The billboard proclaiming 'Jii Hutikka's Clip Karavaani!' was the beginning of 'Clip Kino' in Helsinki and beyond: a self-organised social event platform consisting of screening events in public spaces, featuring not full, or even short, film screenings, but video clips and documentaries found online.
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It is not strange then that artist Alessandra Di Pisa in her latest work Buying The Museum takes a shot at the very core of the art institution, but this time from a perspective seldom pursued by artists when she aimed at buying the actual institution, thus totally shifting the power relations.
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The Croa River community consists of approximately four hundred families spread out across eighty thousand hectares of Amazonian forest. They aspire to see the land they inhabit become an extraction reserve, and in fact, it is in the process of becoming precisely this: one of the new territories in Acre. As such, it is a good example of the current trend toward territorialization in the Brazilian state. It is also a good example of what territories stand for: self-organization, sustainable growth, and local knowledge.
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Part 2 of “All Talk, No Action” (see below).
To handle and act within art today is to choose between ìwith usî, or ìagainst usî!! And we all know that "against us" is not really an option. There is no such thing as "against us", we are all onboard from the get go and possibly all the way to the end.
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What is the difference between practicing and preaching, and what does it have to do with themes?
ñ My name is Fredrik Gunve and I work as an artist. Iíve had several exhibitions,
performances, situation based happenings, installations, teaching projects, texts, and I have often been asked:
ñ What themes do you work with??
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The subject is distinguished from the non-subject by the minimum of freedom to be itself, i.e. it has the freedom to defend its self in view of real unfreedom. A human being cannot be reduced to its status as mere object. It knows, as Carl Schmitt says, "not only birth," the facticity of its having been cast, "but also the possibility of a rebirth," which, as Hölderlin says in The Course of Life, is "the freedom to set out whither he will".[1] There is therefore only one obligation for the human subject: to be free in view of its freedom.
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I am a thoroughly urban person, having grown up in Tallinn, and later living in Riga, St Petersburg and New York. Nevertheless, on St John's Day in 1996 I found myself on the balcony in Kütiorg, reading Nietszche's 'Ecce Homo', realizing that cities as such has nothing more to offer me.
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I live in the house during the construction of the sculpture. I cut myself on bamboo sticks, bump into the large spades that poke out of the tunnels. They dig, hollow out the house to make a new existence in it. I have nowhere to sit - the chairs have either knives or bamboo fastened to them - the refrigerator is covered with staples.
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