10.07.2015 Views

This issue - Kerstin Kellermann

This issue - Kerstin Kellermann

This issue - Kerstin Kellermann

SHOW MORE
SHOW LESS
  • No tags were found...

You also want an ePaper? Increase the reach of your titles

YUMPU automatically turns print PDFs into web optimized ePapers that Google loves.

2 Euro / davon einer für die Kolportage spektakuläre kunstzeitschrift, nr 6, Dezember 2007


She tries to break freeOne misguided action from us, brings chains of reaction … sometimes it become so grave that it threatens to exterminate creation …A philosophical film by a refugee from a residential home and art students at the University of Applied Arts: The exciting short film will bepresented in the Permanent Waiting Room container at SOHO IN OTTAKRING festival 2008.A film by Agnes Achola, Daniela Tagger and Hendrix JohnsonGlobal“Sober Reflection“ dwells on the frustratingthoughts of a woman (Agnes) seeking tounravel the mysteries of life. She is mentally sosubdued that her thoughts become complicated:she tries to break free from being a prisonerof conscience but her mind holds strong,tormenting her to the extent that she regretsbeing created into the seemingly endlessmysteries in which humans find themselves.As always, both good and evil take centre stagein her mind, and like two conflicting voices, theyseek to either build or simply destroy; thusinfluencing her actions and ways of life.Themovie reminds us, as inhabitants of planet earth,to re-think our actions and try to repositionthem in the right direction because everythingcreated from the origin of the world is still inplace (unchanged), but humans have goneastray due to their inabilities to use nature’s giftof free will in deciding between good and evilwhen making decisions …Sober Reflection:The short film “sober reflection“(Vienna 2007, 4 min) is a part of an initial, longerversion:“DEAD TALENT“ (Vienna, 2005, 7 min).Theconcept for the movie comes from one of theresidential homes for asylum seekers in Vienna.Fearing they would be targeted or discriminatedagainst, many otherwise willing asylum seekersopted out of the project.The filmmakers thereforedecided to let the actors remain anonymous,and voice-over interviews were made.The most important aspects of the concept arethe views expressed by asylum seekers and thecollaboration in developing ideas for the film.It is about time that we stop talking of asylumseekers as “victims“ and stop defining otherpeople’s situations in stereotypical terms.To avoid racism, it is necessary to talk with oneanother.Through communication, we can shareinformation directly and cut discrimination at itsroots.There is a lot to write about, and to talkabout with one another.3


GlobalBorders of the Middle East: Tal AdlerThe Israeli pro-Palestinian artists are in a precarious position. Facing hardliners at home, they also face rejection from Palestinian institutions.The article is about acceptance and rejection of political art. By Jessie EmkicTal Adler is an Israeli artist living and working inJerusalem. He occasionally teaches at art institutionsand is passionate about traveling to othercountries. Currently, he is involved in the IsraeliFilm Festival in Vienna taking place in Novemberthis year and is organizing the USA tour of hiscampaign “Unrecognized“. In May 2008 he willbe co-curating an exhibition in Sammlung Essl inKlosterneuburg, Austria.“Unrecognized“ is a project documenting thelives of Bedouins made refugees when their landwas taken away in 1948 in the course of theestablishment of Israel.Today they live in unrecognizedvillages. About this project,Tal says:“I chose to deal with a specific social and politicalsituation in which the Bedouins of the Negevdesert are involved.The project is part of anongoing movement to recognize these villagesand to establish civil equality.The situation in theNegev is nowadays really unequal and urgent,and I felt I had to contribute something tointerfere with it and join the movement forchange.“ Although topics such as these are notmainstream,Tal doesn’t see himself as a part ofthe left underground art scene in Israel. Herejects definitions, since things constantlychange and are more complex in the MiddleEast. It's choices and circumstances of individualsthat are in question, not scenes.“I usually don'tdeal with politics, but do politics. It’s not ‘talkingabout’, it’s ‘doing’. More so, it’s a way of examining‘political art’ – if the project has a quality ofchange/ interference/ creation or just observation/discussion. It’s passive vs. active.“ But definiti-4ons can confuse and oversimplify.They changeand are usually dichotomous, whereas life,particularly in his region, is much more complex.I asked him about collaborations with artistsfrom neighbouring countries.“I only have fewconnections with artists in Egypt,“ he says,“thatis if you don’t consider Palestine as a neighboringcountry. I have good relations with Palestinianartists. Unfortunately, Jewish Israelis find italmost impossible to have meaningful orcreative relationships with the other countrieslike Lebanon, Syria, Iran, Jordan, Saudi Arabiaetc., because of our political circumstances.


GlobalMazen and the “Gucci“ RevolutionHumour and irony may make you laugh, but can a blog filled with political comics serve better as a source of information than traditional media?The Lebanese Mazen Kerbaj succeeded in creating such a blog. By Jessie EmkicIt was last year during Israel’s invasion of Lebanonthat I encountered Mazen’s work for the first time.His blog drew my attention. He would regularlypost cartoons depicting his impressions of theinvasion, adding a good portion of self-irony tomake his point clear.Throughout the entire invasionhe would draw, make music and write everydayceaselessly to “keep his sanity“, as he says. His workdrew large international attention.“Sometimes Imeet people after a gig in Europe.They come tome and say:‘We spoke to you during the war’.I don’t know what I should answer. It was in factquite a frenetic period back then, and I barely haveany souvenir of all the people I spoke to.“Sometimes he would receive more than hundredof emails per day. A large majority of these weresupportive, but there were some detractors too.Mazen takes it with humour:“In a way, I was morecapable of answering these than totally cheesycomments of some supporters. Receiving acomment like:‘I am with you from Costa Rica,’whileyou are in a really incredible, but interesting state ofmind as you hear bombs fall on your city, trying tocope with the situation and continue your ‘art’–it brings you back to the real world. In a sense itshows you clearly what the reality is of supportthat you and the country are getting.“Unfortunately, some people totally misunderstoodthe message he was conveying with his drawings.It made him appear a victim, although he was simplydischarging his fear on paper. He was trying toprotect himself from going insane.“I even got thegreatest comment one day,“ he says,“after adrawing where I’m vomiting because of too much6whiskey:‘You shouldn’t drink alcohol, it is bad foryour health, you know.’Reading this while a bombis falling 3 kilometers away from your house ispretty surreal.“He spent his childhood in the Lebanese civil waruntil he turned fifteen.The food and medical aidthe Lebanese would receive consisted of goodswhich had expired years earlier.This is customarywith humanitarian aid regardless of the country it’ssent to. He says ‘divide and conquer’seems to beworking very well in his region. But not everythingis dusky. Beirut is known as the “Paris of the MiddleEast“ glowing with glamour. People are fashionconscious to such an extent that during the greatriots in 2005 citizens of Beirut would refer to themas the ‘Gucci Revolution’.Mazen started drawing at the age of three andhasn’t stopped since. Many of the comics he drawsdeal with politics and war, but he doesn’t want todo what many Occidental artists do, namely usewar as a primary topic for a study.“In a sense,I wanted to prove – to myself – that it was possibleto do interesting stuff without stressing your ‘difference’.“The assassination of the notable journalistSamir Kassir in 2005, his friend and mentor, left adeep scar.“I couldn’t stop drawing during the weekthat followed. It was a sort of a therapy.“ Mazenended up printing 10,000 copies of these drawingswith the help of some friends and donators.Theywere published under the title ‘UNE SEMAINE SANSLA VOIX DE SAMIR’(Engl. A Week Without Samir’sVoice) and distributed with Le Monde – EditionProche Orient.Mazen explores his creativity also in music,engaging in international collaborations with othermusicians. He’s regularly invited to play gigs inEurope, many in of them in Austria.With neighbouringcountries it’s different.There’s no collaborationwith Israel whatsoever. According to a Lebaneselaw one is not even allowed to speak to an Israeli.And yet, he received many supportive mails fromIsraeli musicians during the Israeli invasion and wasastounded how many of them knew the Beirutmusic scene – a proof that art surpasses all borders.www.kerbaj.com


Global“Today I am celebrating6 years of friendshipwith the customsof the civilised worldairports“ (Englishtranslation of thearabic writing)7


GlobalMma Courage in South AfricaSometimes a journey to very distant places must be done to change the perspective: forexample, from Middle Europe to the southern hemisphere. The Austrian freelance theatregroup, pink zebra theatre, and The South African State Theatre started a collaboration:Brecht meets modern South African art. By Vanja Fuchs“It’s a fucking good play!“.The youngman referring so enthusiastically to atheatre piece is Mpumelelo PaulGrootboom, a director and playwrightfrom South Africa working with TheSouth African State Theatre. As Paul isa shooting star of the internationaltheatre community, also known by thenickname “Township Tarantino“ for hisfurious productions, one could thinkthe piece is another sex-and-crimestorysettled in a “tsotsi“ milieu. In fact,the play is dealing with the survival invery rough times, but it is amodern German drama classic:Bertolt Brecht’s “MotherCourage and Her Children“.too well known to treat it with the distance oncesuggested by Brecht. Looking for a solution, thepink zebra theatre, an international freelancetheatre and performance label from Vienna,Austria, decided to try a radical experiment onthe Brechtian term “alienation effect“ by puttingthe play in a contemporary African context. In2006 the pink zebras met Mpumelelo PaulGrootboom in Vienna while he was touring with“Relativity:Township Stories“at the Vienna Festival.The idea of collaborationbetween The South African State Theatre andthe pink zebra theatre on the theme of “MotherCourage“ was born.The first step towards a stage production was aworkshop in Pretoria/Tswane from the 8th to20th August 2007.When our Viennese crew offive arrived in South Africa to start workingtogether with the African colleagues there weresome “doubts“ on both sides. At first glance,TheSouth African State Theatre looks like a majestic,almost intimidating block in the very heart ofPretoria/Tswane. But appearances are deceptive:8In German speaking countries,“Mother Courage“ ratherevokes associations such asrequired school reading and acertain performing mannerrelated to the DDR stageaesthetics. Of course, nothing iswrong with the play itself, andnothing is wrong with keepingup traditions.What doesn’twork any more is our Europeanperception of it – too familiar,


the huge complex, including six differenttheatre venues and several bars, restaurants, andan art gallery, is the place where you can feel thepulse of the city at its best. Since the reopeningin 2000, the State Theatre has been constantlygrowing into a centre of the South Africantheatre avantgarde.shop process, an internal scenic presentationwas staged on August 20th 2007. Due to thesuccess of the short preview, the collaborationbetween the two theatre groups is going to becontinued. Let us make a fucking good showtogether!tsotsi – South African township slang for gangster,outlaw, gang-member; also the title of the South Africanfilm winning the Academy Award for the best foreignlanguage film in 2006.alienation effect – a term established by Bertolt Brecht"which prevents the audience from losing itselfpassively and completely in the character created bythe actor, and which consequently leads the audienceto be a consciously critical observer."GlobalPhotos: pink zebra theatreThe Slovene Vanja Fuchs is working as the dramaturgof the pink zebra theatre in Vienna, established bythe artist, director, actor, and producer peter fuxx.The workshop process has been followed and supportedby the bmeia (The Austrian Foreign Ministry)and the Austrian Embassy in Pretoria/Tswane.www.pinkzebra.orgAlthough the Brecht reception in South Africadoesn't have a big tradition (a prominent leftwingauthor probably wasn’t exactly what theformer apartheid regime driven by its communismparanoia wanted to see on the stage), andthe piece was totally unknown to the cast,astonishingly enough, the group’s alreadyestablished working method perfectly suitedthe demands of the play.The black Africanartists were retelling the “Chronicle of the ThirtyYears’War“ in their own words, languages andsettings in a pretty “trashy“ way, unveiling someusually overseen aspects of the play like the veryspecific art of humour as a mean of distance andcreating powerful, sometimes even grotesqueand brutal pictures. Evolving from the work-9


GlobalThe absence of the thematized subjectsBuilding bridges between Kassel, Lima, and Trujillo: An art mediation project in the documenta 12. By Hansel SatoThe global complex of cultural translation that seems to besomehow embedded in art and its mediation sets the stagefor a potentially all-inclusive public debate. Bildung, theGerman term for education, also means “generation“ or“constitution“, as when one speaks of generating or constitutinga public sphere. Roger M. BuergelAbout Peripheries and Sub-peripheriesDuring my time as an art student in an elitist artcollege in Lima, most of my colleagues and mehad the strong feeling that the centre of the artworld was somewhere in the so-called firstworld.This idea was reinforced by the fact thatthe many prestigious Peruvian artists hadstudied and developed their careers in Europeor the United States.On the other hand, we also saw the art schoolsin the provinces as unimportant and “ marginal “ .Consequently, we constructed the idea of a“sub-periphery “ which exists in this art sceneoutside from Lima.Documenta or the imagined navelof the art worldPeripheries assume a centre. For many, not onlyin Peru, the epicentre of the art world is inKassel, in the documenta art exhibition.When Igot the opportunity to make a project withinthe scope of the art mediation in documenta 12,I wanted to pick out as a central theme thesituation mentioned above.There were, as expected, hardly any guests fromSouth America, Africa, or Asia visiting theexhibit. An exception was the few wealthypeople who could pay the expensive trip toEurope and get a Visa (something that has10became nearly impossible for middle classpeople in Peru). From these “ selected “ people,an even smaller group booked a guide for theexhibit. On the other hand, there was anothergroup made up of journalists and curatorswhose trips were financed bymuseums or galleries; it means, aspecialized audience who are part ofthe small intellectual elite in theirrespective lands.Where are the others?One of 3 leitmotivs of d12 was thequestion about the “ bare life “ ; it means– in allusion to the texts of GiorgioAgamben – the life of the people whoare excluded by the policy. Accordingly,many works were dealing withthe subject of Power andexclusion/inclusion mechanisms in theglobalized world. For example, therewere works like the ship made of oiljerry cans by the African artist RomualdHazoume dealing with the destiny of Africanrefugees, or the “ infernal “ Karoussel, placed onthe Friedrich’s place, by Andreas Siekmann.But there was something that I have perceivedas more intensive and more full of expressionthan the presence of these works: the absence –as visitors – of the thematized subjects, namelythe migrants themselves.However, at this point I also would like to stressthat in d12 many interesting projects of theDocumenta advisory board, the Documentamagazine, and the art mediation team weretouching the above mentioned politicalproblem.But these commendable activities which havebeen generally confirmed as successful inKassel, cannot fight on a continuing basisagainst a structural global situation.The mainfight must be developed, above all, in the terrainof the macro policy.On the other side, my purpose was not todirectly touch the subject migration, but thebulk heading mechanisms of the internationalpolicy which make a simple fact like a visit to thed12, practically impossible for people of otherregions in the world.It could be argued, that Documenta is a Germanexhibit, made for a German or European


couldn’t believe the performance was notcensored.We kept the tea-and-chat practiceafter the performance throughout our worldtour.That way women all over the world got thechance to talk to dancers and exchange experiences.It was more important that people spoketo dancers than to me, because I wanted acommunication to be established betweenOrient and Occident in order to clarify ourridiculous misunderstandings.“Waldmann’s work is famous for hiding theperformers. In her 1997 performance Vodkakonkav she installed five glass panels behindwhich the dancers performed.The audience satin front of the fourth panel seeing the performersonly indirectly.Since 2005 Letters from Tentland has touredseventeen countries and was performed fortythreetimes until it became censored in Iran in2006. Helena Waldmann wasn’t discouraged.On the contrary, she directed a new piece calledReturn to Sender – Letters from Tentland withIranian dancers in exile, which premiered at theMontpellier Dance Festival.The statementsmade in the first piece were now answered,stamped and returned to sender. In this performancethe tents represent the unstable life ofmigrants, but also an unlikely piece of home.Six Iranian women in exile use the tents theircolleagues from Tehran left behind expressingtheir anger, fear and hope.The show was recentlyperformed in Kabul, Dehli, Bangalore und SriLanka.“It was wonderful, fantastic, touching andsomehow very important to perform there,specially in Kabul,“ says Waldmann.“There thetheater means resistance against the oldregime.“In original performance the final scene showsdancers huddled in one tent. Shy and frightened,they looked towards the audience wonderingif there is anyone out there hearing them.They invited people to come into their tent.At a performance in Vienna, just as they wereabout to zip the tent closed, a Mexican womanstood up and went to join them.They smiled. Itwas a beautiful and honest act of solidarity.GlobalPhotos: Franz Kimmel, Gerardo Sanz, Bettina Stöß13


Providência belongs to a generation of choreographers who have been influencing thedevelopment of contemporary dance in Portugal significantly for the past twenty years. Shehas been the director and professor of the Movement Department for Interpretation Studies atthe Academia Contemporânea do Espectáculo in Oporto since 1995. She is a part of thetheater company promoted by the ACE/Teatro do Bolhão and is a member of their artisticboard. She teaches choreographic composition at various schools and workshops in Portugaland abroad. Her work has been shown in Glasgow, Salamanca, Madrid, and several dancefestivals across Europe.GlobalPhotos: Joana Providência15


GlobalGreenland’s MeltingTraces of a Different “North-South“ Divide. By Lisa RosenblattThe earth’s most northerly inhabited settlements are already suffering the effects of global warming.This is not the first “intrusion“ of the south into the north, however.Throughout history, the people,land, and culture of the Polar Regions have been pulled into the culture of the southern latitudes ina number of ways: from Polar exploration to global warming, a brief glimpse northward …A recent headline screamed“ Greenland ismelting.“ In the High Arctic, climate change is not adebate. It’s a raw fact of life transforming the livesof its people, its landscape, and wildlife and makingsurvival ever more precarious. It’s not bad news foreveryone, though. Plenty of adventurous investorsare keen to see the ice melt. As countries stake sovereigntyclaims on remote Arctic islands, hopesgrow of cashing in on new east-west shipping routes,fishing grounds, and oil exploration.“As long asit's ice,“ said Sheila Watt-Cloutier, leader of a transnationalInuit group,“nobody cares except us,because we hunt and fish and travel on that ice.However, the minute it starts to thaw and becomeswater, then the whole world is interested.“ (Quotedfrom a New York Times article, 19 October 2005).In southern latitudes, mention of Greenlandnormally draws blank stares and someone will inevitablyrecount that the name was coined as a ployto attract Norse colonists to the ice-covered island.Nonetheless, Greenland harbors its share of superlatives:the largest island on earth (that isn’t16considered a continent), the only country towithdraw from the EU, home to the world’s mostnortherly permanently inhabited settlement, andcovered by glacial ice on 85 percent of its surface:The northern border of a round world, so to speak.And also, an integral part of our global history. Butas Sheila Watt-Cloutier said, when it was just “ice,“not too many people were really interested.The fourth International Polar Year, which began inMarch 2007, is a transnational effort highlightingthe Polar Regions and their vital role in the ecologicaland social health of the planet. For the first time,the current Polar Year has the “human dimension“on the agenda.Involved in this human dimension are the GreenlandInuit, representing roughly 80 percent ofGreenland’s population.They share a common languageand culture with Inuit living in the Arcticregions of Canada and Alaska. A strait of only 16kilometers separates northern Greenland fromCanada.The last major migration of Inuit fromCanada to Greenland took place from roughly1700 and 1900.At about the same time as thismigration was coming to a close, before the era ofglobal warming, one of the most obsessiveexplorers of his day, Robert Peary, was wanderingsimilar grounds searching for the North Pole.All told, he spent decades on his quest, living withthe Inuit in northern Greenland, learning to adopttheir survival techniques. Nonetheless, in his effortsto make his mark as the first human to set foot onthe earth's extreme northerly point, Peary leftbehind rather troubling tracks. He wrenched anentire Inuit family away from their home andbrought them as living cargo to New York in thesummer of 1897 for his financiers at the AmericanNatural History Museum. People flocked to gawk atthe “savages“ and the media had a feast. Only oneof the unfortunate captives survived what for themwas an uninhabitable, hostile environment.An award winning 2006 documentary The Prize ofthe Pole by Swedish director Staffan Julén exploresthis story tying together the lives of the explorerand those whose lives he drastically altered.The film accompanies the Inuit hunter Hivshu,a.k.a. Robert E. Peary II, great grandson of thefamous explorer, on a quest to trace the story ofhis great grandfather and his other ancestorsscattered in the U.S. and Greenland, as well asthe fate of the six Inuits that Peary brought backwith him to New York, focusing on the story ofMinik, a boy of a six at the time of his capture in1897, the sole survivor of Peary’s captives. Julen,the film’s director, explains that the first time heheard of Minik was from an old man in a littlehunting lodge in northern Greenland.“The oldman told me about this strange Inuit from hischildhood, Minik, who had returned to Greenlandafter living in New York for years… he wasfurious…. He couldn’t speak, he couldn't hunt,and he couldn't survive….“http://www. haslund.org


LIVING ON A BORDERBologna - Ljubljana - London - Vienna By Nenad Jelesijević KITCHLana Zdravković and Nenad Jelesijević, KITCH. Performing at the happening Kitch Wedding which deals with the trend offalse marriages between citizens and immigrants for reaching an official citizenship status. Festival City of Women,Ljubljana 2005, photo: Nada gank/MementoLiving on a Border is both a research and an artproject dealing with the phenomenon of contemporarymigration in Europe and especially the EU.It is being realized through the network oforganizations which are active in this field. Consideringthe fact that in public discourse migrationis usually understood as negative, threatening,and an issue which causes a lot of conflict, theproject would like to present the results of theresearch to the wider public using an artisticapproach which is to be realized within a spatialinstallation named Permanent Waiting Room.A number of documentary materials beingcollected during the research will be selected torepresent the idea of the project in the best way.Videos, films, prints, and audio records are to beincluded in the installation and also in the project’sweb archive(www.livingonaborder.net).We try to think beyond a specific national concept;we try to open some questions about transnational(universal) equality, wishing to debate some newfoundations for (global) identification, beyondnational belonging and national citizenship.We promote the project asthe way to step beyond xenophobia andnational exclusivity and to open a new understandingof contemporary concept for equalityand endorse the trans-cultural dialogue.The following articles are the part of Livingon a Border’s documentation.Concept and coordinationInstitute of Art Production KITCH, Ljubljana, SIwww.kitch.siPartner organizations networkCooperativa sociale idee in movimento, Bologna, ITwww.meltingpot.orgThe Rural Media Company, Hereford, UKwww.ruralmedia.co.ukSoho in Ottakring, Vienna, ATwww.sohoinottakring.atIn co-operation with Peace Institute, Ljubljana, SIwww.mirovni-institut.siDuration of the project January 2007-August 2008(research in 2007, public events in 2008)Supported by European Cultural Foundation, British CouncilLjubljana, European Commission in Slovenia, ASO LjubljanaLiving on a Border0817


Living on a BorderThe erased people of SloveniaLiving on a Border paradigm par Excellence: It was a political performance and direct action like the reminiscent of agitprop and guerrillaperformance, of which its main goal was to have a political effect… By Lana Zdravković, KITCHAmong Slovene NGO’s (in the first place theseare Amnesty International, Legal-informativeCentre for NGO's, and Peace Institute) andhorizontal non-formal activist groups dealingwith human rights and political actions inSlovenia.The problem, or better, the phenomenonof The Erased People of Slovenia is still oneof the most important ones. Fifteen years ago,like “the side effect“ of the independenceprocess in Slovenia, on 26th of February 1992,at least 18,305 individuals were removed fromthe Slovenian registry of permanent residentsand their records were transferred to the registryof foreigners.Those people, who were notinformed of this measure and its consequences,were mainly from other former Yugoslav republicshad been living in Slovenia and had notapplied for or had been refused Sloveniancitizenship in 1991 and 1992, after Sloveniabecame independent. As a result of the “erasure“,they became de facto foreigners or statelesspersons illegally residing in Slovenia.Thisrepresents a unique and bizarre act of onesovereign European country in modern history.In some cases, the erasure was subsequentlyfollowed by the physical destruction of identitycards and other documents of the individualsconcerned. Some of the erased were servedforcible removal orders and had to leave thecountry. In his report, published in 2003, on hisvisit to Slovenia, the Council of Europe Commissionerfor Human Rights noted that many ofthem were deprived of their pensions, apartments,access to health care, and other social18rights.The personal documents of these persons,such as identity cards, passports, anddrivers’ licenses, were annulled. It has beenreported that some people, albeit a very limitednumber, were deported as illegal aliens.Theirliving became a living on a border paradigm parexcellence.Interesting enough is that some of them, whoare still without any rights (about 4000 people)or those who had managed to organize theirstatus somehow (got temporary or permanentresidency back again or even citizenship) incooperation with some activist movements inSlovenia, have been or years organizing artivistic(artistic and activist) actions in Slovenia andabroad (a lot of actions they have performed inItaly, countries of ex Yugoslavia, in November2006 they organized an action “The Caravan ofThe Erased“, where they demonstrated in frontof the European Parliament in Brussels) wantingto raise the question of the erasure in publicdiscourse in some other way then just fightingwith legal instruments (although the legal fightis however very important and thanks to this alot of them have managed to re-organize theirstatus back again). But the public actions weremuch more important especially also becausethe state of Slovenia did everything to concealthe erasure at the public discourse on one handyet on another, to represent those people inpublic like the “enemies of the state“ who werelegitimately expelled from the communitybecause they were “against Slovenian sovereignty“.So a group of the erased started withdifferent public actions implementing the titleThe Erased People of Slovenia and making aseries of peaceful demonstrations and actionswanting to raise the question of the erasure inthe new context of human rights within rethinkingthe idea of a sovereign state as a communityof citizens.Performance IzbrisOne of the most interesting and importantperformances happened on the 11th anniversaryof the erasure at 8th of February 2003 whenactivists, dressed in white overalls, lay down infront of the Slovene parliament and with theirbodies made the title THE ERASURE (IZBRIS).It was a great example of combining the performativeform with an actual political issue anddoing that in the public space. So it was aunique combination of artistic freedom ofexpression and political incorrectness and at thesame time a good example of citizens’ disobedience.It was a political performance and directaction like the reminiscent of agitprop andguerrilla performance, of which its main goalwas to have a political effect. Last year, at the14th anniversary of the erasure they had a newperformance - symbolic annulling of the documentsfor free. It was of course a clever reminiscentof the document annulling done by Slovenebureaucracy and made possible by theSlovene government, to the people who thanksto that became erased. Performance of symbolicannulling other people's document (those whooffered the copy of their document to annulling


were Slovene citizens, mostly supporters of theerased) has in addition been taking place infront of the Supreme Court of the Republic ofSlovenia.Clearly, these and similar performances polarizedthe Slovene population into more or lesstwo antagonistic blocs, one which understandsthe problem of the erasure as the decline ofhuman rights and a racist act by the youngnation state, and the other which understandsthe nation state as a homogeneous communityof dedicated citizens. But although for strictlegalists dedicated to the power of the nationstate is more that strange that Slovenia hadn’tdone much to solve the problem of the erasedsystematically, even though eight years ago theSlovene Constitutional Court had decided thatthe erasure was unconstitutional and four yearsago they ordered the state of Slovenia to fix theinjustice immediately in a systematic way.Demonstration in front of the Slovene parliament,February 2003, photo: Denis Sarkić26. februarja 1992 je kot posledica osamosvojitvenegaprocesa Slovenije 18.305 posameznikovbilo izbrisanih iz registra stalnih prebivalcevRepublike Slovenije.Tako so ti ljudjevvcez noc postali popolni tujci v dr avi v katerivso iveli vec deset let. Šlo je predvsem za ljudiiz drugih republik takratne dr ave Jugoslavije,vki v casu osamosvajanja Slovenije nisozaprosili za novonastalo slovensko dr avlj-Living on a Bordervvanstvo. Cetudi je slovensko Ustavno sodišcevleta 1999 odlocilo, da je izbris bil neustaven inleta 2003 nalo ilo Dr avnemu zboru, danemudoma sistemsko uredi status izbrisanih,se situacija ni bistveno spremenila. Posameznivprimeri so se reševali loceno, odgovorni pavnikoli niso priznali svojo napako. Clanekvvopisuje predvsem artivisticne (artisticne invaktivisticne) prakse, ki so jih skozi leta izvajaliIzbrisani prebivalci Republike Slovenije, kakorso se sami poimenovali, skupaj s pripadnikivneformalnih aktivisticnih organizacij in svpomocjo nekaterih slovenskih nevladnihorganizacij (predvsem Amnesty International,Pravno-informacijski center nevladnih organizacijin Mirovni inštitut), ki še dandanes takovali drugace opozarjajo na ta problem.19


Living on a BorderThe Phantoms FactoryIt's hard to say how many undocumented migrants live and work in Italy, but they must be between 500,000 and one million, while in Europethey are approximately 5 million and a half. "Clandestini" is their name in Italian, meaning not only "illegal people" but also criminal, terrorist,drug dealer, thief or, in other words, danger. This is the way they are portrayed by press and many politicians. Fear, racism, and a new feelingof nationalism which was unknown in Italy less than ten years ago are the effects of this evergreen campaign. By Neva Cocchi, Melting Pot EuropeBut who are in reality these Clandestini, asthey are commonly called by everyone?They are men and women working in Italywithout a job contract, they are cleanersemployed by private houses or big cleaningcompanies, they are construction-workers, theyare factory-workers, they are porters, they are“badanti“, meaning that they look after anolder person assisting him/her 24 hours perday. They are invisibles: they live, they work,they send money home, but they have no rightto stay in our country and therefore they haveno voice.Without an employment contract the paymentis never fair or certain, very often workers arenot paid and can not argue the pay: they areillegal and the boss can denounce them topolice, they risk detention and eviction.A tragic “side effect“ of being an irregular workeris the high danger of job injuries and lethalaccidents during the working time. In a countrywhere an average of four workers die at workeveryday, the most affected category is representedby immigrants working in the constructionindustry, often employed for one day only.They work without safety equipment, loadedwith the hardest jobs having to move from oneconstruction side to another without thenecessary professional skills.Their death is neverdeclared, they work like invisibles and they dieas invisibles.20With a shocking reportage in a mainstreamItalian magazine, L’Espresso, the journalistFabrizio Gatti unveiled the massive exploitationof migrants employed during the tomatoharvest season in several regions of SouthernItaly: hundreds and hundreds of immigrantshard-working in inhuman conditions, under thethreatening tabs of armed gorillas, for a feweuros per day. For a long time Medecines SansFrontiers denounced the massive exploitationand the humanitarian crisis going on every year,but authorities never intervened.This does not surprise us; actually it is the wholelabour system to rely on this illegal workforce inItaly, from south to north, from the farming tothe building trade, from the tourist business tothe assistance and care field. Similarly to theUnited States, where illegal migrants fromMexico are the backbone of the liberal marketsystem, undocumented immigrants' labourforce in Italy is vital to the economic systemwhere competition between producers acts onsalary reduction, precarity and the decrease ofrights at work.“Badanti“ represent another category of invisibleimmigrant workers. Female, aged about 45,coming from Ukraine, Moldavia or Belarus, witha Master's Degree of no value in Italy: this is thetypical "badante" living and working in an Italianfamily where she looks after the granddad.Thereare about 1 million of documented badanti - thefigure rises day by day – those without papersmust be several hundreds thousands. Italy is theEuropean country with the higher rate of peopleover 65, nevertheless the social welfare system isunable to face the ageing process of the Italiansociety, based so far on the enlarged familysystem which no longer exists.These migrantwomen leave their families to help Italianfamilies, leave their parents and sons to lookafter someone else’s parents and sons.Thesesacrifices are not well paid back, as they live asinvisibles. Many of them work without papers,accepting any work and salary condition,without going back to their families as theywould be stopped at the border while trying tore-enter Italy.Like all immigrants, they ask for a regularisationprocess, too, but are only able to use the shortcutof Flows Decree, the law that nearly everyyear allows some quotas of workers to enterItaly.The application to get a quota is complicated,the procedure is slow, but the most humiliatingaspect for migrants, is that they mustbehave like phantoms, pretending to be living intheir country of origin, pretending that they arecoming to Italy for the first time. According tothe Flows Decree, the immigrant is invited toItaly by an employer, once the permission isgiven by the Italian government the immigrantcan get the entry visa at the Italian embassy inher/his home country and pass the border.Thisis the official proceeding, the real praxis isdifferent: the employers gets the permission for


a person already working for him without anemployment contract, once the permission isgiven, the worker must get out of Italy irregularly,like a phantom, he goes to the Italian Embassywhere he pretends to go to Italy for the firsttime and then he enters Italy regularly. If somethinggoes wrong and he/she is caught byBorders Police or the embassy, he/she is expelledfrom Italy for ten days.Badanti of Caffé Babele – a project born inReggio Emilia to promote the inclusion ofwomen of the Eastern Europe in the localsociety – asked the Italian Government tochange the Flows Decree proceeding, theymade a public “coming out“ saying “We are notinvisibles, we want our papers and rights!“.Despite the massive criminalisation of undocumentedmigrants, being illegal is not a choice.It is the onlyopportunity toimmigrate toItaly.The majorityof documentedmigrants living inItaly stayed for avery long timewithout papers,waiting for aregularisation orthe shortcutmentionedbefore. Italianpolicies onimmigration arecutting downlegal ways tocome to Italy:family rejoining isgetting more and more complicated, there areno visas for job searching, visas for workers areallowed every two years during the FlowsDecree and asylum seekers are rejected. Italianpolicies on immigration create illegal migrants.An illegal migrant is very often a woman or aman who saw the face of death while coming toEurope: she/he saw her/his mates drowning inthe Mediterranean Sea, hibernated to death infridge-cargos, choking in a truck, but this is yetanother story.Reading the Newspaper from Ukraine at Caffé Babelein Reggio Emilia, photo: Nicoletta AcerbiSono circa 700 mila i migranti senza permessodi soggiorno che abitano e lavorano inItalia. Sono chiamati clandestini, termine chenell'immaginario comune, diffuso da media epolitici, equivale a criminale, terrorista,spacciatore. L’irregolarità, però, non è unascelta, ma l’unica via per arrivare in Italia, dalmomento che la legge sull’Immigrazione haristretto ogni possibilità di raggiungere inmaniera regolare questo paese, producendo,ogni anno, migliaia di migranti irregolari chenel nostro continente cercano miglioriprospettive di vita. I “clandestini“ altro nonsono che fantasmi, donne e uomini invisibiliriducibili in schiavitù perché non possonoribellarsi e protestare: verrebbero denunciati,incarcerati in un centro di permanenzatemporanea e poi espulsi. Sono fantasmianche quando incontrano la morte, sui luoghidi lavoro così come nei terribili viaggi in mareo a bordo di tir sovraffollati per raggiungere ilsogno dell’occidente21Living on a Border


Living on a BorderAn uphill task for migrant artistsThere is nothing wrong in artists borrowing ideas to create a kind of trans-cultural form of artistry. By Obiora C-Ik OfoeduArt is a universal entity that can also be of transculturalform. Artists migrating from one placeto another usually carry their artistic skills andabilities along with them.They include thoseartists that are better known as mobile artists,who rove about from place to place, but stillretaining their permanent residents. Most ofthem are in the category of artists who havemore often than not, over time, gained crossbordersaccreditation. For those who have notgained acknowledgment outside of their doorsteps,it is an obvious uphill task migrating to anew environment and carrying on with theircreative work. In whichever way the artists couldbe affected, there is no disputing that theenvironment remains an essential element forthem to create or recreate ideas effectively, theenvironment directly or indirectly influencingtheir creativity.Artists are mirrors of society that their backgroundand/or heritage usually reflect in theirworks. As such, those whose works are done in a22more conducive environment are likely to bemore accomplished than those whose works arecarried out in a non-conducive environment.Also, they need peace of mind and inspiration tobe most creative, especially for those beingreferred to as imaginative artists.Artists are inspired by their environment, so theenvironment under which they work does,however, reflect on their work, and thus isnoticed or sensed by those who admire them. Insuch a case the mood of the art work can besadness, melancholy, protestation, provocation,harmony, etc. Most migrants who are in Austriapursuing their career are often faced withinhumane laws and a lot of other obstacles,structural, political, social, cultural and otherwise,the atmosphere being non-conducive forthem.They are constantly confronted withproblems of social diversities and profiling.Always fighting for existence, residence-permitsand jobs, and in most cases they do not have thenecessary resources or support needed for theirwork, just to mention but a few.Again, because they are from different backgroundsand mother countries, they are at timesfaced with the problem of social and culturalintegration, clash of cultures and social divides,and are sometimes faced with a conflict ofidentity. In some cases, they run into difficultiestrying to create dialog between cultures; dialogbetween peoples and dialog between arts,some of the objectives of art.By trying to fit into the system of their hostcounty, Austria, some would sometimes begin,rational or irrational, to borrow ideas from theirimmediate environment. However, there isnothing wrong in artists borrowing ideas tocreate a kind of trans-cultural form of artistry;the trouble is that if they are not careful enoughthey could run the risk of producing works thatcould be lacking personal identity, value andconcept, and could then regenerate to ordinaryart that is without self-critic.Art has its own language, be it in music, literaryart, drawing, sculpture or any other form of art.An art is, therefore, a communicative medium,carrying some messages that require interpretationand understanding.Art works could have elements of history,fantasy, imagination, abstraction, and tale telling,the messages being unique, investigative,interpretative, informative, entertaining, abstractor concrete etc.It is difficult for migrants to find acceptance inAustria. It is, therefore, by no means easy forAustrian society to acknowledge or accept theart productions of migrant artists. Even whenthey reluctantly or grudgingly do, they wouldstill prefer those artistic images and elementsthat are familiar to them. Ironically though,rather than promote the migrant artists alreadyresiding in Austria, they are always excitedtaking pride in importing foreign artists fordisplays. And yet whenever a migrant artistmakes their name outside of Austrian borders,the society still turns around to acknowledgehim/her as one of its own.It is common knowledge that they are notreadily promoted by the media of their newlyfound homes.


Communication gaps exist between the migrantartists with a different mother tongue and theirforeign society as they must grapple with theforeign language that often than not posesproblems to them, more so when their worksinvolve the spoken or written language, orrequire mental or verbal interpretations andtransformation.This explains why their worksare sometimes being disregarded and referredto as primitive, weird, esoteric, or even, representingthe backward culture of their ancestralheritage.Music is, though, one form of art that is mostappreciated by society, as long as it is systematicallyoverwhelmed with rhythm that is commonlyappreciated as the universal language ofmusic. It does not matter if the music involvesthe foreign language that cannot be comprehended.It is commonly said that art is free, yet migrantartists cannot thrive freely or criticise thesensitive aspects of society or politics, less theyare accused of being provocative or oversteppingtheir bounds.They could also lose theirlegal right to stay.Most artists rely on the authorities for subventions,a breath-taking effort for the indigencepeople too.The migrant artists have no equalopportunities with the free citizens. If at all theyare to get any support, they must be in theposition to prove that their works have a way ofbenefiting Austria, better still if they are holdingAustrian passports.Anyway, because there are individually organisedcultural associations, they have the privilegeof working with those to at least treasure onmuch little success. In some sense, God, religionand spirituality are no go areas, so it is notcommon for artists who base on those to havesuccess.Notwithstanding the brain-drain involved inartists pursuing their callings in a new space,they are often exploited by established organisations,promoters and opportune individuals,especially those claiming to be promoting artsand cultures.This is most true of the artists whotend to create in a new space, where they arenot familiar with, and have more or less nolobby.Invariably, art objects migrate across borders,stolen or bought.They create opportunities forthe indigenous artists to recreate or transformdifferent species of arts from mixed cultures.Yet it is by no means easy to empower migrantartists to create in a new space and evolve realtrans-cultural entities.Photos: Magdalena BlaszczukKünstlerInnen, die von einem Ort zum anderenmigrieren, nehmen ihre Herkunft mit,die sich in ihrer kreativen Arbeit niederschlägt.Gleichzeitig reagieren sie auf ihreneue Umgebung und befinden sich somit ineinem transkulturellen Prozess. Die Bedingungen,unter denen diese KünstlerInnen arbeitenkönnen oder müssen, spielen dabei einewesentliche Rolle. In Österreich ist die Akzeptanzvon migrierten KünstlerInnen oft marginal.Es kommt sogar vor, dass KünstlerInnenaus dem Ausland eingeladen werden unddurchaus willkommen sind, jene internationalenKünstlerInnen, die bereits hier sind, aberverschmäht werden - es sei denn sie werdenim Ausland bekannt. MigrantInnen, diekünstlerisch arbeiten, haben aber auch mitanderen Schwierigkeiten zu kämpfen: mit derSprache (wenn sie nicht gerade musizieren),mit einem ungesicherten Status, mit demZugang zu Subventionen. Oft sind dieseKünstlerInnen mit der Situation konfrontiert,dass sie - weil ihnen häufig die Erfahrung undein Netzwerk fehlen - von etablierten Institutionenausgenutzt werden.Wann werden inÖsterreich auch diese kreativen Potenzialeendlich eingebunden und anerkannt.23Living on a Border


Living on a BorderExploring barriersCreative Responses to Migration into UK Rural Communities. By Nic Millington,The Ruralmedia Company24


The rapid increase in numbers of migrant andseasonal workers from A8 EU countries intoBritain, currently estimated at 600,000, hascreated unprecedented levels of concernespecially within rural communities that havelittle experience of cultural diversity, andamongst statutory and third sector agencieswhich are struggling to keep pace withdemands on already stretched public services.Fuelled by sustained, often negative, mediaattention on migration-related issues, theproportion of people identifying immigrationand race as one of the most important issuesfacing the UK has reached new heights, asdemonstrated by the centrality of migrationissues leading up to the UK’s May 2005 generalelection 1 . Rural communities are struggling tocome to terms with the social and economiceffects of rapid demographic change due to exmigrationof young people, and in-migration ofurban dwellers. In addition, a recent report byJoseph Rowntree Foundation found that racistattitudes and behaviour in young people found“a significant minority“ of young people studiedexpressed dislike of other groups, especiallynewly arrived communities 2 . It is little wonderthe increased presence of migrant workers, andrelative ignorance about who they are, presentsserious challenges to rural community cohesion.There is a consensus that practical work onethnicity and racism/anti-discriminatorypractice in the rural context has not beenadequately resourced and that there is a gap inidentifying what good practice might mean.In addition there has been an over emphasis onthe cultural differences of minority ethniccommunities with regard to social integrationand inclusion within so called ‘mainstream’communities.This has often led to a neglect ofconsideration of barriers that exist in the ‘mainstream’communities in addressing socialintegration and inclusion issues 3 .The Rural Media Company has responded to theissues of social cohesion generated by recentrapid demographic change by developing anumber of participatory digital media projects,including community filmmaking and digitalstories. Underpinning Rural Media’s creativestrategy is the concept that for social integrationand inclusion to be successful actions andpolicies must encompass a ‘two way process’.In short, not only should minority ethniccommunities be expected to change and adapt,but so too must ‘mainstream’ communities.Furthermore, we place great emphasis onidentifying methodologies and practice that areboth new in their approach to strengtheningcommunities and which can be communicatedand replicated elsewhere in the UK and beyond.For example, a current digital storytellingproject called Migrant Stories will not only bereported upon in such a way that the finaldocument will be a useful tool for others, but afilm will also be made and distributed documentingthe working process.This film will provide ahighly original and valuable insight to what is instore for anyone wishing to use digital storieswithin their own work or community.Migrant Stories is a unique action researchproject, which is taking place in Herefordshirethroughout 2007.The purpose of the project isto explore new ways of building understandingand social cohesion between migrant and hostcommunities in the sparsely populated countyof Herefordshire.The Rural Media Company isbuilding upon its exemplary practice of enablingrural communities to use low budget digitalmedia equipment to communicate creativelyand effectively with each other and to informservice & policy development from the ‘bottomup’.Through an accessible, contemporary form ofstorytelling, called digital stories, residents from‘mainstream’ and ethnic minority communitiesare exploring barriers to social integration andinclusion. Project participants are identifyingexamples of where barriers have been overcomeand what lay behind such achievements.Through creating a series of personal andpoignant audio visual accounts, project participantsare in effect be proposing their own ideasand solutions to service providers and policymakers.Digital stories also have the great advantage ofbeing able to be distributed on the internet foruse in a very wide range of settings – domestic,educational, public, professional development,broadcast etc.1 The Guardian, J Vidal 5 June 20062 Joseph Rowntree Foundation, Informing Change,November 20063 P de Lima, Carnegie UK Trust, Seminar, Edinburgh,November 200625Living on a Border


FlashEin Schneider in Wien Von Saskia Rudigier„Grün ist meine Lieblingsfarbe“, sagt BarrieAbdulai und das merkt man nicht nur an seinerSportjacke und der dazupassenden Hose. Auchdie Wände in seinem Kleiderservice und Textilhandelsgeschäftin der Burggasse sind grün.Ein bequemes Rattansofa mit grünem Südseemusterund eine hübsche dunkelgrüne Lampeüber einem zierlichen Holzschreibtisch, seinerLadentheke, verleihen dem kleinen Geschäfteine sehr persönliche Note.Während unseres Gespräches betreten einigeKundInnen den Laden. „Die Wenigsten sind afrikanischerHerkunft“, sagt Barrie, und nach denüberschwänglichen Begrüßungen zu beurteilen,scheinen viele seine Dienste öfters in Anspruch zunehmen. Eine schicke Businessfrau in weißenLederstiefeln holt ein abgeändertes Kleid ab, eintürkischer Mann sucht einen bestimmtenDruckknopf für seine Jacke, einer älteren Damepasst ihre Hose nicht mehr, einem Engländerhingegen sind seine Hosen zu weit und zu lang.Mit Abänderungen und Maßfertigungen aufKundInnenwunsch hält sich der 38-jährigeSchneider aus Sierra Leone über Wasser. SeinTraum wäre allerdings: mehr Zeit zum Kreativseinfür eigene Kleiderkreationen. Mode zumachen, die ihm spontan einfällt und gefällt.An stilistische Vorgaben will er sich nicht halten.Bevor Barrie den Wiener Laden zusammen miteinem, inzwischen verstorbenen, ägyptischenKompagnon vor drei Jahren eröffnet hat,arbeitete er acht Jahre als Schneider in SierraLeone. Seine Mutter hatte zwei Geschäfte undvon ihr wurde er stückweise in das Schneidergewerbeeingebunden, obwohl er eigentlich lieberstudiert hätte.26Aus dieser Zeit zeigt mir Barrie einige Bilder vonModeschauen in Afrika. Divenhaft und unkonventionellwirken die oft zweiteiligen bunten Kleideran den Models und Kundinnen.Typische afrikanischeMode, möchte man meinen. Barrie mixtedafür jedoch edle Bregenzer Stoffe mit naturgefärbtenGara-Batik-Stoffen aus Westafrika.Ich trinke Gute Laune-Tee und sehe mich inseiner Werkstätte um. Barrie schneidet indesseneinen Stehkragen aus schwarzem Samt, bügeltVlieseline drauf und näht ihn an die Weste.Morgen kommt die Kundin zur Anprobe. EinWunschmodell.Aber ich entdecke im Laden auch einige vonBarrie entworfene Stücke. Alltagstauglich undziemlich konträr zu den Modeschaufotos vonvorhin. Kultverdächtige leichte Stufenröcke aushellem Dirndlblusenstoff mit grünen Streifenapplikationenam Saum. Ein kurzes Batik-Ethnokleidmit Häkelborte am tiefen Ausschnitt.


FlashEine witzige Streetwear-Jacke aus geblümtemCordsamt. Selbstbedruckte bunte T-Shirtsmit originellen Tatoo-Motiven. Kein Wunder,dass Barrie’s Mode schon reißenden Absatzbeim FM4 Frequency Festival in Salzburg fand.„Ich versuche nicht teuer zu sein. Die meistenLeute, denen meine Sachen gefallen, sind jungund haben deshalb wenig Geld.“ Und auch im„Gloom“, in der Neubaugasse, gibt es Modellevon ihm zu erwerben.„Vielleicht finde ich ja Zeit,ein paar Sachen für Weihnachten zu machen“,überlegt Barrie, bevor er mich verschmitztansieht und fragt:„Hast du nicht Lust auf Kleideränderungservice?“Info: Textilhandel und Kleiderservice1070 Wien, Burggasse 42/4, T.: 0699/815 47 905Öffnungszeiten: Mo-Do 10.00-20.00, Fr 14.00-20.00 UhrPhotos: Bernhard Kummer27


FlashTomislav Bla ević (Ljubljana)„Emigrant“: 70 x 50 cm, terracota and oil on canvas28


Kisten können Feuer löschenDie Geschichte von den „Lebendigen Kisten“. Die Kinder bauten "Cajons“ und „Cajitas“,kleine Kisten, die noch unbekannt sind. Ein Projekt mit Flüchtlingskindern im Rahmen desEU-Projektes „open here“ in München. Von Edgar LliuyaFlora ist 12 Jahre alt. Sie war ein sehr schüchternesMädchen – wenn andere Kinder spielten, blieb siezu Hause. Sie will ins Realgymnasium, muss abereine Prüfung bestehen und sie hat Probleme zuHause. Ihr Vater musste im Freien schlafen, er hatteAngst ausgewiesen zu werden, die Behörden könnendie Familie aber ohne den Vater nicht mitnehmen.. .Tuan kommt aus Taiwan, man hat ihm dieStaatsbürgerschaft angeboten, er will aber ein ewigerFlüchtling bleiben. Seine Leidenschaft bestehtdarin, den Kindern in den Flüchtlingsunterkünftendie Möglichkeit zu bieten, Kinder zu sein. Er ist sehrstreng, ein Lautsprecherbauer und ein guter Techniker.Er verteidigt immer wieder den Kinderraumgegen „Platzmacher“ in den Unterkünften . . .Solaf, Fresta, Fischare, Sarko, Ensar, Micha, Artak,Ainur, Hanan,Waran, Nila, Samiel, Robert, Sihana,Nathalie, Essam, Masieh, Marad, Farhad und dieSchwestern Diana und Slafka – alle wissen, was ein„Cajon“ ist oder eine „Cajita“. Sie lachen gern undwollen zeigen, was sie sind, was sie wissen, was sielernen. Sie malen, spielen Fußball oder Basketball.Manche singen wie die Wiener Sängerknaben,andere tanzen oder spielen Theater. In ihrenkleinen Vorstellungen sieht man ihr Zusammenleben,ihre Hoffnungen und Phantasien.30 m 2 misst der Raum, er ist gar nicht leer, imGegenteil, hier gibt es alle möglichen Materialienzum Basteln und Werken.Tische, Sessel, altes Zeug.Den Kindern macht es aber Spaß, hier zu bastelnund Perkussion zu lernen. Aber sie lernen nicht nurMusik zu spielen, sondern auch sich selbstdarzustellen oder einfach ruhig oder laut zu sein.Sie bauten mit Tuan ihre eigene „Cajon“ (Kiste), einMusikinstrument aus Peru, das mittlerweile in ganzAmerika und Europa sehr verbreitet ist. Sie bautenaber auch „Cajitas“, kleine Kisten, die aber als Musikinstrumenteeinzigartig und noch unbekannt sind.Wahrscheinlich ist deshalb eine von diesen „Cajitas“auf einer Veranstaltung, bei der die Kinder das ersteMal vor Publikum spielten, verschwunden. Obwohles niemand geglaubt hätte, denn die Veranstaltungfand in einer der reichsten Gegenden vonMünchen statt. Manche Kinder sahen zum erstenMal den Starnberger See, sie träumten schwimmenzu können und als ein großes Schiff vorbei fuhr,konnten sie ihre Phantasien los lassen. Sie sahensich auf dem Schiff mitten im See und ihre Herzenschlugen, als ob sie größer würden. Sie waren imAugenblick sehr glücklich. Zwei Wochen später tratensie in einer der ärmsten Gegenden vonMünchen auf, und hier verschwand nichts, auchnicht ihr Lächeln. Die Kisten, die sie bauten, wurdenvon ihnen selbst bemalt. In jedem Bild kann maneine wahre Geschichte sowie die Entwicklung ihrerKreativität beobachten. Diese Kinder sind„privilegiert“. Die Kisten sind mit Flora und ihrenFreundInnen lebendig geworden, sie geht jetzt insRealgymnasium, ihr Vater darf hier bleiben. Auchwenn es sich übertrieben oder kitschig anhört,manche haben das Lachen wieder gelernt, andere,die sich bekriegten, sind FreundInnen geworden. Esgibt aber kein „Happy End“, denn viele wissennicht, ob sie hier bleiben dürfen, andere sind nichtmehr da und mit ihnen ist die ganze Familie weg.Es gibt Hunderte,Tausende oder HunderttausendeKinder und Jugendliche in den Flüchtlingslagern,auf den Strassen und in den Schulen Europas, dienicht die Möglichkeit haben, ihre künstlerische,kreative oder einfach ihre potentielle Begabung zuentwickeln. Kinder von MigrantInnen werdenschon in der Schuleselektiert („Fall“ für die Sonderschule),dadurch werden ihre Chancen in derGesellschaft abgekürzt.Deshalb ist Feuer auf den Straßen von Frankreichentzündet worden, denn Kinder mit Migrationshintergrundsindkeine „Gäste“,sie sind Europäer-Innen. Mögediese wahreGeschichte der„LebendigenKisten“ denVerantwortlichenim Migrations-Bereich in Europaein Beispiel sein,denn Kistenkönnten Feuerlöschen.29Flash


TippsReviewSudaca Power: Nos vamos pa’ la lunaBy Joshua KornSudaca Power are a 6piece band who are basedin Berlin.They consist ofdrums, percussion, vocals,bass, and Sampler.The band members originatefrom different countriesincluding Argentinaand Turkey. Sudaca is aSpanish colloquial termused to denote peoplefrom South America, andparticularly people who are descended from thenative inhabitants of South America before the arrivalof the Europeans. It is a derogative term.Therefore, I am assuming that Sudaca Power have apolitical message in their lyrics. Unfortunately I donot speak Spanish and could not find a translationfor their texts. So I can only review the music.Thetitle of the CD is “Nos vamos pa’la luna“ whichmeans “we go to the moon“.The music can be best described as a “political“Latin mix of funk, hip-hop, and rock with a little bitof punk and ska thrown in. I like the CD. I like thefact that most of the songs are around three minuteslong, like pop songs. I like songs which makeyou want to play them again and again becausethey are so short. However, the CD could have donewithout the last three or four tracks which are morelike jam sessions and not really necessary.Therewas also a rap song; I forget the name, which hadan unfortunate guitar part, reminiscent of EricClapton. It spoilt the whole song for me. I can‘t helpit: I hate Eric Clapton.The songs are varied and would be good to dancewith great percussive rhythms. I like the sampler30which is used to great effect not only in the songsbut also in between tracks.The CD has been self recorded and self produced;in fact, Sudaca power have their own recordingand mixing studio. Unlike a lot of other CDs, I havelistened to, the songs have not been over producedand still retain their energy and drive.Luminescent Orchestrii: Too Hot To SleepThe CD is called “Too Hot To Sleep“, and it is byLuminescent Orchestrii, the New York basedband.They are described on their website as,“Romanian gypsy melodies, punk frenzy, saltytangos, Klezmer, Balkan harmonies, hip-hopbeats, and Appalachian fiddle“ and are a fivepiece band, consisting of two violins, resophonicguitar, bullhorn harmonica, and bass.As I have mentioned in other CD reviews, I do notenjoy music without vocals but the first track is arousing number with singingentitled “Amaritsi“.This bodeswell and I am in a good moodtoday and feeling fairly openminded. In fact, I am ready toembrace all that World Musichas to throw at me.Unfortunately, the secondand third tracks are withoutsinging and are “traditional“:I recognize “Freilach/Rabbi inPalestine“ from my ownfamily get-togethers, weddings,and Barmitzvas. Sorry, Iam bored of the endless reworkings of Jewish folkmusic – I want to hear newcombinations and songs.Luckily the band redeemthemselves in the third track,which has a sultry jazz feel, and the seventhtrack “Tea“, which is about giving up alcohol andeverything for “a cup of tea“: Both songs areoriginal compositions.My main critique of the CD is the inclusion of thetraditional songs.The band members write goodsongs so I do not understand why the traditionalarrangements were included. However, the bandare fantastic musicians and there is sometimes awild, foot tapping, and hip grinding feel to themusic. It is a shame that this is all tempered a littleby the vocals which are too restrained and not individualenough.The band harmonize beautifully butit is too classical for my taste and they could dowith the inclusion of a powerful singer or singersto match the frenzied intensity of the other instruments.I have heard, however, from friends, that theband are really fantastic live and worth seeing.Karikatur: Felix Glücksmann„Ein Sammlerstück, leider zu teuer“


Talismänner Von Michéle Thoma„Du wirst 99 Jahre alt, Schatzi“, sie deutet auf Stimmt haargenau. Heute ist Luciano mit dermeine Nasenwurzelfalten. „Alles gut, gesund, Konkurrenz unterwegs. Sie schaut mir forschend-besorgtin die Augen.„Was kostet deinKinder gut, nur – Pech in der Liebe.“„Das kann man da gar nicht sehen“, weigere ich Dampfstaubsauger“ , fragt sie dann.„10 Euro.“mich, die Wahrheit in meinem Gesicht zu sehen. „Schenkst du ihn mir?“ „Was meinst du mit Pech„Du schon viel Probleme im Leben“, sie deutet in der Liebe? Hört das nicht auf?“ „Ich hab wasbeharrlich auf meine Falten.für dich“, sie kramt in ihren Rockschößen herum,„Dafür brauche ich keine Wahrsagerin.“fördert zusammengeknülltes ZeitungspapierDie Frau, die mich seit einer Stunde Schatzi zutage. „Das musst du immer bei dir tragen. Mitnennt und es geschafft hat, mir die HälfteKaffee und Salz. Nachts unter Matratze legen.meines Flohmarktplatzes abzuluchsen und ihre Kommt aus Moschee.“ Dieses undefinierbare,einbeinigen Puppen, henkellosen Tassen und weißgelbliche Etwas, das sie aus dem Papierausgetretenen Schuhe neben mir auszubreiten, schält, dieser verschimmelte Zehennagel oderschüttelt den Kopf.diese verfaulte Knoblauchzehe soll mir meinen„Du viel Probleme – aber alles gut. Nur in der Luciano zurück zaubern? „Du nix verstehen –Liebe Pech. Deine Liebe mit anderer Frau.“ du tust, was ich dir sage, und alles gut . . .“„Ich glaube nicht an Tricks in der Liebe.Entweder man liebt, oder man liebt nicht.Entweder man wird geliebt, oder man wird nichtgeliebt.“„Das ist nicht Trick. Das ist von Moschee.“„Noch schlimmer. – Dann verwechsle ich etwasunter der Matratze, und ich wach auf mit demTeufel im Bett.“ Achselzuckend stopft sie denKnoblauchzehennagel wieder unter ihre Röcke.„Schade, Schatzi.“„Und jetzt … was ist jetzt mit meiner Liebe?“Sicher überlässt sie mich jetzt meinem Liebesschicksal.„Schenkst du mir deinen Dampfstaubsauger,Schatzi?“„Nimm ihn!“ Wozu braucht eine Frau mitgebrochenem Herzen einen Dampfstaubsauger?„Deine Liebe kommt zurück ... Sag Schatzi,brauchst du eigentlich diese Tasche, nein, diedrüben, die Schöne mit den Blumen…?“TextkunstKULTURKONTAKT AUSTRIA /GALERIE ARTPOINTKulturKontakt Austria (KKA) is one of the largest Austrian centres ofexcellence for arts and cultural education, cultural dialogue and educationalcooperation with Central, Eastern and South Eastern Europe. In itsGalerie ArtPoint, KKA presents artists from Eastern and South EasternEurope. The aim is to make contemporary art from these regions moreaccessible to a broader public and to facilitate and encourage meetingswith artists from Eastern and South Eastern Europe.The series of exhibitions “Presentation of Works by our Artists in Residence“takes place four times a year in KKA´s Galerie ArtPoint and showsworks by artists who were invited to a three-month stay in Vienna byKKA. The Artists in Residence programme is directed towards artists fromEastern and South Eastern Europe, and has been offered by KKA since1993. Since the initiation of the programme, more than 4,300 artistshave applied and around 200 of them have been selected to take partin the programme. With itsArtists in Residence programme,KKA enablesartists to make contact andexchange experiences withthe Austrian and internationalart scenes. Further moreKKA invites curators fromdifferent Eastern and SouthEastern Countries to Viennato present young artists andrecent contemporary art trends in those countries.Galerie Artpoint is also a meetig point and aforum for panel discussions and artists’ talks.Galerie Artpoint, Universitätsstraße 5,1010 Vienna | www.kulturkontakt.or.at31


P.b.b. Erscheinungsort Wien, Verlagspostamt 1160 Wien

Hooray! Your file is uploaded and ready to be published.

Saved successfully!

Ooh no, something went wrong!