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Printed Project

Printed Project

Issue 6: ‘I Can’t Work Like This’
Curator / Editors: Anton Vidokle and Tirdad Zolghadr
124 Pages
ISSN 1649 4075

Printed Project is pleased to announce its latest issue with launches in Dublin, Madrid, and Berlin.

Entitled ‘I Cant Work Like This’ and co-edited by Anton Vidokle & Tirdad Zolghadr, Printed Project Issue 6 includes varied contributions that take as their starting point the notion of failure – in particular how to reassess failure in a context of ‘cutting defeatism’ among among artists, writers and curators.
Please join us for launch dates in:

DUBLIN
15 February at Project, Essex Street 6 – 8 pm. Contact: jason@visualartists.ie

MADRID
18 February at ARCO 5th International Contemporary Art Experts Forum, Room N-108 / N-113 / N-114 / N-115. 5 – 6 pm. Contact: ana.alvarez@ifema.es

BERLIN
24 February at the unitednationsplaza, Platz der Vereinten Nationen 14a, 8 – 10 pm. Contact: magdalena@unitednationsplaza.org

Printed Project
Issue 6: ‘I Can’t Work Like This’
Curator / Editors: Anton Vidokle and Tirdad Zolghadr
124 Pages
ISSN 1649 4075

Contents
Natascha Sadr Haghighian Front and Back Cover Design
Sarah Pierce Our Failure to Disagree
Anton Vidokle & Tirdad Zolghadr A Disagreement
Anselm Franke The Grudge
Maria Lind When Water is Gushing In
Adrienne Goehler United Nations Plaza: The Toast
Martha Rosler Transition and Digressions – an on-going series of photographs
Liam Gillick The Winter School – A Fiction Towards Documenta X
Liam Gillick Selected Transcription from Talk at UN Plaza, Berlin, 2006
Diedrich Diederichsen The New Ugliness of the Oppressed vs The Oppressed as Ornament
Ingrid Serven Oh God, She Said, Talking to a Tree
Fia Backström Herd Instincts 360°
Joseph Cohen Berliner Vortrag
Hans Ulrich Obrist The Agency of Unrealised Projects
Tirdad Zolghadr Epilogue. But You Promised
Tom Holert Surviving Surveillance? Failure as Technology
UNP Staff I Can’t Work Like This: A Written Assessment

“The decision to invite Anton Vidokle to edit of Issue 6 of Printed Project arose out of events that took place in June 2006, when the city of Nicosia cancelled Manifesta 6 and terminated the curators’ contracts, a move that is virtually unheard of on this level. In July, during a heat wave in Dublin, in the casual banter that precedes this type of meeting, Printed Project’s editorial panel shared our disbelief, relaying to one another various sources of speculation. The idea arose to use the next issue of Printed Project to document this controversy, in hopes that this would allow some public entry into the decision. However, this approach would contradict our editorial mission: to support guest editors through an open platform in the form of a printed publication with no prescribed theme. We decided that an appropriate response to Manifesta’s cancellation would be to invite one of the curators to do anything they wanted. In effect, to offer a platform where one had been str
ipped away.

Anton invited Tirdad Zolghadr to co-edit the issue. It is important to mention that many of the contributions here are based on the opening conference called ‘Histories of Productive Failures: From French Revolution to Manifesta 6’, which took place at the unitednationsplaza, Berlin in October of 2006.”
(From Our failure to Disagree by Sarah Pierce, in ‘I Can’t Work Like This’ Printed Project : Issue 6)

Printed Project is a journal published by Visual Artists Ireland. It is an ongoing collaboration amongst artists, critics and curators, writers and readers devoted to making sense of contemporary art and culture. Printed Project is published up to three times a year and is edited on a rotating basis by invited curator / editors. It gathers and presents thought and opinion on issues and arguments that enliven dialogue and debate on art and the wider culture of our present day. With Printed Project Visual Artists Ireland sets out to meet the need felt within an expanding art industry for a not-for-entertainment art publication. Simple and modest in design and production the journal brings the best of comprehensive thought to bear on present art practices and on the shared consequences artists and audiences face as our culture backs into the future.

Printed Project is available at selected bookstores world wide and online at http://www.printedproject.ie

For more information go to: http://www.printedproject.ie

KUNSTVEREIN IN HAMBURG

THIS PLACE IS MY PLACE – BEGEHRTE ORTE (DESIRED SPACES)
Upper floor
Yael Bartana, Ursula Biemann, Armin Linke, Dan Perjovschi, Marjetica Potrc,
Sean Snyder, Yuk King Tan
27 January–6 May 2007

Insert 1: who
Lower floor
27 January–11 March 2007

Insert 2: The Israeli Center for Digital Art Holon
Lower floor
24 March–6 May 2007

This Place is My Place – Begehrte Orte (Desired Spaces)

The exhibition This Place is My Place - Begehrte Orte (Desired Spaces) combines works by seven international artists who explore the economic, social, political, and cultural impact of globalization. According to Antonio Negri and Michael Hardt’s seminal workEmpire, we are in a new phase of capitalism characterized by postmodern lifestyles, postfordist relations of production, and methods of sovereignty based on the society of control. Against the backdrop of these developments, national boundaries are increasingly being relativized by the economic activities of transnational corporations. The appropriation of space takes place both concretely as the seizure of territory, and symbolically through the expansion of spheres of influence.

The following questions are central to the exhibition This Place is My Place -
Begehrte Orte (Desired Spaces): How do artists today relate to the phenomena described?

How, for instance, do they react in their work to the politically or economically motivated
occupation of land? The art projects presented in the exhibition explore, among other
things, the impact that transnational corporations have on local cultural and
economic systems, and the migratory movements induced by globally operating concerns. Some of the works examine the ways in which architecture and urban planning in the megametropolises have changed, and how this effects the social situation of their inhabitants. Thus, for instance, architectural hybrids resulting from the collision of different architectural languages and economic resources are to be seen in the exhibition. The confrontation between cultures and between economic systems is also reflected in those installations that deal with news coverage in the media. The deliberate use of cliché and the manipulation of how events are presented reveal more about the intentions behind film and newspaper reports than about the reality of the events in question. The distinction between fiction and reality collapses in these works to provide a fitting illustration of the equivocal relations that characterize our age.

This Place is My Place - Begehrte Orte (Desired Spaces) is a comprehensive exhibition and presents works in the media of film, photography, installation, and murals. It embraces the entire 1,000 m2 of the main exhibition hall on the upper floor of the Kunstverein.

Curator: Yilmaz Dziewior

INSERTS

In the year 2007, alongside its regular program of exhibitions and events, the
Kunstverein will be presenting so-called “Inserts” in various presentational spaces
on the lower and upper floors. These autonomous projects will run parallel to the
main exhibit at any time, and are not conceived as a commentary on or as an
accompaniment to the latter. Six different, evolving Inserts will be presented, each for a
period of five weeks. Varying in format, they will deal with themes at the interface between art and sociopolitical issues.

The series will begin with an informal sequence of one-week exhibitions and
events involving local and non-local artists, musicians, and performers invited
by carldefuenf. Following on from this, the Israeli Center for Digital Art (Holon, Israel)
will be introducing itself with a series of events and presentations. The Federal Agency for Civic Education in Germany is planning an Insert, as is the “Hamburg Project Group” who, in the context of their Insert, will be publishing a new edition of their
Journal for Northeast Issues Art and Related Disciplines. In a further Insert,
Tobias Berger will introduce artists and experimental, independent art institutions
from the Pearl River Delta area of south China, the biggest manufacturing center in the world.

In collaboration with institutions in Dresden, Olaf Nicolai is developing a special display
for artworks and design objects of the 1950s and ’60s as part of his artistic production.

Concept: Yilmaz Dziewior

Insert 1: who

“The who is an enclave. In a loose handful of sentences carldefuenf (Hamburg painter and disc jockey) are extending invitations to persons / subjects? temperaments / circles? close to them or whom they admire to exhibit or perform in the lower floor exhibition space which will be uncoupled from normal business for six weeks, not least through entrance being effected via the rear door at the parking lot.” (carldefuenf)

Curator: carldefuenf

Insert 2: The Israeli Center for Digital Art Holon

The Israeli Center for Digital Art was founded by Galit Eilat in the Holon industrial
zone on the outskirts of Tel Aviv in 2001. Since then, the Center has mounted
exhibitions with politically committed Israeli and international artists working with web-art, video, photo, and animation. In its activities the Center examines the options open to art institutions for reflecting on and responding to the conditions underlying culture and politics.

How can an art institution produce culture, develop a critical stance in the face of violence, terror, autocratic power and governments, and protect the sovereignty of the individual from state repression? National identities and cultural exchange play a significant role in this process.

In addition, exhibitions, conferences, and workshops, both in and outside Israel,
examine possibilities for creative communities to interact and collaborate with a
view to comparing experiences and subverting regional barriers. Insert 2: Israeli
Center for Digital Art at the Kunstverein in Hamburg was conceived in close collaboration between Eva Birkenstock (Kunstverein Hamburg) and Eyal Danon and Galit Eilat (The Israeli Center for Digital Art Holon).

Curators: Eva Birkenstock, Eyal Danon, Galit Eilat

KUNSTVEREIN IN HAMBURG
Klosterwall 23
20095 Hamburg
Tel. 0049 – (0)40 – 33 83 44
Fax 0049 – (0)40 – 32 21 59
hamburg@kunstverein.de
http://www.kunstverein.de

For more information go to: http://www.kunstverein.de