Images with violent content are always historical, as what is seen as violent is constructed and is violently managed; therefore nothing is natural in relation to violence. What will be defined as violent is always an outcome of violent hegemonic processes. Seeing images of killings can provoke our rebellion and our insurgencies, unless we are paralyzed by our normativized occidental lives. Europe and the global neoliberal capitalist system in general are well attuned to the hierarchization, control, and management processes of the present neoliberal capitalist states. Especially under attack are migrants and all those not considered to be “natural” parts of the neoliberal capitalist national body in the West: asylum-seekers and refugees escaping war-torn parts of the global world (the Middle East, Africa), from conflicts induced by capital and imperial management.
On the other side and at the same time, we can see, for example, the last election campaign in Austria, with posters by the Freedom Party (FPÖ) containing blatantly racist and fascist slogans and images. My interest is to connect racism with visual narratives, “trophy” artifacts, and culture. I will look at racism from a historical perspective, showing a horrifying trajectory of structural racism that reproduces itself almost always circularly from a pseudoscientific (biological) racism, “progressing” toward “cultural racism” to “return” again to “scientific racism,” though then coined “intellectual racism.”
organized by Piotr Piotrowski Center for Research on East-Central European Art
Lecture Summary
The postsocialist and postcolonial conditions as features of a conceptualization of a “new” geography
The proposal is to rethink geography as a process that comes out from the post-1989. Why? At that moment we have the appearance of two conditions, of two posts that coincide largely speaking geographically in Europe and that can subsumed, according to David Harvey writings in the 1980s, as “urbanization of capital and urbanization of consciousness.” This double process is vital to capitalism’s survival as a dominant mode of production and consumption. Let’s state that this urbanization is a perverse cosmopitanism that Piotr Piotrowski (Piotrowski, “From the international to the Cosmopolitan” (2012)), sees as the possible approach to East and Central Europe today. Therefore my proposal claims that geography can better be captured as the joint process of these two conditions postsocialist and postcolonial than divisions we used for the last decades in the former Eastern European context: East-West, center-periphery, etc. As well the question that we will enter is how the postcolonial enters the post-socialist of the East-Central Europe geography of today. My question is how these traumatic nodal points produced, executed and governed by and within Europe transform the perception of art, geography, topography, memory and history in the present moment. The elaboration is based on the new insights provided by the research project I am in charge at the Academy of Fine Arts in Vienna with the title “Genealogy of Amnesia: Rethinking the Past for a New Future of Conviviality” (funded through the Programme for Arts-based Research (PEEK), inside the FWF, Austrian Science Fund, in the period from 2018 to 2020).
In the time of neoliberal global necrocapitalism we are increasingly confronted with a political and social amnesia that profits without the past, producing more and more processes of de-historicization and de-politicisation. Central to these processes is the logic of (neoliberal) repetition that produces at least two different procedures of (de)historicization. On one side we have the logic of the neoliberal Western world that works as a pure trans-historical machine, and on the other, in the East and in the South of Europe, we detect forced techniques of embracing historicization as totalization. In both cases the result is a suspension of history that works with a primary intention to dispose of any alternative within it! My idea is to provide some examples, and, more, to try to define these processes on a much wider scale in order to see their political, social and cultural consequences.
The presentation is based on the new insights provided by the research project I am in charge of at the Academy of Fine Arts in Vienna, with the title “Genealogy of Amnesia: Rethinking the Past for a New Future of Conviviality” (funded through the Programme for Arts-based Research PEEK, by the FWF, Austrian Science Fund, in the period from 2018 to 2020).
Edited by Marina Gržinić, Jovita Pristovšek, Sophie Uitz, and Christina Jauernik
Hatje Cantz, Berlin, Germany; Weltmuseum Wien, Austria; Academy of Fine Arts Vienna, Austria; Peek Project No. AR 439-G24/IBK, 2020, ISBN 978-3-7757-4884-1, 204pp.
Published on the occasion of the exhibition Stories of Traumatic Pasts: Counter-Archives for Future Memories, at Weltmuseum Wienfrom 8 October 2020 to 3 April 2021.
About the catalogue
Belgian colonialism in the Congo. Antisemitism in Austria. Turbo-nationalism
in former Yugoslavia. Over the last two centuries, these three historic lines
of violence and annihilation (re)enforced a process of oblivion that to this
day prevents a processing of the genocides they caused.
Today
involuntary or performed amnesia again threatens to destroy what has already
come to a point of possible coexistence.
We go back to these traumatic events in history and the recent past, which had such a violent impact on communities and people, states and territories, and confront them with a system of interventions. The scars that remain after atrocities, although hidden and obliterated, are recovered through artistic, scientific, and political reflections.
Venues: Schillerplatz Park in front of the Academy of Fine Arts Vienna, Schillerplatz, 1010 Vienna Studio for Post-conceptual Art /IBK (Atelierhaus, Lehargasse 8, 1060 Wien, 1. OG Atelier Süd) Performative Lab “Smashing Wor(l)ds–Summercamp”
Project by the Studio for Post-conceptual Art /IBK, Academy of Fine Arts Vienna, in collaboration with “Conviviality as Potentiality,” funded by Austrian Science Fund FWF (AR 679), and the project “Smashing Wor(l)ds” supported by Creative Europe and led by kulturen in bewegung/VIDC, Vienna.
Participants: Asma Aiad, Rawan Almohamad, Arabina Amedoska, Rui Bai, Victoria Eliseykina, Arno Gitschthaler, Felix Huber, Robert Jolly, Munar Khalid Biiq, Ali Kianmehr, Aaron Kimmig, Nathalie Köbli, Cathérine Lehnerer, Mika Maruyama, Lieber Michael, Mirjana Mustra, Mohammad Numan, Valentin Pfenniger, Jovita Pristovšek, Sisanmi Schuller, Timotheus Ueberall, Imrich Veber, Kyra Sophie Wilhelmseder, Ju Yoo, Tino Zimmermann
EXHIBITION: DIE SICHTBARKEIT DES UNSICHTBAREN // THE VISIBILITY OF THE INVISIBLE //
Date: 23.06.2021 – 28.06.2021
Venues: Schillerplatz Park in front of the Academy of Fine Arts Vienna, Schillerplatz, 1010 Vienna Studio for Post-conceptual Art /IBK (Atelierhaus, Lehargasse 8, 1060 Wien, 1. OG Atelier Süd)
Exhibition and perfomative lab from students of the studio for Post-conceptual Art at the Institute of Fine Arts in cooperation with the“Smashing Wor(l)ds” project.
Participants: Asma Aiad, Rui Bai, Victoria Eliseykina, Arno Gitschthaler, Felix Huber, Robert Jolly, Ali Kianmehr, Aaron Kimmig, Nathalie Köbli, Valentin Pfenniger, Timotheus Ueberall, Imrich Veber, Kyra Sophie Wilhelmseder, Ju Yoo, Tino Zimmermann
1 Opening by Marina Grzinic, Marissa Lobo, The Visibility of the Invisible, Schillerplatz 25 06 2021 Photo J. Pristovsek
2 Opening by Marina Grzinic, Marissa Lobo, The Visibility of the Invisible, Schillerplatz 25 06 2021 Photo J. Pristovsek
3 Asma Aiad, report at the police station, Vienna 25 06 2021 Photo J. Pristovsek
4 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
5 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
6 Ju Yoo, Asma Aiad, Because I am the Thunder, Schillerplatz 25 06 2021 Photo J. Pristovsek
7 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
8 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
9 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo R. Bai
10 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
11 Ju Yoo, Asma Aiad, Invisible Women, Schillerplatz 25 06 2021 Photo J. Pristovsek
13 Ju Yoo, Asma Aiad, Because I am the Thunder, Schillerplatz 25 06 2021 Photo M. Grzinic
14 Ju Yoo, Asma Aiad, Because I am the Thunder, Schillerplatz 25 06 2021 Photo J. Pristovsek
Venues: Schillerplatz Park in front of theAcademy of Fine Arts Vienna, Schillerplatz, 1010 Vienna Studio for Post-conceptual Art /IBK (Atelierhaus, Lehargasse 8, 1060 Wien, 1. OG Atelier Süd) Kleine Stadtfarm am Schillerwasser, Naufahrtweg 14a, 1220 Vienna
“Smashing Wor(l)ds–Summercamp” is a
gathering of the Austrian partner organizations with Afro Rainbow Austria
[ARA], Queer Base, Silent University Graz and the Students of the Studio for
Post-conceptual Art Practices [PCAP] at the Academy of Fine Arts Vienna.
Performative Labs & Artistic
Research
In a multi-format event with workshops and lecture
performances, the results of the artistic research within the project “Smashing
Wor(l)ds: Cultural Practices for re/Imagining & un/Learning
Vocabularies” will be presented. The focus is on artistic work with
vocabularies of resistance, from queer and anti-racist perspectives – revolving
around language, fashion, translation and much more.
Participants: Afro Rainbow Austria [ARA], Asma Aiad, Rawan Almohamad, Arabina Amedoska, Rui Bai, Victoria Eliseykina, Arno Gitschthaler, Felix Huber, Robert Jolly, Munar Khalid Biiq, Ali Kianmehr, Aaron Kimmig, Nathalie Köbli, Cathérine Lehnerer, Mika Maruyama, Lieber Michael, Mirjana Mustra, Mohammad Numan, Valentin Pfenniger, Jovita Pristovšek, Queer Base, Joëlle Sambi Nzeba, Silent University Graz, Sisanmi Schuller, Timotheus Ueberall, Imrich Veber, Kyra Sophie Wilhelmseder, Ju Yoo, Tino Zimmermann
1 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo M. Grzinic
2 Opening by Marissa Lobo, Marina Grzinic, Smashing Wor(l)ds Summercamp 26 06 2021 Photo R. Bai
3 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo J. Pristovsek
4 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo J. Pristovsek
5 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo J. Pristovsek
6 Speech by Vivi, Smashing Wor(l)ds Summercamp 26 06 2021 Photo M. Grzinic
7 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo M. Grzinic
8 Asma Aiad, Ju Yoo, Statement_Invisible Women, Smashing Wor(l)ds Summercamp 26 06 2021 Photo R. Bai
9 Asma Aiad, Ju Yoo, Statement_Invisible Women, Smashing Wor(l)ds Summercamp 26 06 2021 Photo M. Grzinic
10 Mohammad Numan, Intervention_Push-Backs and Realities of Refugee Life, Smashing Wor(l)ds Summercamp 26 06 2021 Photo J. Pristovsek
11 Mohammad Numan, Intervention_Push-Backs and Realities of Refugee Life, Smashing Wor(l)ds Summercamp 26 06 2021 Photo R. Bai
12 Mika Maruyama, Jovita Pristovsek, Statement_Editing Wor(l)ds, Smashing Wor(l)ds Summercamp 26 06 2021 Photo R. Bai
13 Smashing Wor(l)ds Summercamp, Kleine Stadtfarm am Schillerwasser 26 06 2021 Photo M. Grzinic
Held on fairteaching.net
November 19, 2020
16-17 PM
Lecture Summary
The exhibition Stories of Traumatic Pasts, curated by Marina Gržinić, Christina Jauernik and Sophie Uitz is on view at the Weltmuseum Wien until April 3, 2021.
The exhibition focuses on three European regions, their stories, and their current experiences of collective amnesia in relation to traumatic events from the past: Belgian colonial rule in the Congo, Austria after the “Anschluss” in 1938, and the denial of war crimes since 1990 after the breakup of Yugoslavia.
Marina Gržinić, will have a lecture on the exhibition, take the audience for a travelogue on the concept and contexts of the show, participating artists, and future perspectives.
Prof. Dr. Marina Gržinić is a philosopher, theoretician, and artist from Ljubljana, Slovenia. She serves as a professor and research adviser. Since 2003, she is a professor at the Academy of Fine Arts Vienna. She is project leader of the research whose full title is “Genealogy of Amnesia: Rethinking the Past for a New Future of Conviviality” carried out as a transdisciplinary project No. AR 439-G24/IBK funded by the Austrian Science Fund (FWF) and developed at the Academy of Fine Arts Vienna, from 2018 to 2020. The exhibition is part of the research project.
Presentations by: Marina Gržinić, professor, Academy of Fine Arts Vienna Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna
The program will be held in Bosnian/Croatian/Serbian.
Presentations by: Marina Gržinić, professor, Academy of Fine Arts Vienna Jovita Pristovšek, Šefik Tatlić, Sophie Uitz, postdoc researchers, Academy of Fine Arts Vienna
Presentations by: Marina Gržinić, professor, Academy of Fine Arts Vienna Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna
The program will be held in Bosnian/Croatian/Serbian.
Presentations by: Marina Gržinić, professor, Academy of Fine Arts Vienna Jovita Pristovšek, Šefik Tatlić, postdoc researchers, Academy of Fine Arts Vienna
The program will be held in Bosnian/Croatian/Serbian.
All events will be held in English. The events will take place online! Registration: info@weltmuseumwien.at
Adela Jušić in conversation with Marina Grzinić Friday, February 19, 2021, 04:30 PM Amsterdam, Berlin, Rom, Stockholm, Wien
Adela Jušić was born on 1982 in Sarajevo, Bosnia and Herzegovina. Jušić has exhibited in more than 100 international exhibitions (Manifesta 8, Murcia, Spain; Videonale, Kunstmuseum Bonn, Germany; Image Counter Image, Haus der Kunst, Munich, Germany, Balkan Insight, Pompidou Center, Paris). In 2010 she won Young Visual Artist Award for the best young Bosnian artist in 2010, Henkel Young Artist Price Central and Eastern Europe in 2011, and Special award of Belgrade October Salon in 2013.
Martin Krenn in conversation with Marina Grzinić Tuesday, March 16, 2021, 07:00 PM Amsterdam, Berlin, Rom, Stockholm, Wien
Elisabeth Bakambamba Tambwe in conversation with Marina Grzinić Tuesday, March 30, 2021, 07:00 PM Amsterdam, Berlin, Rom, Stockholm, Wien
Adela Jušić and Marina Grzinić , zoom 19.2.2021
Adela Jušić and Marina Grzinić, zoom 19.2.2021
Adela Jušić, Marina Grzinić and Sophie Uitz, zoom 19.2.2021
Edited by Nicolaus Schafhausen, Mirjam Zadoff (2021)
Tell me about yesterday tomorrow: About the Future of the Past
Historical events and our knowledge of them mould our understanding of today’s world. The interdisciplinary authorship of this volume focuses on the connection between past and future. A bold and unusual publication whose approaches and themes extend from biographical experiences via intergenerational exchange to the discussion of current social phenomena.
With contributions by M. Czollek, C. Deliss, S. Denny, G. Diez, B. Draney, L. Gillick, M. Gržinić, A. Huyssen, I. Küpeli, D. Lesage, C. Lorch, S. Lütticken, K. Müller, V.J. Müller, A. Pető, M. Rinck, D. Rupnow, P. Rypson, Ph. Sands, N. Schafhausen, D. Schöne, G. Schwarz, N. Sternfeld, N. Wahl, M. Zadoff.
Marina GRŽINIĆ: Racialized violence in Europe: The Genealogy of Amnesia Project and the immobilization of refugees? In: PERERA, Suvendrini (ed.), PUGLIESE, Joseph (ed.). Mapping deathscapes : digital geographies of racial and border violence. London; New York: Routledge, 2022. Pp. 148-162, ilustr. Routledge research in digital humanities. ISBN 978-1-032-05657-9. DOI: 10.4324/9781003200611-15.
Book Description
This volume offers a critical and creative analysis of the
innovations of Deathscapes, a transnational digital humanities project
that maps the sites and distributions of custodial deaths in locations
such as police cells, prisons and immigration detention centres.
An international team of authors take a multidisciplinary approach to
questions of race, geographies of state violence and countermaps of
resistance across North America, Australia and Europe. The book
establishes rich lines of dialogic connection between digital and other
media by incorporating both traditional scholarly resources and digital
archives, databases and social media. Chapters offer a comprehensive
mapping of the key attributes through which racial violence is addressed
and contested through digital media and articulate, in the process, the
distinctive dimensions of the Deathscapes site.
This interdisciplinary volume will be an important resource for
scholars, students and activists working in the areas of Cultural
Studies, Media and Visual Studies, Indigenous Studies, Refugee Studies
and Law.
