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perjovschi dan on Tue, 17 May 2005 21:52:12 +0200 (CEST)

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[Nettime-ro] se deschide stuttgart-ul

imagini si detalii la www.wkv-stuttgart.de/presse


Württembergischer Kunstverein Stuttgart


On Difference #1

Local Contexts #8211; Hybrid Spaces

May 21 #8211; July 31, 2005




Hans D. Christ / Iris Dressler

in co-operation with

Babak Afrassiabi / Nasrin Tabatabai [Pages Magazine], Rotterdam 

Daniel García Andújar [e-valencia], Valencia 

Ciprian Muresan [Version Magazine], Cluj 

Zoran Pantelic / Kristian Lukic [kuda.org], Novi Sad 

Dan und Lia Perjovschi [Center for Art Analysis], Bucharest 

Lucien Samaha [Arab Image Foundation], Beirut 

Stefan Tiron / Vlad Nanca [2020], Bucharest 


further contributions by

Apsolutno / Negar Azimi / Lara Baladi / Yto Barrada / Slavko Bogdanovic / Mirela Brezoi / Eduard Constantin / Stefan Constantinescu / Angela Detanico / Rafael Lain / Duo van der Mixt / (3 Group / EastArt Map / Eastwood / Harun Farocki / Andrei Ujica / Luka Frelih / 

E((o Group / Ion Gricorescu / February Group / Fouad El Khoury / Ion Godeanu / KoD Group / Vladan Joler / Bahman Kiarostami / Katalin Ladik / Cezar Lazarescu / Mohsen Makhmalbaf / Mohammad Hassan Malekpour / Gelayol Mosaed / Nita Mocanu / Rasouli Nejad / Ioana Nemes / Bogdanka Poznanovic / Walid Raad / Slavko Radojicic / Ali Reza / Catalin Rulea / Maani Petgar / Cristian Pogacean / Mihai Stanescu / Slobodan Tisma / Cedomir Drca / Attila Tordai / Gabriela Vanga / Mircea Cantor / Tibor Varady / Akram Zaatari

and others


Contexts and background

>From May 21 to July 31, 2005, Württembergischer Kunstverein in Stuttgart is presenting the first exhibition in the two-year project "On Difference" initiated by the two new directors Iris Dressler and Hans D. Christ.

Between 2005 and 2006, in two exhibitions, film programmes, workshops and series of lectures, "On Difference" will focus on the local contexts and networked spaces of action of contemporary art #8211; particularly in so called "non-western" cultures. At several different levels, "On Difference" sets out to reflect on artistic productions from Eastern Europe, Asia or South America against the background of specific local and trans-local contexts. 

"On Difference" does not, however, deal with the difference between cultures. The focus is rather on heterogeneity within various cultural contexts, exploring them not as static entities but rather in their movements and shifts. On the one hand, "On Difference" spotlights the open network structures and communi-cation formats of contemporary art #8211; Internet fora, magazines, archives, etc. #8211; and on the other hand a related critical art practice that takes a stance on political and societal developments. 

While the thematic and formal concept of "On Difference #1" (2005) will be developed in close co-operation with artists from Romania, Serbia (Monte-negro), Lebanon, Iran, Spain, the Netherlands, and the USA, "On Difference #2" (2006) is evolving on the basis of an exchange with curators and institutions from such regions as Hungary, Slovenia, Bulgaria, South Korea, Turkey, India and Brazil. The series of exhibitions is therefore not intentionally grouped according to geographical aspects, but rather according to two different positions within the art business: that of producers and that of educators. "On Difference" is not concerned with a national allocation to cultural difference but rather with various cultural spaces of action that do not coincide with national contours. In addition to the international co-curators, numerous partners from Stuttgart are also involved in the project. 

The main sponsor of the overall project is the Federal Cultural Foundation (Kulturstiftung des Bundes).


On Difference #1. Local Contexts #8211; Hybrid Spaces

The exhibition "On Difference #1. Local contexts #8211; hybrid spaces" was developed in collaboration with the artists Dan and Lia Perjovschi (Bucharest), Ciprian Muresan (Cluj), Zoran Pantelic (Novi Sad), Daniel García Andújar (Valencia), Babak Afrassiabi and Nasrin Tabatabai (Rotterdam/Tehran), Lucien Samaha (New York/Beirut), and the curator Stefan Tiron (Bucharest). 

The artists and co-curators were invited to investigate a concrete specific local situation and its trans-local conditions on the basis of their own networks. Their contributions will be showcased in the exhibition in the form of "case studies" comprising not only their own works but also works by other artists and documentary material. The result is an exhibition featuring more than 40 artistic positions revolving around the political, social and economic implications of urban development, new technologies, and the culture industry. 

The exhibition focuses, for example, on the "House of the People" in Bucharest built under Ceausescu #8211; a symbol of the Communist power structure and its demise - that today houses the Romanian parliament and the national museum of contemporary art. It is also about the gigantic "City of Arts and Sciences" in Valencia or the Iranian Kish island free-trade zone, where amid the perfect enactment of a holiday paradise - that blinds out the restrictive 

climate in Iran - a critical documentary film festival has been able to gain a firm footing.

Other "case studies" explore the lines of cultural development and processes of transformation in former Yugoslavia, Romania and the Arab region. The focus is above all on practices of re-interpreting and redefining cultural contexts, values and discourses.

The various approaches featured at the exhibition are prompted by a criticism of the monopolisation of public spaces of action #8211; in the city, the institutions or the media. This contrasts with the complex strategies of re-appropriating such spaces: be it by the Arab Image Foundation in Beirut, Lia Perjovschi's "museum in files" (Center for Art Analysis), the kuda.org media art institute in Novi Sad, art magazines such as Pages, Idea and Version or web fora such as e-valencia.

During "On Difference #1", the domed hall of the Württembergischer Kunstverein acts as a thematic interface between the various "case studies". At the same time, the aim is to install a freely accessible forum for research, production and presentation here: in addition to numerous materials on the project, the "mobile workspace" also offers such tools as computers, a printer, copier and Internet access. Aside from individual use, it is also available to external initiatives as a work-room and platform.

As a "virtual" counterpart to the mobile workspace, "On Difference" will also feature a Web forum, an open database and critical communication environment for contemporary art and its contexts at the address "e-wac.org" (electronic workspace for art and criticism). The exhibition, finally, will be accompanied by a series of events #8211; workshops, film programmes, lectures and discussions #8211; that will spotlight and take a closer look at the various aspects of the project.

"On Difference #1" will be documented in the Romanian magazine "Version" in the form of an interim report and "insert". A publication on the overall project will be published after "On Difference #2" in May 2006.

Press conference Friday, May 20 2005, 11 pm

Opening Friday, May 20 2005, 7 pm

Symposium May 21 - 22, 2005

With contributions by: Álvaro de los Ángeles, Valencia; Sorin Antohi, Budapest; Friedrich von Borries, Berlin, Mohammad Hassan Malekpour and Gelayol Mosaed, Teheran; Misko Suvakovic, Belgrad; Raluca Voinea, London, Ana-Maria Zahariade, Bucharest, Zelimir Zilnik, Belgrad and others

Workshop "e_lab" May 23 - 29, 2005

with: Daniel García Andújar

Lectures June, 21, 2005, 8 pm

Georg Schöllhammer

Srdjan Jovanovic Weiss: School of Missing Studies

in co-operation with #8222;Theater der Welt 2005"

Presentations June, 23, 2005, 7:30 pm

Utopiana, Visible Collective, Technologies To The People a.o. in co-operation with #8222;Theater der Welt 2005"

Opening hours Tue, Thu - Sun: 11 am - 6 pm; Wed: 11 am - 8 pm

A project by Württembergischer Kunstvereins Stuttgart

Concept Hans D. Christ / Iris Dressler

in co-operation with Babak Afrassiabi / Nasrin Tabatabai, Daniel García Andújar, Ciprian Muresan, Zoran Pantelic / Kristian Lukic, Dan und Lia Perjovschi, Lucien Samaha, Stefan Tiron / Vlad Nanca

Further Partners Institut für Auslandsbeziehungen, Stuttgart Akademie Schloß Solitude, Stuttgart Theater der Welt 2005, irational.org, and others

Sponsored by die Kulturstiftung des Bundes, Institut für Auslandsbeziehungen aus Mitteln der Kulturabteilung des Auswärtigen Amtes, ProLab, Stuttgart and others

Contact Iris Dressler, Hans D. Christ , Tel: +49 (0)711 - 22 33 711 dressler {AT} wkv-stuttgart.de, christ {AT} wkv-stuttgart.de http://www.wkv-stuttgart.de, http://www.e-wac.org




Curatorial statements

Media ontology -

Mapping of Social and Art History in Eastern Europe

Zoran Pantelic and Kristian Lukic

kuda.org presents a production and network of people, ideas and concepts that are part of kuda.org's artistic, social and cultural framework. We will establish a dialog between the neo-avant-garde artistic concepts from the seventies and contemporary artistic and social practice. According to the statement by the Slovenian art group Irwin: History is not given, it needs to be constructed; we see that the history of the post WW2 neo-avant-garde in Eastern Europe has still not been written. That applies especially to the local context of Novi Sad, where local art infrastructure and critics at the end of the sixties and beginning of the seventies did not have mechanisms and tools to process rich artistic and cultural activities that were happening right in front of their eyes. Today's art production explores the wide areas of research and experiments related to new media.



Distances in transition

Ciprian Muresan 

This project is a "case study" applied to Romanian artists #8211; some based in Romania, others in the West #8211; who were observed during a historical time called "transition". I'm interested not only in the reasons why, although confronted with the same reality of life in Eastern Europe, some decided to remain and others to emigrate, but also in their evolution in the context of the two social and cultural environments. Aside from their option to stay or to leave, there is still, in both cases, the possibility (the mental projection) of escaping or going back. For these artists, the other context feeds their work.


Detective Office

Dan and Lia Perjovschi

First it was a rumor, then it was too late. When the House of the People/ Ceausescu Palace was built (1984-today) it mutilated not only the city of Bucharest, but an entire country. When Parliament moved into the Ceausescu Palace, it mutilated the idea of a Democratic society. A symbol of the past has become a symbol of the future. It is clear that the transition period will last longer and will be much more difficult than expected. When the National Museum of Contemporary Art was established in 2004, the parliamentary Palace/ Ceausescu Palace mutilated not only the local visual art scene, but the Romanian culture as a whole. This project aims to explore some of the consequences. The Center for Art Analysis acts as a detective researching the case, collecting proof and calling for witnesses.



Sunset Cinema

Nasrin Tabatabai and Babak Afrassiabi 

Sunset Cinema is part of a series of projects initiated by the Pages magazine. Focusing on specific conditions that define the geopolitics of a place, its cultural activities and productions, Sunset Cinema sets itself in the island of Kish in the Persian Gulf. Established in 1993 as a free-trade zone, in reality Kish has become a national tourist resort. Kept at a safe distance, the island has for the past five years hosted the "Kish documentary film festival", screening films which provide a window on the reality of the mainland. The project proposes a cinema for the island to host this festival and thus metonymically displaces the economical and political attributes of the island into the architectural disposition of the cinema in Kish. 

Snapshots from the Arab Image Foundation

Lucien Samaha

In their mission to collect, preserve, analyze, digitize, present, and disseminate photographic materials from the Arab world and beyond, the artist members of the Arab Image Foundation are facing questions and challenges posed by this cultural heritage. On the one hand, these guardians may be following established methods of preservation and categorization, but on the other hand, they are charting new territories for analyzing, presenting, and representing the contents of this vast collection. In the process, they are adding new definitions and purpose to the concept of a historical archive. "Snapshots from the Arab Image Foundation" seeks to present the exchange of influences between the collection's material and the contemporary artists who define it.



Daniel G Andújar / Technologies To The People

To facilitate the access to technology is one of the founding principles of Technologies To The People (TTTP): meaning that anyone should be able to communicate their opinions in public, without intermediaries. We have a special interest in the creation of a discourse in which dialogue and the diffusion of the resulting content are perfectly blended - covering a broad spectrum that not only includes contemporary art and culture, but also urban development, historic and ecological heritage and social politics. TTTP will present different e-projects and its contexts: e-valencia, e-barcelona, archive cultures, and others.


Romanian Stencil Archive

Stefan Tiron / Vlad Nanca

The Romanian Stencil Archive is a growing accumulation of stencil graffitis done in different cities, in different times under different urban conditions. It was one of the central aims of 2020 to document this growing street art phenomenon in Romania. Stencil graffiti is the archetypal subversive tool, using its lo-tech status to confer the maximum visual impact possible. The cut-out stencil reiterates challenges to political power, wrestling head-on with the corporate emblems and the sometimes unbearable architectural surroundings of our cities. They are local, but they also convey all the visual struggles of today. They make good use of public space, feeding on iconic blueprints, signals, logos and adverts with tremendous irony and insight. Demystifying old and new symbols, these stencils actively reshape the meaningful surface of our cities. 

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