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[164] Klas Eriksson Com´on You Reds Curva Viola I take an interest in control, power and limitation, through the expressions of performance, video and sculpture. My point of departure is mass-culture, where, employing various strategies, I explore notions of authenticity, power and artistic expression. In all my works I have an attempt to establish communicative immediacy that is both visually and conceptually innovative. The works often borrow their expressions from popular culture, subculture and various power structures. For BB5 I am doing two collective performances with emphasis on the given architecture, subculture and the public realm of Bucharest. The two performances can be seen as a mash-up between the terrace culture surrounding football, the public realm and the history of Bucharest. I see it as a way of questioning what the public space has to offer in terms of readings and reactions. A staged collective action with a key signature in a subcultural movement is put in a different context. The performance visually triggers questions on political issues, hostility, power and esthetics. The many different readings that appear can be seen as addressing a slumbering public subconscious. The first performance, titled Com´on You Reds, consists in around 100 volunteers burning red flares on the terraces of Intercontinental Hotel, an important landmark of Bucharest situated in the University Square which stands as a symbol of freedom and a place of protest. The title comes from a chant that originates from the British football culture. The hotel, which for a very long time dominated the center of Bucharest with it's height, was perceived as a standard of luxury and cosmopolitan western life style before '89, when it functioned as a hotel for foreigners only. It still preserves it's symbolic status in the collective memory. The performance will challenge the way people perceive the connection between the social and architecture, by transforming the building in a temporary sculpture that relates to the complex history of the University Square and the participatory role that subcultures may appropriate within the frame of social movement. The other performance, titled Curva Viola, consists of a large amount of pink and violet smoke that will temporary mark Make a Point, a cultural community center situated in Pantelimon, one of Bucharest's so called disadvantaged area, in a communist textile factory. In this performance a memory of the early fanzine movement surrounding the Swedish terrace culture is reenacted through the attempt of recreating a b&w xeroxed image of Curva Viola, the ultras of Fiorentina football club, into the colors my mind reads. Again, by transforming architecture in temporary sculptural monuments, I wish to raise awareness over this areas and their social relevance for the urban landscape. (K.E.) Klas Ericsson, Who are ya?!, collective performance, 2011. Courtesy of Göteborg Biennale 2011. Photo: Dorota Dolores Marzena Lukianska. [165]
Klas Ericsson, Volvo – Döner Kebab (im rolling - rotating kebab), sculpture, 2011. Courtesy of Kalmar Konstmuseum. Photo: Per Larsson [166] Klas Ericsson, The public gets what the public wants, performative sculpture, 2011. Courtesy of the artist and IASPIS Open house. Photo: Jean-Baptiste Béranger [167]
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PAVILION journal for politics and c
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In memoriam Ioana Nemeș (1979 - 20
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Biennale focuses on such practices
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Around [10] Fordism. Post-Fordism a
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tion, i.e. and elitization of cultu
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Politics as Art of the Impossible:
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the Tea Party over the next few yea
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Because it is a patent impossibilit
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front of our eyes, ready to be embr
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The Internalisation of the Discours
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Contemporary Art Centers and their
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TACTiCs for The here And now Eikono
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Radicalizing this Marxian analysis,
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for Adorno art is critical insofar
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Art in the Knowledge-based Polis [5
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Though this emphatic plea for “re
Page 33 and 34: seminar-cum-workshop-cum-symposium-
Page 35 and 36: Notes [1] R0370126@student.akbild.a
Page 37 and 38: about politics as a rich aesthetic
Page 39 and 40: professionalization, from an impres
Page 41 and 42: ing the latter. In contemporary art
Page 43 and 44: dents could also take charge themse
Page 45 and 46: analyses that account for practices
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Page 49 and 50: equesting them to take action to ba
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Page 53 and 54: [102] Iman Issa Triptychs This proj
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Page 57 and 58: [110] Alexandre Singh The Pledge Th
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Page 95 and 96: VICE radical lifestyle magazine TAB
Page 97 and 98: [190] Curator Anne Barlow Anne Barl
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