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Yours, KOW

The Albanian Conference: Home Is Where The Hatred Is

, Anna Ehrenstein, feat. DNA, Fadescha, Rebecca-Pokua Korang

Nov 12, 2021 – Jan 29, 2022

DeutschEnglish

Every now and then, art demonstrates what progress might look like because it does—experiments with—something that isn’t quite so easy to do on a grand social, political, or economic scale, even though it appears to be urgently called for or at least has long been called for by progressive voices. For example? Fair global collaboration, decolonialized relations, solidarity that extends beyond traditional in-groups, a concern with issues that are not necessarily one’s own yet vital to individuals as well as the whole community. Did someone say: discourse of the commons? Yes, that too. And if you haven’t heard of it, time to get used to it: commoning (as a lived practice of looking to the common good rather than economic profit, including in art) will be a key theme in the near future.

Manchmal zeigt die Kunst, wie Fortschritt gehen könnte, weil sie – ausprobierend – etwas tut, was in großen gesellschaftlichen, politischen oder wirtschaftlichen Skalen nicht so einfach ist, auch wenn es dringend angeraten scheint oder zumindest von progressiven Stimmen längst gefordert wird. Zum Beispiel? Faire globale Kollaboration, entkolonialisierte Verhältnisse, Solidarität über angestammte Wir-Bezüge hinaus, ein Kümmern um Belange, die nicht unbedingt die eigenen sind, aber wichtig für Einzelne wie auch fürs Ganze. Hat da jemand Commons-Diskurs gesagt? Ja, auch das. Und wer das Wort noch nicht kennt, möge sich bitte daran gewöhnen: Commoning (als gelebte Praxis der Gemeinwohlorientierung und -ökonomie, auch in der Kunst) wird uns in den kommenden Jahren noch reichlich beschäftigen.

Sounds complicated? Just a bit. Anna Ehrenstein’s exhibition experiments with—does, puts into practice—what appears to be urgently called for. She creates an occasion, sets a stage, establishes an economy for a model of cultural collaboration, of concentus and coproduction, that intertwines political demands from various places all over the world. She teamed up with Fadescha, an influential art and cultural activist from Delhi; DNA, the duo of musicians from Lagos also known as Blair Opara and Clint Opara; and Beccy-Pokua Korang, an Afro-German performer. The five met in Albania, where Ehrenstein has a home, to produce four videos that constitute the exhibition’s core.

The point of departure for their collaboration: the lessons each of them had learned during public protests that they had actively supported. Protests against police violence, arbitrary decisions by the authorities, and corruption in Nigeria; protests against the caste hierarchy, hetero-patriarchal violence, and the reactionary government in India; protest against gender-discriminatory laws in Ghana; antiracist protests in Germany. Also a point of departure: shared demands for LGBTQ acceptance, improved access to basic necessities for everyone, decolonialization. Demands that have been on the table for a long time.

That’s why yet another, a historic point of departure for the project were the Afro-Asian Writers’ Conferences held starting in 1958—the inaugural conference convened in Tashkent—which made history as a forum for these and related demands, though without achieving much, the fate of many such efforts. The collective around Anna Ehrenstein gathers in front of the camera on an ancient site in Albania to propose its own conference, informed by Occupy methods, that would articulate the participants’ various demands; some are utopian, while others seek to reclaim achievements and attainments of the past. Two music videos by Lagos’s DNA spotlight public corruption and digital tools encouraging neighbors to inform against each other (“Community Policing”). A fourth film presents quotes we should read if we hope to get somewhere.

At the gallery, the working group’s four video productions are screened on fitness equipment, an arrangement inspired by Fadescha’s belief that protests are not defined by their substantial demands alone, that they should also be seen as a workout program for the body that needs to make its weight felt in the public arena. The additional pictures and sculptures casting the project’s discourse into a creaking hybrid aesthetic are part of the ambition to harness (and test) collective popular imageries as a vehicle for progressive messages—a means, in fact, to lend creative appeal and form to them. Even a punching bag from a boxing club makes for a not implausible metaphor: the rage or despair that drive people to strike out, or the sheer pleasure of taking a swing, might be an essential part of it, too.

For how could people not be enraged, right? How, when we think about everything that’s been mentioned, could we not be furious? The art on display in the exhibition recognizes and integrates that rage yet channels it into a positive language of activity, of collaboration, of community spirit; of music and the physical expression of emotion and, not least importantly, the physical articulation of political stances and of a lived and living transformation of the familiar (which has been, and still is, in part a product of colonial, racist, and sexual violence). That explains how this exhibition—not despite but actually because of its themes—is at its heart a cheerful affair.

It addresses suffering without speaking the languages of an art that’s only too adept at capitalizing on that suffering, its modes of representation victimizing victims a second time rather than featuring them as agents (did someone say documentarism?). It puts a finger on where it hurts without causing more hurt. Better to inspire people, with ideas and practical models, to empower—and be it only as an experiment—the commons.

Klingt kompliziert? Nur ein bisschen. Anna Ehrensteins Ausstellung probiert aus – tut und macht–, was dringend angeraten scheint. Sie schafft Anlass, Bühne und Ökonomie für ein kulturelles Kollaborationsmodell der Gemeinstimmigkeit und Koproduktion, das politische Forderungen von verschiedenen Flecken der Erde miteinander verbindet. Sie tat sich zusammen mit Fadescha, eine*r einflussreichen Kunst- und Kulturaktivist*in aus Delhi, DNA, einem Musiker-Duo aus Lagos alias Blair Opara und Clint Opara, und Beccy-Pokua Korang, einer afro-deutschen Performerin. Gemeinsam arbeiteten die fünf in Ehrensteins Heimat Albanien an der Produktion von vier Videos, die den Kern der Ausstellung bilden.

Ausgangspunkt der Zusammenarbeit: Die Erfahrungen, die alle Beteiligten während öffentlicher Proteste machten, die sie jeweils aktiv unterstützen. Proteste gegen die Polizei- und Behördenwillkür und Korruption in Nigeria, Proteste gegen die Kastenhierarchie, die heteropatriarchale Gewalt und die reaktionäre Regierung in Indien, Proteste gegen genderdiskriminierende Gesetze in Ghana, antirassistische Proteste in Deutschland. Ausgangspunkt auch: Gemeinsame Forderungen nach LGBTQ-Akzeptanz, besserer Grundversorgung der Bevölkerung, Entkolonialisierung. Forderungen, die lange schon erhoben werden.

Und so waren ein weiter, historischer Ausgangspunkt des Projektes die afro-asiatischen Schriftstellerkonferenzen, die zuerst 1958 in Tashkent abgehalten wurden und als Forum für ebensolche Forderungen Geschichte schrieben, ohne viel zu erreichen, wie es so oft der Fall ist. In antiker Kulisse findet das Kollektiv um Anna Ehrenstein in Albanien vor der Kamera zusammen, um ihrerseits eine an Occupy-Methoden geschulte Konferenz in den Raum zu stellen und Forderungen zu erheben, die teils utopisch sind, teils schon Erreichtes und Erkämpftes reklamieren. Zwei Musikvideos von DNA aus Lagos rücken Staatskorruption und digitale Formen der Nachbarschaftsdenunziation („Community Policing“) ins Rampenlicht. Ein vierter Film führt Zitate vor, die wir lesen sollten, um voranzukommen.

Dass die vier Videoproduktionen der Arbeitsgemeinschaft im Galerieraum auf Fitnessgeräten zu sehen sind, geht zurück auf Fadeschas Überzeugung, dass Protest nicht nur inhaltlich, sondern auch als ein Trainingsprogramm für den Körper zu begreifen sind, der sich im öffentlichen Raum stark zu machen hat. Dass weitere Bilder und Skulpturen in hybrid knirschender Ästhetik den Diskurs des Projektes in Form bringen, ist Teil der Ambition, kollektive populäre Bildsprachen zu nutzen (und zu überprüfen), um progressive Inhalte vermittelbar, ja künstlerisch attraktiv und gestaltbar zu machen. Da mag auch ein Sandsack aus der Boxwelt eine plausible Metapher sein, denn das Ganze könnte auch damit zu tun haben: Mit der Wut, mit der Lust und der Not, zuzuschlagen.

Denn wie sollte man nicht wütend sein, oder? Wie sollte, alles oben Gesagte reflektiert, nicht Wut das Ergebnis sein? Das in der Ausstellung Gezeigte kennt und integriert diese Wut, bricht sie aber um in eine positive Sprache der Aktivität, der Kollaboration, des Gemeinsinns, auch der Musik und der körperlichen Äußerung von Emotion, ja, auch der körperlichen Äußerung von politischer Haltung und von gelebter, lebender Veränderung des Bekannten (das auch Produkt kolonialer, rassistischer und sexueller Gewalt ist, damals wie heute). Und so ist diese Ausstellung nicht trotz, sondern gerade angesichts ihrer Themen, im Grunde heiter.

Sie spricht vom Leiden, ohne die Sprachen einer Kunst zu sprechen, die gerne Profit aus diesem Leiden schlägt, wenn sie Opfer in ihren Darstellungsformen ein zweites Mal zu Opfern macht, anstatt zu Handelnden (hat jemand Dokumentarismus gesagt?). Sie spricht von dem, was wehtut, ohne selber wehzutun, und inspiriert dazu – und sei es nur versuchshalber – das Gemeinsame zu ermächtigen.

Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac
Anna Ehrenstein, On Fire I, 2021, mixed media, flag fabric, foto: Ladislav Zajac
Anna Ehrenstein, On Fire VI, 2021, mixed media, flag fabric, foto: Ladislav Zajac
Anna Ehrenstein, On Fire II, 2021, mixed media, flag fabric, foto: Ladislav Zajac
Anna Ehrenstein, On Fire V, 2021, mixed media, flag fabric, foto: Ladislav Zajac
Anna Ehrenstein, Future, 2021, metal plates, foto: Ladislav Zajac
Anna Ehrenstein, Protest Praxis IV, 2021, video installation, monitor, hometrainer, foto: Ladislav Zajac
Anna Ehrenstein, Presence, 2021, pedestal, shoes, fabric, foto: Ladislav Zajac
Anna Ehrenstein, State Force, 2021, punching bag, paint, metal, foto: Ladislav Zajac
Anna Ehrenstein, Protest Praxis III, 2021, video installation, monitor, hometrainer, foto: Ladislav Zajac
Anna Ehrenstein feat. DNA, Fadescha, Rebecca-Pokua Korang, feat. DNA, Fadescha, Rebecca-Pokua Korang, 2021, exhibition view KOW, foto: Ladislav Zajac

The first Afro-Asian writers conference was held in 1958 in Tashkent, at that time USSR, now the capital of contemporary Uzbekistan. Inspired by the Badung conference, the Afro-Asian writers conference took place over two decades to denounce imperialism and establish cultural contacts among participating countries. In addition to providing a forum for sharing literary works, the conference served as a venue for political discussion. Sixty-three years later Ehrenstein invites Fadescha, DNA and Korang-Pokua to her home country Albania, to revise the conference in a post-colonial and post-digital environment.

The newly awakened alliance is born from an incredibly charged social and political moment, one of continuous environmental degradation, global pandemic, militarized police force, relentless racism, casteism, border brutality, and drastic social inequality - in all it's exaggerations for the Global South and it's descendants. A resulting multidisciplinary work will explore the relationship of networked images, physical resistance and solidarity. Digital technologies have become the default mode of knowing who we are, how we connect with each other, and how we relate to the planet. Amidst a "diversifcation" of global pop and club culture, that lead to multiple claims of a “decolonized dance-foor”, current abolitionist desires are sparked by severe injustices. Be it desiring the end of the militarization of police forces and brutality, like the End-Sars movement DNA have been protesting in Lagos, the abolition of gender and caste systems Fadescha is addressing in the Indian context, the antiracist protests of Pokua's and Ehrenstein's Berlin base or the state capture context of Albania.

Using the documentary as basis for magical realism an installation of a multi screen video work with two new songs by DNA will be created in July 2021. The video work will combine fction, music video tactics, interviews and conversations as well as found footage. Through the crossdisciplinary collaboration and the distinct knowledges of the artistic team we inquire to investigate, can we find tenderness in each other, while being situated within nation-states that construct us to profit from our vis-a-vis suffering? Can we nourish hope within the planetary hostile environment, in which our bodies are rendered differentially grievable through new forms of racial capitalism? In which the abusive tactics of Western domination aren't anymore limited to the West or whiteness, as in the neocolonial relationship between China and Africa - but a more “diverse” plutocrat elite profts of a global necropolitical and heteropatriarchal order, using mechanisms like the International Monetary Fund, World Bankor the World Trade Organization. In which images of some protest spread like wildfire and drown the network in a sea of pain, while certain non-dominant narratives can be buried by design engineering and virtual community policing.

How can we translate these thoughts into the artistic languages of our diverging practices? DNA being musicians, Ehrenstein and Fadescha artist-curators and Pokua-Korang a dancer. As our communities are placed at the mercy of technological devices and algorithmic estimates, ubiquitously central to our cultural and political strategies, the collaboration started in January through cross-continental FaceTimes.

For a site specific live performance piece DNA and Fadescha will travel to Berlin and activate the exhibition in collaboration with Ehrenstein, Korang and local actors.

text: Alexander Koch
translation: Gerrit Jackson
photos: Anna Ehrenstein, Ladislav Zajac

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2014

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2009

Antirepresentationalism 2: Trouble with Realism. Conceptual and Socially oriented Art in Leipzig 1997–2009

, Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Famed, Markus Dressen, Andreas Grahl, Henriette Grahnert, Eiko Grimmberg/ Arthur Zalewski, Mark Hamilton, Ramon Haze, Oliver Kossack, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau (Marcel Bühler, Alexander Koch), Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber
Oct 17 – Nov 21, 2009

Antirepresentationalism 1: Politics of Redescription. Conceptual and Socially oriented Art in Leipzig 1997–2009

, Ramon Haze, Mario Pfeifer, Clemens von Wedemeyer, Tobias Zielony, Peggy Buth, Jan Caspers/ Anne König/ Jan Wenzel, Chat, Markus Dressen, Famed, Till Gathmann, Lina Grumm, Andreas Grahl, Henriette Grahnert, Mark Hamilton, Bertram Haude, Oliver Kossack, Andrea Legiehn, Thomas Lüer, Claudia Annette Maier, Ulrich Polster, Julius Popp, schau-vogel-schau, Julia Schmidt, Tilo Schulz, spector cut+paste, Christoph Weber, Arthur Zalewski
Sep 4 – Oct 10, 2009

KOW ISSUE 5: Spirituality and Anti-Universalism

, Chris Martin
May 1 – May 30, 2009

KOW ISSUE 4: THE SOCIAL USE OF SIGNS (OBLIGATION TO EXPRESS)


Apr 3 – Apr 27, 2009

KOW ISSUE 3: Detroits' Post-Fordism

, Michael E. Smith
Mar 27 – Mar 29, 2009

KOW ISSUE 1: Participatory Minimalism

, Franz Erhard Walther
Feb 27 – Mar 21, 2009

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