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    The project takes as its point of departure the "first entirely detourned film in the history of cinema" The French word detournement is employed here for stealing, derailing, appropriating, misusing, re-enacting. The project develops in the field of inquiry and investigation of hijacking and ready-made in contemporary art in relation to the cinema industry.

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    The project takes as its point of departure the "first entirely detourned film in the history of cinema" The French word detournement is employed here for stealing, derailing, appropriating, misusing, re-enacting. The project develops in the field of inquiry and investigation of hijacking and ready-made in contemporary art in relation to the cinema industry.

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    34 views2 pages

    Curatorial Text Short en

    Uploaded by

    code flow
    The project takes as its point of departure the "first entirely detourned film in the history of cinema" The French word detournement is employed here for stealing, derailing, appropriating, misusing, re-enacting. The project develops in the field of inquiry and investigation of hijacking and ready-made in contemporary art in relation to the cinema industry.

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    of 2

    Reality Manifestos, or Can Dialectics Break Bricks?

    A study of dtournement as Art Forms


    AgroupexhibitionatKunsthalleExnergasse,Vienna 19January3March2012;Openingon18January,7pm

    Participants in the Exhibition


    MarcBauer,SabinaBaumann,MareikeBernien&KerstinSchroedinger,PaulineBoudry&Renate Lorenz,BognaBurska,BriceDellsperger,KonstantinosManolakis,MicheleOMarah,CoraPiantoni, ElodiePong,Schmale,Scheirl,KneblWerke(ToniSchmale,HansScheirl&JakobLenaKnebl), RebeccaAnnTess WithaperformanceattheopeningbyTheCentreofAttention,andasoundperformanceandDJSet byDJSweatproducer(AnneKthiWehrli). Atthefinissageon3March,HansScheirlwillgiveapublicinterview,at7pm. TheexhibitionandsymposiumarecuratedbyDimitrinaSevova Ideologycanonlyshattertopiecesoncontactwithradicalsubjectivity. From:RenVinet,CanDialecticsBreakBricks? Theprojecttakesasitspointofdeparturethefirstentirelydetournedfilminthehistoryofcinema: CanDialecticsBreakBricks?(1973)byRenVinet,whichadaptsaspectacularfilmtoaradical critiqueofculturalhegemony.TheFrenchworddtournementisemployedhereforstealing, derailing,appropriating,misusing,reenacting,ratherthanthespecifictermofappropriationthat hasacquiredaspecialaurainanarthistoricalcontext,followingJohnStezakersrecognitionthat appropriationisactuallyamisleadingterm,becauseitsuggestsmastery. Comprisedofaninternationalgroupexhibitionandatwodaysymposium,theprojectdevelopsin thefieldofinquiryandinvestigationofhijackingandreadymadeincontemporaryartinrelationto thecinemaindustry,andthepossibletransmissionofpropertiesbetweenthem.Itinvestigatesthe spaceandtheconfusionoftheborderbetweenimageandrepresentation,andspeciallyfocuseson theruinsofrepresentation,whatarethepossibilitiesfortranslation,andwheretheideaoforiginal andcopyislost.Itfollowsthesocial,politicalandaestheticcontentcreatedasadialecticclash betweeninvisibleandvisible,orshiftsbetweenthenotionsofproductionandconsumption,reality andfiction,creatingtemporalitiesinbetween,bringingtogetheradiversityofartpracticesthatoffer singulartacticsofspeculativemisuse,repetition,faithfulmimicryanddtournementofexisting images,visualicons,narrativepatternsreenacting,rewritingandtranslatingthem. Theprojectservesasaplatformforinvestigatingthestructureandinstitutionsofcommercialcinema inrelationtotheinstitutionsofartandimagesandtheprocessofprojectionbothinthemost mechanicalsenseasacinemacameraandprojectorandtheirsimilaritytothefunctionofhuman perception,aswellashowpsychoanalysislooksatthesameprinciplesofprojectioninthesubjective andsocialfield,asinhowweprojectourfearsanddesiresontoothers,andhowthenormsofthe

    psychosymbolicformationofrace,classandsexualityarerepetitivelyperformed.Theworkson displayinvestigatethemachineofcinemawithitsnarrativestructures,mythologies,representations, reproducibility,lookingmoregenerallyathowthesestructures,institutionsandbordersarecreated, howvalueiscreated,howtruthisimposedbythesymbolicandeconomicconditionsofaspeculative industry.Iftheartistdisruptsthesurfaceofcinema,isthereapossibilityforupholdingtheclaimfor theautonomyofartasaninstitution?Ultimately,theprojectisaboutthespectacle,andwhat possibilitieswehaveforsubvertingit,wakingtheviewersgazefromitstorpidcontemplationwhile stillgettingjouissancefromtheimagesseductivepower. DimitrinaSevova

    Public Theoretical Symposium


    MuseumHalls,WUK,WhringerStrae59,1090Wien 1920January2012 Thefirstentirelydetournedfilminthehistoryofcinema:CanDialecticsBreakBricks? Afilmproducedbythepersonlistedhere[YeoBanYee],whonaturallyhasnoideawhathas happenedtohisfilm.Letitbesaid:allfilmscanbedetourned:potboilers,Vardas,Pasolinis, Caillacs,Godards,Bergmans,aswellasgoodspaghettiwesternsandallcommercials. From:RenVinet,CanDialecticsBreakBricks? Thetheoreticalsymposiumisorganizedinconjunctionwiththeexhibitionprojectofthesamename, andservestocontextualizetheexhibitionandtheartistsworksandraiseapubliccriticaldiscussion amongscholars,theartistsandabroadaudience.Theexhibitionandthetheoreticalsymposium reflectuponeachotherinordertotheorizetheworkoftheartistsanddeepentheunderstandingof thetopicsandsubjectsaddressedinthetheoreticalframeworkoftheproject,andissuesconcerning therelationbetweencontemporaryartandcinema. ThesymposiumisorganizedcollaborationwiththePostgraduatePrograminCurating,Zurich, www.curating.org.Aspecialissueoftheoncurating.orgmagazineontheexhibitionandsymposium willbepublishedinMay2012withexpandedtextsbasedonthelectures.

    Participants in the Symposium


    MareikeBernien&KerstinSchroedinger,TheCentreofAttention(PierreCoinde&GaryO'Dwyer), BriceDellsperger,EvaEgermann,MarenGrimm,EstherKempf,LucieKolb,ElkeKrasny,Boyan Manchev,Innol,BerndOppl,MagorzataRadkiewicz,DorotheeRichter,NicolaRuffo,Wolf Schmelter&SimoneSchardt,DimitrinaSevova And:artisttalksbytheparticipantsintheexhibition

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