TALKININKAI / CONTRIBUTORS
|A NUMBER (13) /// The dOCUMENTA, the hEGEMON|
|Written by Ali Emas & Matze Schmidt|
"commoning" ("Liebe Bewohnerinnen und Bewohner Kassels / Dear Inhabitants of Kassel") before or after Detroit or Buenos Aires (?) and the local motley Living Without Armament Group fixated on Panzer will be able to hand out home-baked Cookie Tanks under this umbrella in Europe's first theatre building in history, despite the fact of approx. 12 million dependent on state transfer payments in the FRG and June-September means no holiday at this point, despite all the activist's interconnectivities and the benefit for the town (who's town?), despite the hot summer drinks and the Nothern-Hesse Hotel Occupy Movement and "Kabul could be Kassel", despite some want to be part of it plus the matter that 13 is the number after 12 and before 14 and we are suspicious but not superstitious, will this be bad luck when it's in the end free riding little rat-shops, cheap cheating copycat stores and temporary homes in the dirty parts of the postwar and prewar inner "City" without any right to the real city after such de-reconstruction, selling non-profitcultural glitchč (Klitsche) stuff or fake residencies without any subsidies overworking in self-exploitation?
And who is this omnious "we" anyway? Besides this ontological questioning: As we know the Hegemon functions similar to a Block (Gramsci). The block must not necessarily be a politicial party (Gramsci's terminology was camouflage paying attention to the censor) but, embedded actor–network relations given, the great _it_ of the Hegemon is based on this projection of identity and hallucinates itself being able to incorporate any other smaller or weaker block or at least to till the field and leave traces ("Beuys Stones",
»Men Walking to the Sky« in several front gardens of Kassel suburbs) and to spur the echos of former and new prosperity. This leading walking to the sky is certainly not to be indentified with the offspaces's "Off". At the end of the tube there is no Anti-Wall Street Party heaven waiting, there is the spirit of a citizen of honour waiting: August Bode (not Arnold Bode), the "ingenious designer". The first German tank in the so called World War I, the "Kolossal Wagen", was a job for Wegmann & Co. In other words, any gap of social interaction in the district out there can be filled with bullets of anti-voids. Such anti-void is common in
this town. Horrors of rememberances may be filled utterly with objects of significance.
As the striving for leading the community indicates differences in social class structure art takes the lead as mediator between the classes like Polaris announces in a re-interpretation of the fameous scene of reconciliation in _Metropolis_(Director: Fritz Lang). The movie was celebrated by members of the local educated class last (Bildungsbuerger) year -- the look and feel of the FRG's socio-futuristic message which pleads for a paradox ignorance in knowing, that Bildungsbuerger, the middle classes are aware of economic inequality only they see just a "gap between rich and poor", that's how assets are rephrased into social capital. A real couch in terms. In strange concidence with the notorius Agenda 2010, which is Germany's austerity programme since 2004, a nearly complete copy of _Metropolis_ has been found in Buenos Aires in 2010. TJing this fact with the ideology of reconciliation the whole project can be considered the rediscovery of class-compromise, a project endangered middle classes like most. "Culture for all" (Social Democrats) turns out to be the positivist slogan of the ruling close to the "Artistic pragmatism" of Artur ˇmijewski by
which the group in the middle between right an left helps itself out. "The interest of the state becomes the interest of its Biennials (...)." When the state succeeds to bind civil society's powers and buttom-up forms it (he or she?) wins in every sector. And if the state succeeds to shape and sculpt social contradictions into disarmed paradoxes it prevails ... its rhythm can take the shape of racist protest: "I can't pay no doctor bill.
(but Whitey's on the moon)". So d'accord with Rosa Perutz, the struggle is about "development of self-organised structures" and not "spectacularisation" -- nevertheless critiques on a as-such-spectacularisation following the SI guarantees a global but German career in the subsidised art-"world".
Imagine beeing a PHD-student or post-graduate from Greece payed by some XY-Archive or some ABC-mediale in Berlin (literally ) dealing with a theory of money ... what an academistical joke. But yet and
anyhow the "partaking"-argument Haben und Brauchen champions in the capital is in fact begging but demonstrates ideas of a re-socialisation in contrary to the existing agenda of the administrations and shows an internalised state pateranlism: "(...) the art market alone does not provide a sufficient economic basis
for the future life of contemporary art in Berlin. (...) the city must join in taking responsibility for that arena's [Berlin's art, whatever that is] economic requisites." Shall this happen in every city for every social field? And who defines this art on what basis of criteria? Remember Hans Heinz Holz's demand for criteria in the documenta 5 catalogue. Is the relationship of aesthetical overproduction and overpopulation understood? Are self-organised structures better than the spectacle and if so why? Where does the money for such responsibility come from?
One can find the call for "financial stimulus" in Frankfurt/Main, Hamburg, Goettingen, Kassel etc. To word a word: A crisis finds its victims who oppose sacrifices. "A ban on speculation" would mean to halt normal capitalism in terms of private poperty, back to an old false social compromise and the handshake of postwar-times, times of prosperity and the beginning of the German classless society. These organised want regulation and needs reflection getting »art-fare«.
Body & Brains: Bakers shall never exploit bakers
Cities like Berlin and Prague are full of these prosper tingings. Berlin "has got 70.000 artists, am I the one who becomes the 70thsd-and-1?" As facebook became almost the modern-modern marketing medium-tool for the self in the Post-Fordism of the global(ised) cities vulnerables must "like" the mini-businesses of their "friends" on penalty of social ruin. Talks about "abuse, corruption and exploitation in the (...) world" -- the "art world" -- also ethics like "artists should not exploit artists" deny a plain truth of the Body & Brains as commodity but pursues apparently a New Deal for cultural workers. To have and to need under current conditions is to be and to produce against the needs. We appreciate this cry for non-alienated work and living conditions but the criticial standpoint of Haben und Brauchen accepts the make-up of marketing. It has to, as long as even the smallest petit bourgeois grounds are not lost. And they accept the NLP of corporative "Surfing Systems" for small profit and subsistence and competence in concurrence and tempered
competition. Renting a space (white cube, gallery, playground) and selling time is the consequence of the gulf in the cultural sector in concrete terms. To work with this chasm supports the category of culture itself and therefore the order. Is it only state driven performances acquire another asset namely the critical art freed from hard/real/true subsistence (artisanism), free (and neo-fine) from that reason? Fuck Fucking Good Art. The ethics of subsidy not only abnegates the existing border line market on the edge of art markets and funds, it can not negate its own funding and must suppress the sourcing of its sources in a blockout. All earnings for academies, departments, associations and clubs originate firstly from funds in the end funded by surplus (unpaid) work in the profit making sectors. This is where the debating of topics of the beauty and
ugliness of money (discourses) requires a socket for the "operating system" (compare footnote 23).
The POT of the ">top e.V." by way of example and to make an example is a fake money pot. The persons are running and running an impossible space with and against the bigger event. Running in Kassel
a few days before the "d" offers insights: according to new official poster campaign visitors must be blind and need quick response code readers to see where the art is. According to an older but secondary poster campaign by the municipality local culture is unseeable too but everywhere and thus has to be branded, marked, signified in alarm colours. Strike is not allowed (German Works Constitution Act prohibits political strike anyhow, ... if artists were unionsed). The red and white stripes speak. The semiotics of the barrier claim a culture zone, the reactionary T.A.Z. In the zone all is possible -- culturally. But the zone is no longer particular anymore. We don't write about museification of the public. When culture is everywhere one doesn't need any museum or barrier, the barrier became an abstract sign, the museum became a factory or at least the non-democratic refunder of the worker's and service provider's capitals only legitimised by ruling networks. The Fridericianum, the negative museum, is the perfect cast for this fatalistic theory of a
Without-any-Outside. It is the socket for the OS-Hardware. Spectacularisation in the name of a power from above (underneath, alongside, "in us"?) masked (?) with self-organised bottom-up look-alike structures dares to attack this temple.
This spectacular Hegemon does no longer match Gramsci's notion of a position warfare in civil society, it's fluid. As One of the first public museums on the continent this building was representing the classicistic enlightended Europe (1768/1769), the very model of knowledge and literacy of the citoyen and the contrat social -- it now can be regarded as an eye and senses catching upgraded machine that attracts attention for a new unification, for "a social relation among people, mediated (...)" a ...
POT = Point of Tale for the "Ecology of Culture"
DIY everywhere, self-organissation everywhere, spectacles criticizing spectacularisation -- the ubiquitous culture unseen but public related, the European championship, the political football? The mask though, see above and footnote 23 again, is Make-up, an integrated persona and personification with nothing behind now forced into activism entertaining you like any William. Spectacle speaks as money speaks, it says: I am no spetaculum and you are no speculator, this is everyday life. Adjust! In her text "Ausser Controlling" (Outside of Controlling) Carmen Moersch complains about bureaucratic life-forms. These are not absolut as such by now but function like positive interventions or Dazwischenkunft (In-Betweenness), as mediator for social circumstances designers say. In 2007 at the documenta 12 Moersch exposed a post-re-colonial verbal gesture by adressing Kassel citzens with: "We are looking forward working with the population" After September the culture as secured culture telling this tale never came back again personally. The selfmade space, any space is an im-possible space in terms of geo targeting a prosper township with a 15,5 per cent Poverty Rate only[34 1/2]. The "Ecology of Spirit" and Culture and the "image pollution", both
proclaimed by Carolyn Christov-Nakargiev, tell distinction, order and cleanliness in controlling via aesthetics. Pecunia non olet. Still VW is as clearly a German undertaking as the Documenta is. Any
Europeanism has to be analysed towards a Germanism in Capitalism. For a t-shirt: German-centric Policy = d13.
Collapse and Recover!
And if its still masks, is this visage of sustainability diversity post-coloniality the unidentified character-mask of this non-concept-conceptand face of the "I don't know"? A non-totalitarian approach of pretended indifference rolling back to closed (Heiderggerian?) contexts? Who were those of a Kassel factory who
set a failed workpiece right into the documenta's parcour and had to face incorporation of the piece to the list of works like some Henry Moore? What's the difference of work and work here?
After Germany's Renaissance from 1948 on the parole was Collapse and Recover! At this point a reading of _The Wages of Destruction_ may help to explain how the Reich actually won the war by collapsing the fiend and recovering itself. Besides the traces of the so called Second World War in the city of Kassel (the inner city was bombed and destroyed by nearly 100 per cent!) the Documenta rebuilds since ages the latter, the self of the Volk (and its Wagen) while -- in Heidegger style -- breaking down all breaks with this circuit. Madonna's devil horn hand is a victory sign. Or for who may read sociological German:
"Das détournement ist laengst detourniert und Bestandteil der Massen-Hochkultur, deren (politisierte) Produzentinnen, Freigesetzte und Lohnarbeitslose, davon traeumen, eine Verbindung herstellen zu
koennen, zwischen ihrer "Arbeit" am Sozialen -- die sie fuer eine Poesie der Gesellschaftsgestaltung halten, ohne mit ihrem kuratorischen, in-determiniert distinguierten "I don't know" je die Eigentumsverhaeltnisse anzutasten -- und dem ganzen Rest, der fuer sie die unerreichbare Wirklichkeit ist, die sie absaugen, innerhalb derer sie ausgesaugt werden, zerr-finanziert aus den Fonds der (im Sinne des Kapitals) produktiven Sektoren, welche ihnen voellig fremd sind und daher um so mehr zur Projektionsflaeche ihrer
Unerfuelltheiten dienen, die auch deshalb unerfuellt sind, weil die Lumpenkreativen spueren aber nicht weg- und wettmachen koennen, was die Differenz zwischen ihrem Spiel auf Honorarbasis und der wirklichen Umsetzung und Realisierung der spielerisch-produktiven, herrenlosen nicht-anarchischen Produktivitaet ausmacht ..."
(HAUPT STADT KULTUR FRONT)
When reproducing the matter within critique can be distunguished from criticising the matter through its representation spectacle-spectacle says: Be critical, I will filter. Let's rock.
 Stephan Balkenhol. HNA, 9. Mai 2012. Druckausgabe / HNA Newspaper, May 9, 2012. Printed Edition.
 Rumors say hotels are booked out in Kassel during summer.
 Carolyn Christov-Bakargiev (?).
 A beautiful line of conspiracy could even be found in Fritz Rasp's role in the movie: He's reading the Metropolis Courier 13 while watching the boss's son. http://media.coveringmedia.com/media/images/movies/2010/05/16/metropolis_01.jpg
 "Trust your Angst" by http://perutz.copyriot.com. Žmijewski is the anti-curator saving the arts as art who believes that simple local non-independet solidarity is a solution to the economic crisis: "If you have a kitchen constructed by you, where soup or simple pasta is cooked thanks to donated food - precisely this is an economical answer." "Occupy Amsterdam Does the Revolution Need Revolutionaries, or Does It Need Artists as Well?" in: _What can Art do for Real Politics?_. Camera
 Gil Scott Heron, who one year before his death boycotted playing Tel Aviv because of Israel's apartheid. However is the boycott of Israeli products that has to be justified as an act against a state in war and the phantasies of changing politics by means of cosumer-power widespread in specific stratums in civil society.
 1st ArtLeaks Working Assembly 2012.http://www.facebook.com/events/176353445826756
 This was the title of a Kasseler Kunstverein exhibition in the late 1990ies, the ironic and therefore true handshake of esthetic "operating systems" (art was willingly indentified with this term in those days) with the established and art as unquestioned authorized sector of the emerging new order of a post-coldwar Mid Europe Society. With this strategy the "Art Club World" was only stepping on the pathways of the Neue Mitte -- a mask of under-critical thinking and acting per reinventing that very institutional plot, a 'free' neo-fine arts as a pre-form of patronaged cultural anti-industries which balances the market (in comparison to cultural industries) so well and helps to preserve the cultural state or to be little more precise the State of Culture (which has other tasks than the State of War for instance ... really?).
 "Ueberall Kultur (Culture Everywhere)"
 "'The model of the Heterotopia as location (topos) in a field or sector which is until now not fully occupied by the power of the democratic state and its commando is paradoxically the core content of the cultural agenda of the state.' (Michel Foucault ?)" From an unpublished script for a programme on aesthetical production and (political) economy.
 "Mediated by images". Guy Debord. _The Society of the Spectacle_, theses 3 and 4. See: http://www.n0name.de/news/news137.txt
 Compare top e.V.'s Tagline-Rotator on the project webpage (http://pot.top-ev.de.), it's a database based WordPress Plugin which randomly and content-hybridly selects selected (!) lines.
 Carmen Moersch. "Ausser Controlling. Kuenstlerinnen in der Kunstvermittlung." in: _Kulturvermittlung - zwischen kultureller Bildung und Kulturmarketing -- Eine Profession mit Zukunft_. P. 217. Somewhere else (HNA. Newspaper, 2007?: "Wir freuen uns darauf, mit der Bevoelkerung zusammenzuarbeiten" (Carmen Moersch).
[34 1/2] See "Suche nach regionalen Armutsquoten (Search for regional Poverty Rates)" with the Armutsatlas (Poverty Atlas) http://www.forschung.paritaet.org/index.php?id=armutsatlas&no_cache=1
 A secure*d* culture can by no means be understood as _secure_ culture. It is uncertain, sieged by all what's not culture.
 Carolyn Christov-Nakargiev in: HNA. Newspaper. "Volkswagen wird Hauptsponsor der documenta 13 (Volkswagen becomes main sponsor of the documenta 13)", 13.04.2012. In 2007 it was Saab.
 Christov-Nakargiev, dOCUMENTA 13.
 Artur Zmijewski, 7. Berlin Biennale.
 The artist makes the art, art makes the artist.
 Adam Tooze. _ The Wages of Destruction: The Making and Breaking of the Nazi Economy._ http://www.amazon.com/The-Wages-Destruction-Breaking-Economy/dp/0670038261
Ali Emas & Matze Schmidt, Kassel June 3, 2012