŶĂůŝƐĞĚƐƉĂĐĞƐĂŶĚǁŝƚŚĂŶĞŵŝŶĞŶƚůLJĐƌŝƟĐĂůĐŚĂƌĂĐƚĞƌ͘

 dŚĞĂƌƚǁŽƌůĚĚŝĚŶ͛ƚƵŶĚĞƌƐƚĂŶĚƚŚĞŶǁŚĂƚǁĂƐŚĂƉƉĞŶŝŶŐ͗ƚŚĞƌĞĨĞƌĞŶĐĞƚŽĂƌƚŝƐĂŶŶŝŚŝůĂƚĞĚ͘tĞ
ǁĞƌĞŶ͛ƚ ďĞƩĞƌ ƵŶĚĞƌƐƚŽŽĚ ďLJ ƚŚĞŽƌŝƐƚƐ Žƌ ĞǀĞŶ ďLJ ŽƵƌƐĞůǀĞƐ͘ tĞ ĞŶĚĞĚ ƵƉ ůŽƐŝŶŐ ŽƵƌƐĞůǀĞƐ͘ dŚĞƌĞ ǁĞƌĞ
ƐLJŵďŽůŝĐďĂƌƌŝĐĂĚĞƐĂŐĂŝŶƐƚƚŚĞƉŽůŝĐĞ͖ƐŝŐŶƐĂĚǀĞƌƟƐŝŶŐƌĞĂůĞƐƚĂƚĞǁĞƌĞƐƚŽůĞŶĨƌŽŵƚŚĞƐƚƌĞĞƚƐ͕ƌĞƉĂŝŶƚĞĚ

84 Issue 34 / December 2017

Túlio Tavares Be Careful With The Fire

ǁŝƚŚĨŽƌŵƐĂŶĚĚĞƐŝŐŶƐďLJƚŚĞ/ĐŽůůĞĐƟǀĞ͘dŚŝŶŐƐǁĞƌĞ
ŶĞǀĞƌŝŶĂŶLJĨŽƌŵŽĨŽƌĚĞƌ͕ĨĂƌĨƌŽŵĂŶLJƚŚŝŶŐƌĞĐŽŐŶŝƐĂďůĞ͘
,Žǁ ĚŽ LJŽƵ ĐƌĞĂƚĞ Ă ƐLJŵďŽůŝĐ ĂƌƟƐƟĐ ďĂƌƌŝĞƌ ǁŚŝĐŚ
ŝŶƚĞƌƌƵƉƚƐƚŚĞĂĐƟŽŶƐŽĨƚŚĞƉŽůŝĐĞŽŶĂĚĂLJŽĨĞǀŝĐƟŽŶ͍
dŚĞƉŽůŝĐĞǁŽƵůĚŚĂǀĞƚŽƌĞŵŽǀĞĂƌƚǁŽƌŬĨƌŽŵƚŚĞŝƌƉĂƚŚ͕
ƚŽŝŶǀĂĚĞƚŚĞƐƋƵĂƚĂŶĚƚĂŬĞƉĞŽƉůĞŽƵƚ͘dŚŽƐĞďĂƌƌŝĞƌƐ
ŵĂĚĞ ĨƌŽŵ ƌĞĂů ĞƐƚĂƚĞ ƐŝŐŶƐ ǁĞƌĞ ďĞŝŶŐ ƌĞƉĞĂƚĞĚ͕ ƵŶƟů
ƚŚĞLJǁĞƌĞƌĞƉĂŝŶƚĞĚďLJƚŚĞůĞĨĂŶƚĞĐŽůůĞĐƟǀĞĂŶĚĞŶĚĞĚ
ƵƉ ǁŝƚŚ ƚŚĞ ǁŽƌĚ ͚/'E/dz͛͘ EŽǁ ŝƚ ǁĂƐ ƉŽƐƐŝďůĞ ƚŽ
ƵŶĚĞƌƐƚĂŶĚĂůŝƩůĞďĞƩĞƌ͘EŽǁŝƚŝƐŶŽůŽŶŐĞƌĂǁŽƌŬŽĨ
ĂƌƚƚƌLJŝŶŐƚŽďůŽĐŬƚŚĞĂƌƌŝǀĂůŽĨƚŚĞƉŽůŝĐĞ͕ŝƚŝƐƚŚĞǁŽƌĚ
͚/'E/dz͛͘ dŚĞLJ ǁĞƌĞ ďĂƌƌŝĞƌƐ ďĞĐĂƵƐĞ ƚŚŽƐĞ ƐŝŐŶƐ ŚĂĚ
ĂƉŚLJƐŝĐĂůƐŝnjĞĨŽƌƚŚŝƐ͕ĂŶĚǁĞŝŵĂŐŝŶĞĚƚŚĞƌŝŽƚƉŽůŝĐĞ
ĂƌƌŝǀŝŶŐĂŶĚƚƌLJŝŶŐƚŽƚĂŬĞŵĂŶLJƚŚŝŶŐƐĨƌŽŵŝŶƐŝĚĞ͘Ƶƚ
ŶŽǁƚŚĞLJǁŽƵůĚŵĂŝŶůLJŚĂǀĞƚŽƌĞŵŽǀĞƚŚĞǁŽƌĚ͚/'E/dz͛͘

 dŚĞĂƌƟƐƚƐƚŚĂƚƉƌŽĚƵĐĞĚĂƌƚĂƚƚŚĂƚƟŵĞƵƐĞĚƚŽŵĂŶŝƉƵůĂƚĞŝŶĨŽƌŵĂƟŽŶ͕ƚŚĞLJǁŽƵůĚŵĂŶŝƉƵůĂƚĞ
ŚŽǁĂĐĞƌƚĂŝŶŐƌŽƵƉŽĨƐŽĐŝĂůŚŽƵƐŝŶŐǁŽƵůĚďĞƐĞĞŶďLJƚŚĞŵĞĚŝĂ͘ǀĞƌLJƚŚŝŶŐǀĞƌLJƉůĂƐƟĐ͕ĞǀĞƌLJƚŚŝŶŐǀĞƌLJ
ŝŵĂŐĞƟĐ͘

 /ƚǁĂƐŶ͛ƚĞĂƐLJ͕ŝƚǁĂƐŶ͛ƚƐŝŵƉůĞ͘/ƚǁĂƐĂŵŽŵĞŶƚŽĨŐƌĞĂƚƚĞŶƐŝŽŶ͘/ŶƚŚĞĂŝƌǁĂƐƚŚĞĚĂŶŐĞƌŽĨŚĂǀŝŶŐ
ƚŽůĞĂǀĞƌƵŶŶŝŶŐŝŶƚŚĞŵŝĚĚůĞŽĨƚŚĞŶŝŐŚƚ͘tĞǁĞƌĞƚŚĞƌĞƉƌŽĚƵĐŝŶŐĂƌƚ͕ĞdžƉĞƌŝŵĞŶƟŶŐ͘

 /ďĞůŝĞǀĞƚŚĂƚƚŚĞŵŽǀĞŵĞŶƚŽĨƚŚĞƐĞĐŽůůĞĐƟǀĞƐǁŝůůďĞĐŽŵĞĨĂŵŽƵƐǁŚĞŶƚŚĞLJŶŽůŽŶŐĞƌƉŽƐĞĂƚŚƌĞĂƚ͕
ǁŚĞŶŝƚŶŽůŽŶŐĞƌƐŵĞůůƐůŝŬĞƐŚŝƚ͕ǁŚĞŶŝƚďĞĐŽŵĞƐƉŚŽƚŽƐ͕ĮůŵƐ͕ŬƐ͕ŵĂƐƚĞƌ͛ƐĚĞŐƌĞĞƐ͕WŚƐ͕ƉŽƐƚͲƚŚĞƐĞƐ͕
ƚŽĂƉƉĞĂƌŝŶůĂƌŐĞďŝĞŶŶĂůĞƐĂŶĚŵƵƐĞƵŵƐŝŶŽƌĚĞƌƚŽƐĂLJǁŚLJƚŚĂƚƐLJŵďŽůŝĐĂĐƚǁĂƐŝŵƉŽƌƚĂŶƚ͘ZŝŐŚƚŶŽǁ͕
ǁŚĞŶƚŚĞŵŽǀĞŵĞŶƚĂƉƉĞĂƌƐƚŽďĞƉĞƌĨƵŵĞŝƐǁŚĞŶƚŚĞǀŝƌƵƐ͕ŝŵƉůĂŶƚĞĚƚŚĞƌĞĂƚƚŚĞďĂĐŬ͕ƌŝŐŚƚĂƚƚŚĞƐƚĂƌƚ͕
ďĞĨŽƌĞƚŚĞŚƵƌƌŝĐĂŶĞĨŽƌŵƐ͕ǁŝůůďĞĞƚĞƌŶĂůůLJƵŶďĂůĂŶĐŝŶŐ͕ŵĞƐƐŝŶŐƚŚŝŶŐƐƵƉ͕ĚŝƐŽƌŐĂŶŝƐŝŶŐĂŶĚĚŝƐƌƵƉƟŶŐ͘
EĞǁ ƉĞŽƉůĞ ƚŚĞƌĞ Ăƚ ƚŚĞ ĨƌŽŶƚ͕ ĞǀĞŶ ǁŝƚŚ ƚŚŝŶŐƐ ŶĞĂƚůLJ ƉĂĐŬĂŐĞĚ͕ ǁŝůů ďĞ ĐŽͲŽƉƚĞĚ ďLJ ƚŚŝƐ ĚŝƐŽƌŐĂŶŝƐŝŶŐ
ǀŝƌƵƐ͘dŚĞLJǁŝůůƚŚŝŶŬƉŽǁĞƌĨƵů͕ƉŽƚĞŶƚƚŚŝŶŐƐĂŶĚĐŽŶƟŶƵĞƚŽĚŝƐŝŶƚĞŐƌĂƚĞ͘dŚĂƚŝƐďŝŐŐĞƌŝŶƚĞŶƟŽŶ͕ƚŚĂƚĂůů
ƚŚŝƐŚŝƐƚŽƌLJŝƐĂŶĞƚĞƌŶĂůĚŝƐŝŶƚĞŐƌĂƟŶŐĞůĞŵĞŶƚŽĨĂďƐŽůƵƚĞǀĂůƵĞƐ͘ǀŝƌĂůƉƌŽĐĞƐƐŽĨĐŽůůĞĐƟǀĞĂŐĞŶĐLJŽĨ
ƚĞŵƉŽƌĂƌLJĂƵƚŽŶŽŵŽƵƐnjŽŶĞƐ͕ƉƌŽĚƵĐĞĚƐƚĂƌƟŶŐĨƌŽŵŝŶĐĞƐƐĂŶƚĚŝƐƐĞŶƟŶŐƌĞĐŽŵƉŽƐŝƟŽŶƐĂŶĚŶŽƚĨƌŽŵĂ
ůŽŐŝĐŽĨĐŽŶƐĞŶƐƵƐ͘dŚĞLJĂƌĞĨĂĐƚƐƚŚĂƚƉŽŝŶƚƚŽƚŚĞůŝŵŝƚƐďĞƚǁĞĞŶƚŚĞƉŽǁĞƌŽĨƐƵďǀĞƌƐŝŽŶƐĂŶĚƚŚĞƉŽǁĞƌŽĨ
ĐŽͲŽƉƟŽŶǁŝƚŚŝŶƚŚĞƐLJƐƚĞŵŽĨĂƌƚĂŶĚůŝĨĞ͖ĂŵŽŵĞŶƚŝŶǁŚŝĐŚƚŚĞĂƌƚƐLJƐƚĞŵĂŶĚƚŚĞƉŽůŝƟĐĂůĂŶĚĞĐŽŶŽŵŝĐ
ƐLJƐƚĞŵŵĂŶĂŐĞƚŽƚĂŬĞŽǁŶĞƌƐŚŝƉŽĨĞǀĞƌLJĐƌŝƟĐĂůŵŽǀĞŵĞŶƚŽĨĚŝƐƌƵƉƟŽŶ͘

 dŚĞLJĂƌĞ͚ďĞĐŽŵŝŶŐƐ͛ŽĨĂŚŝƐƚŽƌŝĐĂůĐŽŶƐƚƌƵĐƟŽŶ͕ĂĐƟŽŶƐĂŶĚĂďƐƵƌĚŽƌƐƵƌƌĞĂůŝŶƚĞƌĨĞƌĞŶĐĞƐŝŶƟŵĞ
ĂŶĚƐŽŵĞƉůĂĐĞŝŶƚŚĞƵŶŝǀĞƌƐĞƚŚĂƚŝƐŝŶĮŶŝƚĞ͘

 WƌĞƐĞŶƚ ŝŶ ƚŚŝƐ ƚĞdžƚ ĂƌĞ ƚŚĞ ǀŽŝĐĞƐ ŽĨ ^ĞďĂƐƟĆŽ ĚĞ KůŝǀĞŝƌĂ EĞƚŽ͕ ZŝĐĂƌĚŽ ZŽƐĂƐ͕ ŶĚƌĠ DĞƐƋƵŝƚĂ͕
&ĂďŝĂŶĞŽƌŐĞƐ͕&ůĂǀŝĂ^ĂŵŵĂƌŽŶĞ͕DŝůĞŶĂƵƌĂŶƚĞ͕ZŝĐĂƌĚŽĂƐďĂƵŵ͕WůĂƚŽ͘
***
ƌƚǁŽƌŬĞĐĂƌĞĨƵůǁŝƚŚƚŚĞĮƌĞ͕ϮϬϬϯ͕dƷůŝŽdĂǀĂƌĞƐ

dŚŝƐǁŽƌŬĐŽŶƐŝƐƚĞĚŽĨĂĐŽůůĂŐĞŽĨůĞƩĞƌƐƚŚĂƚĨŽƌŵĞĚƚŚĞƉŚƌĂƐĞ͞Z&h>t/d,d,&/Z͕͟ǁŚŝĐŚǁĂƐ
ĐĂƌƌŝĞĚŽƵƚŽŶĂǁĂůůŽŶƚŚĞƚĞƌƌĂĐĞŽĨƚŚĞůĂƐƚŇŽŽƌŽĨƚŚĞKĐƵƉĂĕĆŽWƌĞƐƚĞƐDĂŝĂƐƋƵĂƚ͕ǁŝƚŚĂǀŝĞǁƚŽƚŚĞĐŝƚLJ͘
/ƚǁĂƐĂĐůĞĂƌƌĞĨĞƌĞŶĐĞƚŽƚŚĞĮƌĞƚŚĂƚŚĂƉƉĞŶĞĚŝŶƚŚĞďƵŝůĚŝŶŐŝŶ^ĞƉƚĞŵďĞƌϮϬϬϯ͕ƚŚƌĞĞŵŽŶƚŚƐ͕ƚŚĞƌĞĨŽƌĞ͕
ďĞĨŽƌĞƚŚĞĞdžŚŝďŝƟŽŶ ACMSTC͕ǁŚŝĐŚƌĞƐƵůƚĞĚŝŶƚŚĞĚĞƐƚƌƵĐƟŽŶŽĨĨŽƵƌƐƚŽƌĞLJƐĂŶĚƚŚĞĚĞĂƚŚŽĨĂĨŽƵƌLJĞĂƌ
ŽůĚŐŝƌů͘dŚĞƚĞŶƐŝŽŶŽĨƚŚĞƐŝƚƵĂƟŽŶŝƐĐůĞĂƌŚĞƌĞ͗/ĨŽŶŽŶĞƐŝĚĞƚŚĞƌĞŝƐĂĚŝƌĞĐƚƌĞĨĞƌĞŶĐĞƚŽƚŚĞƚƌĂŐĞĚLJƚŚĂƚ
ŽĐĐƵƌƌĞĚŝŶƚŚĞďƵŝůĚŝŶŐ͕ŽŶƚŚĞŽƚŚĞƌŝƚŚŝŐŚůŝŐŚƚƐƚŚĞƌŝƐŬŽĨƚŚĂƚĞǀĞŶƚͲŽĐĐƵƌƌĞŶĐĞ͘͞dŽĐĂƚĐŚĮƌĞ͟ŚĂĚĂƐ
ŵƵĐŚƚŽĚŽǁŝƚŚƚŚĞĮƌĞĂƐǁŝƚŚƚŚĞĞdžƉůŽƐŝŽŶƐĂŶĚƌĞƉĞƌĐƵƐƐŝŽŶƐƚŚĂƚĂŶĞǀĞŶƚůŝŬĞƚŚĂƚĐŽƵůĚĐĂƵƐĞ͘

ŚƩƉƐ͗ͬͬƚƵůŝŽƚĂǀĂƌĞƐ͘ǁŽƌĚƉƌĞƐƐ͘ĐŽŵͬ
ŚƩƉƐ͗ͬͬƚƵůŝŽƚĂǀĂƌĞƐ͘ǁŽƌĚƉƌĞƐƐ͘ĐŽŵͬƉƌĞƐƚĞƐͲŵĂŝĂͲĂĐŽĞƐͲĐƵůƚƵƌĂŝƐͬ
ŚƩƉƐ͗ͬͬƚƵůŝŽƚĂǀĂƌĞƐ͘ǁŽƌĚƉƌĞƐƐ͘ĐŽŵͬĂĐŵƐƚĐͬ
ŚƩƉ͗ͬͬŝŶƚĞŐƌĂĐĂŽƐĞŵƉŽƐƐĞ͘njŝƉ͘ŶĞƚͬ

85 Issue 34 / December 2017

Túlio Tavares Be Careful With The Fire

ƌƟƐƚĂƐŶĂKĐƵƉĂĕĆŽWƌĞƐƚĞƐDĂŝĂ͕
ũƵŶƚŽƐĂŽDŽǀŝŵĞŶƚŽWŽƉƵůĂƌƉŽƌDŽƌĂĚŝĂ͘

ĨŽƚŽƐ͗ŶƚƀŶŝŽƌĂƐŝůŝĂŶŽ

86 Issue 34 / December 2017

Navid Tschopp Sketch / Toilets / Third Space

Layout Collective (M.Pravat, Susanta Mandal,

Sayantan Maitra, Navid Tschopp)
Sketch, 2014

87 Issue 34 / December 2017

Navid Tschopp Sketch / Toilets / Third Space

Layout Collective (M.Pravat, Susanta Mandal,

Sayantan Maitra, Navid Tschopp)
Toilets, 2014

Colombo Art Biennale, Sri Lanka

temporary intervention into the public toilet
of Goethe-Institute Sri Lanka

88 Issue 34 / December 2017

Navid Tschopp Sketch / Toilets / Third Space

Navid Tschopp
Third Space, 2011
skype conversation Switzerland–Iran on persian carpet

89 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

90 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

so there is an OVERPRODUCTION taking place and in this overproduction the economical paradigm
is not that of an expenditure - as one could hope for in the ARTS, thank you Georges - but one of
classical surplus value over use value based on growth and some speculative bubbling on a coming
prize or prices – I see – we all see all that and yet, keep overproducing and making stuff that will be
characterized by standard evaluations, like, competition is an important factor, distinguishing between
categories of stuff that is valued higher and better and stuff that’s just a waste of time, the
TRA$HBIN of unsuccess - AHA and CYNISICM IS NOT AN OPTION – yet there has been an
enormous interest in CURATING TIME oh dear what a bubble was that quote - OK then BRING IT ON
- you speaking to a choreographer and sure, process has been and is being elevated, in an immaterial
post-post-fordism. To a certain degree, TIMING is exactly my business. And to me, as a dance maker
and choreographer, it could look as if times were great for the EPHEMERAL AS AN OBJECT – and
they say YOU CAN’T TAME THE WILD and open CALL FOR magicks and shaman - they say - but
pleaaase can somebody stop making dance a NATURAL WOMAN and the body its mystical vessel
while YES indeed - there is something in the material you ontologically cannot grasp ever – AS IN
LIKE, EVERY THANG - and that’s not to be deconstructed neither, GIVE ME SOME
PHILOSOPHY AFTER KUNT – ok me as a choreographer what do I have to say about this apart
from NO forget about neologisms like SO-CALLED DURATIONAL AESTHETICS everything can
be read through the filter of duration and yes I have engaged with practices of magic since before I
could speak it’s part of a given hypersensitivity or some call it TALENT it has a lot to do with a labour
of SUSTAINING one self as a non-identity e/merging with worlds. It is not to be rationalized STOP
CURATING AND OVERPRODUCING BULLSHIT PARADIGMS that serve not much else but your
own position and AHA – whom does it serve and in what historical situation. There was something
that had a great impact and was important but it already didn’t work in the 60ies and 70ies: HOW
would anybody with a last little bit of decency left make a claim on utopias that live off some
proclaimed NEW NEW that would like, be some POST-INTERNET and reside in the MEDIALITY of
ephemeral where duration as making experience would opt as resistance vs object AKA PRODUCT
consumerism – UUUHM I DON’T THINK SO it already didn’t work back then, sorry Marina - and do



91 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

not forget IT’S OK TO BE ANGRY but it’s more important to get back to work and I mean
REALLY, there is so much to do. REALIZING REASON maybe thank you Danielle. Ah ja genau,
because it’s efficient to bring forward performance in high times of PERFORMANCE
CAPITALISM, says Boyan now thanks, in times where currency is identity rather and where ca$h
equals experience – now, it seems rather unsurprising that process can be capitalized and that is no
news neither. I could prove helpful to look at the following > > > and btw stop doing workshops. Like,
NOW.

ENDO-COLONIALISM IS A CONDITION «in which an elite treats its own population as a resource
to be exploited» this is what I think about when I remember what Paul said about the moment when
he came up with this term of ENDO-COLONIALISM apparently and if I remember right it was after
reading a short story - a great science-fiction short story, it's too bad I can't remember the name of its
author, in which a camera has been invented which can be carried by flakes of snow.
Cameras are inseminated into artificial snow which is dropped by planes, and when
the snow falls, there are eyes everywhere. There is no blind spot left.» TRANSPARENCY
AND CRITICALITY were great earlier in their lives, then they somehow married each other without
really deciding to do so, you know how it goes, they just got so used to each other and slipped right into
it – btw looking back at it, it may have been institutional critique that supported their relationship
greatly and fueled their passion. It didn’t take too long until they all got bored with each other and
knew what the other would say and do next, no surprises, but very efficient in their routine together.
Also, they became toothless and tired over time and now, way into their marriage years, maybe all of
them should take a vacation – separated or together, who cares - and more so, a serious long-term
BREAK. I don’t mind if I don’t understand and actually, it’s wonderful if something overwhelms and
dissolves whatever had been known to me as me before – ZZZDDDSSS$H the instant of WONDER
inherent in aesthetic experience which annihilates itself, if one takes it serious, that’s what I am talking
about. WILD. Wonder is a primary affect, says René thanks, and aesthetic experience if taken
epistemologically, is not experiencable. It’s something that isn’t taking place in realms of what exists



92 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

for us – so even ontologically, it’s a negative existence – BUT that doesn’t mean it does not exist. SO,
per se and forever and once and for all times, IT IS CRUCIAL to not forget that there is something
inherent and at stake in aesthetic experience that is not colonizable THAT IS UNTOUCHABLE that
beholds WEIRDNESS and it is by its nature and unconditionally not colonizable YES maybe a
hidden dark side called by some, WE FIND THAT RATHER TACKY, though dark ecologies are nice to
read and cheers Tim though I don’t really agree. The unknown and always contingent can be very light,
indeed it can be TOO BRIGHT TO SEE let’s call it a SOLAR ANUS covering its face in allure and
withdrawal or more so, it’s RIGHT IN YOUR FACE but you not there with it, nope, not today. It will
never be tamed. SAILING THROUGH COLOR thank you Michael. It stays wild because total
subsumption is another anthropocentric MEGALOMANIA – you are just incapable to think or
perceive, sense and intuit that which CANNOT BE SUBSUMED so and therefore, acts of
DECOLONIZING consist in seeing what is already here and hold on to a set of unshakable values.
How could it be better for every body and how to protect spaces in which capacities are magnified and
further more, not so via anothers’ capacities being diminished– yes. MAGIC AS TECHNOLOGY OF
A PARTICULAR ATTENTION inherent in labour, for example, and that can be very everyday not
exactly a sunday afternoon stroll but deeply entrenched in the sometimes quite frightening moments
of subject-object dissolution and its unconditional openness towards YES, still - ART or also, resisting
CHRONOPHOBIA thank you Michael again - and all of that is the LABOUR OF LOVE with a
devotion to its ONGOING which is to give way to the LABOUR OF MATERIALS themselves. YES TO
COLORS. They aren’t secondary. Stop those distinctions NOW – colors are HAPTIC. And I guess,
TECHNOLOGY wants to say hello here again, too. Take a step back and while doing so, watch every
decision you make through the values of serving that which isn’t yours – STRATEGIC
DISPOSSESION OF SELVES via that which you don’t know yet – the unknown and obscure may
be the obscene in some cases, what counts more is the notion of POIESIS and its force of
GENERATING that which has not been before. Or that went unnoticed. The new NEW gives up
chasing and puts a foot down and formulates and ja ja, the virtual in the actual, though we actually
mean it and Gilles was right with that. Merci.



93 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

94 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

95 Issue 34 / December 2017

Lucie Tuma TRA$HORCI$M

«The territorial body has been polluted by roads, elevators, etc. Similarly, our animal body starts
being polluted. Ecology no longer deals with water, flora, wildlife and air only. It deals with the body
itself as well. It is comparable with an invasion: technology is invading our body because of
miniaturization.»

THE INSTITUTION NEEDS TO TAKE ITSELF LESS SERIOUS AND REMEMBER THAT IT IS OF SERVICE TO THE ARTS.
WHICH IS MAKING A PARTICULAR ATTENTION. THAT IS ITS MAIN TECHNOLOGY. IT DEPENDS ON THE USERS WHAT
A TECHNOLOGY DOES. THAT’S WHY. EVERY STEP COUNTS. THE SAME COUNTS FOR THE ARTISTS WHO NEEDS TO
TAKE THEMSLEVES LESS SERIOUS AND NEED TO REMEMBER THAT ART IS OF SERVICE TO THE SOUL.

Which is a somewhat impossible formulation for most post post any isms, but therefore even more so
important. Fucking get over your what you think are your SELVES and start to GET REAL:

SOUL WORKERS OF THE COSMOS, UNITE!

96 Issue 34 / December 2017

Maíra Vaz Valente Quando o rio nasce, 2017 material: fabric and embroidery

97 Issue 34 / December 2017

Claire Wintle Decolonising UK World Art Institutions, 1945–1980

Decolonising UK World Art Institutions, 1945-1980

Claire Wintle

Between 1945 and 1980, UK museums and their emphasising stagnant display practices, is that
collections of art and artefacts from Africa, Asia, museums with world cultures collections were
Oceania and the Americas played an active pol- ‘scenes of neglect’ (Karp, 1991: 378). In 1987, in
itical and social role in decolonising the British his summary of the mid-century period, broad-
Empire. As spaces which forced museum pract- caster and author Kenneth Hudson (1987: vii)
itioners and visitors to contend with the material wrote that such organisations ‘may collect
remnants of empire, and as arenas which widely, but they do not dig deeply. The political
demanded the redisplay of a world undergoing consequences of doing so would be too serious,
rapid political change, in their very materiality, or so it is felt’. But while the particular political
UK museums of world art and anthropology consequences of world art museum practice may
supported the trialling and enacting of forms of sometimes have been buried, they were also
decolonisation, neo-colonialism, independence emphasised and exploited in important ways.
and anti-colonial resistance. They acted as
microcosms of wider political encounters. Indeed, while some museum displays remained
neglected in this period, behind the scenes, UK
While pre-1945 and post-1980 UK museum world art institutions were dynamic spaces,
practice and world cultures collections are grappling with professionalisation in the sector,
relatively well researched, attention to the addressing new disciplinary shifts in art history
intervening years has been minimal and limited to and anthropology, and attempting to manage the
individual institutions. One assumption, often demands of the former colonies. While in some

In the process of sketching the new displays of an independent Ceylon, how did designer James Gardner’s perspectives change?
Sketch for general layout of proposed Ceylon court, Commonwealth Institute. James Gardner, c.1961. Catalogue
number: DES-LJG-3-3-2-18. James Gardner Archive, University of Brighton Design Archives.

98 Issue 34 / December 2017

Claire Wintle Decolonising UK World Art Institutions, 1945–1980

How did the choices required in the framing of a colony in turmoil shape designers’ understandings of decolonisation?
Sketch for general layout of proposed Kenya section, Commonwealth Institute. James Gardner, c.1961.
Catalogue number: DES-LJG-3-3-2-31. James Gardner Archive, University of Brighton Design Archives.

ways this was a deeply conservative moment in some senses, museums acted as devices through
museum practice, in certain activities, the found- which those involved could retain their former
ations of some of today’s best, ‘decolonised’ imperial identities and imagine a future where
museum practice can be found. Britain still reigned supreme.

There were cases where British museum practice Yet we also see an early embracing of more
acted as a foil for progressive political change collaborative, egalitarian museum practices in this
elsewhere. Collections acquired through colonial period: for example, national and university
frameworks did continue to pour into museum museums worked with and hosted placements
collections as if Britain still ruled its subjects: for museum professionals from decolonising
when colonial officials returned to the UK after nations. Training and ‘sharing’ expertise can of
independence, many donated the collections they course be cast, rightly, in a paternalistic light, but
had acquired during their careers. There is also a decolonising countries were also able to make
pattern of returnees retraining and taking on their mark on UK museum practice: there are
curatorial posts in the UK. In some instances, several examples where requests for the return
smaller institutions disavowed their imperial of sacred objects were successful; museums
histories. They transferred their ethnographic across the UK also received collections gifted by
material to other institutions as they turned newly independent governments in exchanges
instead to local history, assuming that ‘local’, which can be characterised as part of a changing,
‘British’ history did not include the ‘other’. At the more equitable political relationship, and based
same time, the larger, more specialist museums on former colonies’ self-confident global status
that accepted these transfers cemented the following independence. Diplomats, artists and
colonial legacy that these collections evoked. In scholars from former colonies also worked with

99 Issue 34 / December 2017

Claire Wintle Decolonising UK World Art Institutions, 1945–1980

UK curators to present their countries to British moment itself: shedding light on mid-century
audiences in collaborations that were not truly museum practice and the role of newly indep-
equal, but represent greater social shifts towards endent nations in the British sector forces us to
cultural, economic and political parity than are acknowledge that the ‘end’ of empire was not
sometimes associated with this period. Indeed, in simply driven from the metropole, either at the
some institutions, the demands of former museum or on a geopolitical level. Actors in the
colonial subjects forced curators to deal with the global South were agents too. We also see an
political consequences of the ‘end’ of empire eagerness and reticence in UK art institutions in
more quickly than they might have hoped. In one the mid-twentieth century to engage with
extreme example, the director of the Common- changing political circumstances: decolonisation,
wealth Institute in London was forced to express we are reminded, is both a forward-looking and
his exhaustion over the constant pressure on his conservative process. The intersection between
team from individual governments who wished to the disciplines of history and curating therefore
see their countries represented in his galleries in calls for a more nuanced use of terminology.
an up-to-date fashion. While historians describe ‘decolonisation’ as a
mid-century moment and as a tentative,
Projecting the macropolitics of global change on incomplete, even neo-imperial process that
the micropolitics of the museum tells us much occurred in fits and starts, in museum and art
about the broader role of museums historically gallery studies and practice, the term
and today. Museums mirror political change, but ‘decolonisation’ is used to refer to an eradication
they are also more active than this. They help of imperialism from contemporary cultural
practitioners and audiences manage, trial, dis- institutions. Perhaps a realignment of these terms
avow and embrace geopolitical shifts. In some is required: ‘decolonising the art institution’ is a
unusual cases like the Commonwealth Institute, current, worthy aim, but in our bid to eliminate
which forged formal financial agreements with the deepest forms of colonial legacy, we might
commonwealth countries in return for their also acknowledge the more conservative, neo-
representation, organisational and funding struct- colonial tendencies inherent in any form of
ures pushed museum practitioners to acknow- ‘decolonisation’, in order to expunge those too.
ledge decolonisation, forcing them to take
decolonising nations seriously as stakeholders Select References
and collaborators. More typically, it was the Hudson, K. Museums of Influence. Cambridge
material presence of imperialism that museums University Press, 1987.
had to contend with: there were simply so many Karp, I. "Other Cultures in Museum Perspective.”
remnants of empire, that they could not be In Exhibiting Cultures: The Poetics and Politics of
ignored, even in the short term. They had to be Museum Display, Karp and Lavine (eds).
confronted: hidden, exchanged, accepted, des- Smithsonian Institution Press, 1991.
cribed, interpreted, displayed and – in except- Wintle, C. "Decolonising the Museum: The Case
ional cases – repatriated. Objects were a point of of the Imperial and Commonwealth Institutes."
concern, contact and disagreement between Museum & Society 11(2) 2013:185-201.
emerging nations and the former metropole. It
Wintle, C. "Decolonizing the Smithsonian:
was the tangible and the material that forced
Museums as Microcosms of Political Encounter."
museum staff members to conceive of and
American Historical Review 121(5) 2016:1492-520.
respond to a changing world, even if that process
included denial and tentative assent as well as
Dr Claire Wintle teaches History of Art and
enthusiastic acceptance.
Design at the University of Brighton, UK. She is
Working at the interface of politics and museum writing a monograph, World Cultures Collections,
practice also allows us to rethink the political Museums and Changing Britain, 1945-80.

100 Issue 34 / December 2017

Casa da Xiclet Question mark!

Question mark!
Casa da Xiclet Gallery introduces itself to OnCurating.org

“True democracy is not just an institution.

It is also a spiritual exercise or askesis of forfeiture.”
Leela Gandhi

“There cannot be real democracy without a ‘mess’. If we want to be free – all of us free. I
mean, not only some of us – we must not only tolerate but welcome lack of discipline,
‘laziness’, spontaneity, fantasy and improvisation.”
Robert Filliou

“Any hegemony is a dominant rather than a total system; one virtually ensuring –
because of its selective definitions of reality – the coexistence of residual and emergent
forms resistant to it.”
Raymond Williams

101 Issue 34 / December 2017

Casa da Xiclet Question mark!

We are certainly happy to be invited to express our views on a subject that

we see as a crucial one in the field of cultural production: decolonizing art
institutions. But we feel at the same time that our statute is ambiguous in
regards to the topic. Because if we can really be considered an art
institution, it is certainly not in the conventional sense of that word.
Our motivations, activities, and way of doing things are against the idea
itself of what an institution is. We have always worked with disdain
towards the institution idea and their subsequent consequences. We have
not worked with a hateful disdain but with a critical one – critical to the
hegemonic sameness – and with a humorous disdain. Informality was and
is our lingua franca, our antidote or vaccine against institutionalization, a
process that would quickly turn us into a cultural space like any other.
Who are we? Adriana Xiclet is the head of the project, the person that
came up with the idea, the algorithm, the modus operandi of the house.
She counts on many collaborators and friends (including the author of this
text). Adriana’s project is – to put it simply and straightforwardly (but
putting it insufficiently…) – the mixture of someone’s house and art
gallery, the latter being a kind of anti-gallery (since it is democratic, non-
restrictive and having a contaminated ‘whitecubeness’) and the former, a
kind of non-house (since the private ends up turning into public…). A
blend, thus, of house and gallery.
But… Why define it? Why explain the project like that? A project with so
many layers! Maybe decolonizing an art institution begins when we
abandon linear, rational, pretentiously totalizing explanations of what a
given project is or might be. In our case, that makes sense: the European
colonizer brought the specific linearity of its own mindset and society,
foreign to the natives’ spirituality. It is true: I am not an Indian. I am
mestiço. I cannot, therefore, speak on behalf of the natives. I cannot claim
that the logics of Casa da Xiclet is an Indian one. Casa da Xiclet’s logic is
mestiça, informal, anti-institutional. Decolonized? What does it mean, to
function in a decolonized way? This text is an attempt. Casa da Xiclet is
an attempt, for 15 years now. An open process, an experiment, an urge to
say “I exist!”. I exist in my own terms, I refuse to follow predictable,
questionable, square-like, oppressive, top-down guidelines. Inhuman
guidelines. There is many ways of being beyond the establishment and
what it considers the legitimate ones. This is an important premise of de-
colonial thought, isn’t it? Casa da Xiclet wants to exist in its own terms

102 Issue 34 / December 2017

Casa da Xiclet Question mark!

and participate of the cultural programme of São Paulo. To participate in

the production of discourse. To make contemporary art less of an elitist
phenomenon, more open to the world. To question, to participate of the
discussion, of the debate. Casa da Xiclet does participate of the cultural
programme of the city and many times have revitalized it just by being
there as an option, at times when the cultural programme was absolutely
tedious. A common thing, still…
But Casa da Xiclet has no plan to save the world. It doesn’t have this
ambition. Casa da Xiclet simply exists and it’s there. If Casa da Xiclet can
contribute with the discussion of how can we decolonize institutions, is
from the perspective of the following quote:

“Once again today there is an effort to justify the arts politically,

direct them, oppress them, make them serve a cause or a State policy.
It is useless. Free art [...] will always resurface because its ultimate
motivation lives in the depths of the playful soul.”
Oswald de Andrade, The Crisis of Messianic Philosophy (1950)

Casa da Xiclet is this kind of phenomenon – this ‘free art’ that Osawld de
Andrade is speaking of –, and it’s a decolonized proposition in so far as it
is uncompromising. It does not institutionalize itself in alien terms –
where the playful soul would be compromised.
As we said earlier, to Explain Xiclet’s project is difficult… Maybe
fallacious. Thus, we invite everyone to visit or come regularly to our
space in Fradique Coutinho Street, no. 1855, at Vila Madalena
neighbourhood in São Paulo.

LUCAS REHNMAN
Friend and regular collaborator of Casa da Xiclet Gallery

103 Issue 34 / December 2017

Zou Zhao The Apology Workshop

,
& *

! $$


# !#$$
!  (-

#$"%$
$
$#

"!"#$$ 
234
0% /"!"#$$ 1*

 %$$ 

&

!" "*
5346

104 Issue 34 / December 2017

Zou Zhao The Apology Workshop


$
$"# 

#$

' -"
*"*5
:%
+
,#+)%
*'"3
7)
+&*
.&
+
%
*+),#
$,+4
*
&''&*
+&

+&*
.&
.) +
%
*+),#3;

.)%
,
$%
*"*5
: 
+ *
*
+
%&# )#
% +$)
&
+
)&$
&
*'4
+%

-)0&%
*
*'" %6
,+4
.&
*
# *+% %3;


*"4

+
+)
*
.+

%
+&
# *+%
+&4
%
&))
+&
+)%*&)$4
&)
/+#0
&.
#&%
$


#
+&
# *+%3
+
)
+
# $ +*
&
$0
%+, + &%4
# *+% %4
%
$'+03
&.
%

+)%*&)$

%
+

&
&+)*4
. +&,+
)*,#+ %
%
+*
%%  #+ &%3




%
"$"
""#
(
!!$$
 "
!#%"*
$
!"$
%"
!+


%

.&)#
.)4
)+  + &%
*
$ *+"%
&)
!&04
%
*,# $
&)
*+*04
&%+$'&))0
)+

)$ %*
" %''
0
+
&%'+
&
' %6
 %*+
##
&*4
%,) %
' %
*
*%
+&
')&$ *

+
*,# $4
++
*
+
# $ +
&
+)%*&)$+ &%4
%
$,*+

*,)
#&%6
%
0+4
$%

% *
%+&
')+
*&# +,
*
%
$'&** #
$6

)# 14
+
+*
+
',)'&*
&

# 4

+)
*
&%
+
##6
&-$%+4
+
*0$'+&$
&
# 
&%
+
&+)
%
*
$&+ -+

+)&,
&,)
* )
+&.)*
+
+)6
)* %
+
%#)$%+
&

' +0
&)
'#*,)

%#*
+)%*&)$+ &%6
+
*
&%#0
%
+
')*%
&
&+)*4
++
&%
 %*
+
'&**  # +0
+&

&-)&$
+
# $ +
&
++
')&$ *6




%*+
&
''#, %
*&# +,4
%&.
*
+
+ $
+&
)&%* )
&,)
*+)+ *
&
 %<. +<
&+)*4
%*+
&

 %<+&.)*<+6

/'#&)
*+)+ *
&
# *+% %
%
*'4
.) + %4
&)

+
'&*+,) %
&
+
&06
 *
+*"
$,*+
+"
') &) +06




#$"%$
$
$#

"!"#$$ 
234
0"(

 &"
# 

 %
 1

&%* ) %
+
,#
(,# +0
&
)')*%++ &%5
')&/0<*<*'" %<&%<#
&4
%
'&)+) +,)<
*< $4
')+  '%+*
 *+) ,+
+
.&)"#&
&

.) ++%
+)%*) '+4
*&$+ $*
+ %

-& 
%
*+,)*6




#$"%$
$
$#

"!"#$$ 
235
0

*
"
*
"#
'*
 
'

*
 %
 1

105 Issue 34 / December 2017

Zou Zhao The Apology Workshop


!  (
 "# !.

!  )
$
 %

 "# !


'&#&0
&)"*&'
+"*
&%
%
%(, * + -
$+&
+&
%#014
%
%+)-%
%+&
+
) +,#*4

 +*4
%
&0
+% (,*
&
+
06


+
*
%+)*+
%
+
.0*
%
. 
.
/')**
))+4
%
*$
+)&,
+
'&#&04
*

&$'#/
$&+ &%
)
)+ #
)&,%*
&)
&##+ -
+)%*&)$+ &%6
 *+ %+
)&$
+
%&# )#

&%*%*,*4
++
.&)"*
+&
)$&-
&
*'*
&
),$%+*
%
&%-)*+ &%*4
+
'&#&0

+) -*
&%
"%&.# %
 )%*4
%
&*
%&+
*"
&)
,% +06

)+ %
&
%
'&#&0

)(, )*
) &)&,*
+)+$%+
&
+*
&%+%+4
%
+*
+ -%**
*
 )+#0
- %+
%
-%+*
&

+
-)006
+
*
%
%) #0
&%&$ #
- 
+&
))*
&)
$')&-$%+*4
%

** #
&)
%+)-%+ &%6



'&#&0
.&)"*&'
*

*$ %)
++
 $*
+&
 **+
+
*+),+,)
&

.##<)+
*$'#

'&#&0
%
&))
+&
*
# +
&%
+
) * *
++
*
+
*++
&
&,)
'&#& *
+&06
+
*


#**)&&$
&)
+
)+ *+4
.)
')+  '%+*
)
%- +
+&
/$ %
+
')&'&*
*+),+,)
&
%

'&#&06
+
*

))*#
)&&$
++
%- +*
&)

&##+ -
 +
&
+
*) '+
,* %
+
*$'#

'&#&06
+
*

++)4
.)
+
)$
&
 %#
 +*
*
')&)$
&)
+
',# 4
%
&)


&+)
. + %
+
##)06



)&,
+
%- ++ &%
+&
#+)
+
*) '+
&
+
*$'#
'&#&04
+
.&)"*&'
&'*
+&

%+)&,
+*<
%
#$%+
%+)#
+&
+
&)$+ &%
&
*& #
)#+ &%*6

')+  '%+*
)

%&,)
+&
,*
+
)+ *+
*
+
&!+
&)
))*#
='&#&0
+&
&,
&>6

&.
&
.
'&#& 1
+&
&%
%&+)4
%
&%
.+
)&,%*
&
.
'&#& 1
+&

&+)3


++$'+
+&
.) +4
%
))*
&,)
&##+ -
'&#&0
. ##
)-#
+&*4
%
'+&*
&
&,)
+ $6



'&#&0
*
%
&,*
)6

.##
)+
'&#&0
/$'#  *

&'
&)
)&% # + &%4

$)) 4
%

')&$ *
+&
# *+%6
+
)(, )*
+
*+),+,)
&
)')*%++ &%4
=&)
&%
&,#

&%#0
'&#& *
&%
#
&
%&+)4
-%


 )%+
-)* &%
&
+
*#>4
%*
&
%


=$&+ -+ &%
&)
+
+ &%
+&
'&#& 1
&)>4
$&+ &%#
%+## %
+&
)
+
# %*
%

++ +,
&
&+)*4
%
%
+ -
$&
&
)**7

$"%$%"


!  (

%
'&#&0
*&,#
&
+)
+ %*
+
&%6
 )*+4
+
*&,#
#) 0
+
$&+ -+ &%
&

')- &,*

+ &%6
+
*
%
**%+ #
+
%*
&
%
+ &%6
&%4
+
$,*+

#
+&
)**
+
',# 

0
')')* %
+
# %*
&
+&*
+
*"*
+&
*'"
+&6
%
& %
*&4
+
$&%*+)+*
+

#&,)
&
# *+% %4
%
)*,#+%+
+)%*&)$+ &%6
 )4
+
')&'&**
%
$
&)
,+,)#

)&% # + &%6



*,**,#
'&#&0
+,*
"%&.#*
+
,)+4
+"*
)*'&%*  # +04
%
"%&.#*
+*

&.%
'&* + &%
&
') - #4
. #
%* *+ %
,'&%
**)+ %
%
$
&)
)&% # + &%6
%
+*
&.%

-)* &%
&
,+&' 4
+
)**
*
%+)'##+
%+&
+
%))+ -
&

' +,)6
%
*&)+4

&&

'&#&0
&%* *+*

&&
),$%+4
*
$
%
',# 4
%
*

)*
&,+
&)
%&+ + &%6



.##
)+
'&#&0
/$'#  *

&'
&)
)&% # + &%4
$)) 4
%

')&$ *
+&

# *+%6
+
)(, )*
+
*+),+,)
&
)')*%++ &%4
=&)
&%
&,#
&%#0
'&#& *
&%
#
&

%&+)4
-%


 )%+
-)* &%
&
+
*#>4
%*
&
%

=$&+ -+ &%
&)
+
+ &%
+&

'&#& 1
&)>4
$&+ &%#
%+## %
+&
)
+
# %*
%
++ +,
&
&+)*4
%
%

+ -
$&
&
)**7

106 Issue 34 / December 2017

Zou Zhao The Apology Workshop


#

!

&


)
#

**
%


%

%

%

('

**




 
 


 
 '




#'

**




 
"
'



)4

')&0
&
+
+)%*#+&)6

)%*#+ &%
*
$'&** #6

,)
)#+ &%* '
. +
8')*%+<%**94
%&.
'%*
&%

*&%6

 #$$
&$*
$&)
,+6



4












 6


 


4





6



.&$%
. ##
#+)
'')
+&
,*
+)&,


*&%6
&)%
#%,9*
++$'+
+&
 ')
)

%,%*
',+*
,*
&%

*'&+6


**%

%




 
"
'



 


'


#



"'

&.4
$0
+*"
*
+&
'+,)
+
+&,+
%
&%

#%,4
%
+
)# +0
+
# $*
+&
',+
&)

$4
%
+%4
/')**
+
%

.0
&' %
++
0&,
. ##
,%)*+%6


**%

%




 
"
'



 


'


#



"'


'#0
')&#$+ 
*' )+ &%
&$*
+

&%)%
&
&,)
,))%+
&%-)*+ &%6


0
 $
+&0
*
$)#0
+&
')&-&"

# %
&
) # +04
*&$
*&)+
&
&%*%*,*
+.%
0&,

%
4
%
%&+ %
$&)6
%
++
))4

+ %"
.
)
& %
#) +6



)*+
%
. +6

)*+
%
. +2

&
0&,
. ##
*

',*
&%
,)+)
)6
,+
+
*
%&+
. +&,+
+
,%,*,#
%* *+%
++
*
+

+)%*#+&)?*
&%-%+ &%#
.)% %
%
'&#&06


%
+%4

+"
+
# )+06

$&-
&%6


** 


 %
  
#'

"


"



$

"




"
# $

**%



%



"
'

"
#
 

'



 4

 
 
  




 

2

107 Issue 34 / December 2017

Imprint
Issue 34 The Oncurating Project Space is supported by

Publisher
Dorothee Richter

Co-Publisher
Ronald Kolb
Oncurating.org is supported by
Editor
Ronald Kolb, Dorothee Richter Postgraduate Programme in Curating, ZHdK
(www.curating.org)
Contribution
Giovanna Bragaglia PHD in Practice in Curating,
cooperation of ZHDK and University of Reading,
Artists Contributions by supported by swissuniversities
Maria Thereza Alves, Song-Ming Ang, Priscila
Arantes, Stefan Baltensperger + David Siepert, Institute for Cultural Studies in the Arts (ICS),
Fabiana de Barros, Mabe Bethônico, Flavio Department of Cultural Analysis,
Cury, Jimmie Durham, Gabriel Flückiger and Zurich University of the Arts (ZHdK)
Vera Leisibach, Hikaru Fujii, Szuper Gallery,
Patrick Hamilton, Ana Hupe, Balz Isler, Daniel
Jablonski, Kai Fong Pai Dong, San Keller,
Astrid S. Klein, Marinka Limat, Nkule Mabaso,
Filippo Minelli, Lisl Ponger, Raghavendra Rao K.V.,
Roee Rosen, Sally Schonfeldt, Katrin Stroebel
and Simo Laouli, Túlio Tavares, Navid Tschopp,
Maíra Vaz Valente, Claire Wintle, Casa da Xiclet,
Zou Zhao

Curatorial Team
Giovanna Bragaglia, Emilie Bruner, Ronald Kolb,
Miwa Negoro, Swati Prasad, Dorothee Richter,
Silvia Savoldi, Regula Spirig, Laura Thompson

Cover image: Outtake from Roee Rosen,

Justine Frank, 1900–1943

Proofreading
Stephanie Carwin

Web Design and Graphic Design Concept

Ronald Kolb, Biotop 3000

Graphic Design Issue 34

Ronald Kolb, Biotop 3000

108 Issue 34 / December 2017

ONCURATING.org is an independent international
journal (both web and print) focusing on questions
around curatorial practise and theory.

ONCURATING.org
Toni-Areal,
Pfingstweidstrasse 96,
8005 Zürich
info@oncurating.org
www.on-curating.org

For advertising options please visit

our website and get in touch!

Supported by
Postgraduate Programme in Curating, ZHdK
(www.curating.org)

PHD in Practice in Curating,

cooperation of ZHDK and University of Reading,
supported by swissuniversities

Institute for Cultural Studies in the Arts (ICS),

Department of Cultural Analysis,
Zurich University of the Arts (ZHdK)

109 Issue 34 / December 2017