Auf einmal und gleichzeitig. Eine Machbarkeitsstudie. Musikalische Szenen zur Negation von Arbeit, 2007

Performance zur documenta 12

Alice Creischer, Auf einmal und gleichzeitig. Eine Machbarkeitsstudie. Musikalische Szenen zur Negation von Arbeit., 2007, Performance zur documenta 12 im City-Point am Königsplatz Kassel

Alice Creischer, Christian von Borries and Andreas Siekmann

City Point, Königplatz, Kassel, 2nd, 3rd, 4th of July, 17.00

A piece of science fiction is being staged in Kassel’s Königsplatz Mall: five musical scenes and a libretto dealing with experiments in rejecting today’s commodity world. Textual passages in documentary, dialogue and slogan form spoken, chanted and sung by ten performers explore and update past attempts at negation. The passages are embedded in a score that musically investigates the impact and efficacy of political music. Time is central to this feasibility study as a factor in production and sale in both their histories and in attempts at their appropriation. Auf einmal und gleichzeitig translates critique into action by taking commodities back to their origins, and the sounds of the present into a score by means of Soundalike software. By engaging in strategies of appropriation, elements of contemporary late capitalism are rearranged: the Mall becomes a musical instrument, stage, and showpiece. In the Mall the performers rehearse concrete negations of their environment. Everything turns on decoupling the elements of the labour-commoditymoney nexus. There is no pretence at starry-eyed freedom in this world in which one might “suddenly cease to want to buy anything”. Actions, parentheses, and initiatives remain in opposition to one another. A supermarket’s entire stock of Tilapia is bought up, nothing is left––“every commodity is a scandal”, and is symbolically returned to its origin (Lake Victoria) on capitalism’s low-wage periphery. Auf einmal und gleichzeitig experiments with playing off commodities against their reproduction, and the production of music against its copyright exploitability. For its aim is not to rescue isolated actionist elements of the present, but rather to put its entire cultural history at our disposal.

Alice Creischer, Auf einmal und gleichzeitig. Eine Machbarkeitsstudie. Musikalische Szenen zur Negation von Arbeit., 2007, Performance zur documenta 12 im City-Point am Königsplatz Kassel

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Alice Creischer

**WIDERLEGUNG DER GESCHICHTE VON ANTEK PISTOLE, 2021**

**Solo Exhibition at Culturgest Lisbon, 2017**

**Proudhon, die Gesellschaft des 10. Dezember und der Club der faulen Debitoren, 2000-2015**

**In the Stomach of the Predators, 2012-2014**

**Das Etablissement der Tatsachen / The Establishment of Matters of Fact, 2012**

**Auf einmal und gleichzeitig. Eine Machbarkeitsstudie. Musikalische Szenen zur Negation von Arbeit, 2007**

**Apparat zum osmotischen Druckausgleich von Reichtum bei der Betrachtung von Armut / Apparatus for the Osmotic Compensation of the Pressure of Wealth during the Contemplation of Poverty, 2005-2007**

**Atlas 2003 ongoing (Updating the Arntz and Neurath Atlas) in collaboration with Andreas Siekmann**

**Eine Flussfahrt wie am Tellerrand / A Boat Trip Around the Edge of the Plate, 2003**

**Feindesliebchen / The Enemy's Sweetheart, 2002**

**Episoden zur arbeitsbefreiten Gesellschaft / Episodes of a society free of work, 1996-2002**

**The Greatest Happiness Principle Party, 2001**

**L'Atelier de la peintrice / The Woman Painter's Atelier, 2000**

**Arbeitsplatzprojektionsmaschine, 1998-1999**

**Gruppe Gummi K - Wie Eins zum Andern Kam..., 1996**

Biography

Alice Creischer, born in Gerolstein in 1960, studied Philosophy, German literature and Visual Arts in Düsseldorf. As one of the key figures of German political art movements in the Nineties, Creischer contributed to a great amount of collective projects, publications, and exhibitions. Her artistic and theoretic agenda within institutional and economical critique has evolved over 20 years, more recently focusing on the early history of capitalism and globalization. As co-curator of such paradigmatic exhibitions like Messe 2ok (1995), ExArgentina (2004) and The Potosi Principle (2010), Creischer has developed a specific curatorial practice that correlates with her work as an artist and theorist, including her extensive practice in archive research. As author Creischer has contributed to many publications, magazines and fanzines. She has been awarded a few prizes throughout the years, most recently of the Günther-Peill-Stiftung (Düren, 2018). She has hold solo exhibitions at institutions such as Stadtgalerie Wedding, Berlin (2019), Culturgest, Lisbon (2017), ifa Galerie, Berlin (2013), MACBA, Barcelona (2008) and secession Vienna (2001). Her work has been shwon in group shows at Haus der Kulturen der Welt, Berlin (2022, 2021, 2019, 2017), Künstlerhaus Bethanien (2021), LWL Museum, Münster (2021), Gropius Bau, Berlin (2019), Van Abbe Museum, Eindhoven (2018), Museum der Moderne, Salzburg (2016), ludwig Forum aachen (2015) among others.

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