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Fereshteh Toosi The Only Reason This calling card draws a connection between recent mobilizations by immigrant workers and the civil rights movement in the United States. The card is a direct re-versioning of a calling card created in the 1970s by the whitesupremacist Ku Klux Klan. Their original card read: "The only reason you are WHITE Today Is Because Your Ancestors Believed & Practiced SEGREGATION." Singurul motiv Aceasta carte de vizită subliniază legatura dintre mobilizările recente ale lucrătorilor imigranți și mișcarea de drepturi civile din Statele Unite. Această lucrare este o prelucrare directă a unei cărți de vizită create în anii 1970 de către Ku Klux Klan, grupul rasist extremist. Textul original era: “Singurul motiv pentru care ești ALB azi este pentru că strămoșii tăi au crezut în și au practicat SEGRE- GAREA.” [424] Fereshteh Toosi: The Only Reason, 95 x 55 mm, print, 2006 (2010), multiple. Courtesy of the artist. [425]
PARADIS GARAJ Str, Batistei nr.20 [426] Founded by Claudiu Cobilanschi and Ștefan Tiron, ParadisGaraj, the only artist-run space of Bucharest, is a space of self-education, which accesses and engages the audience through an open invitation towards debate and dialogue. Using a garage in the centre of Bucharest, despite its small space, ParadisGaraj has become an active space of cultural production and distribution, bringing a considerable contribution to the local scene. <strong>PAVILION</strong> UNICREDIT, Centre for Visual Introspection and ParadisGaraj are one of the few independent entities operating in the Bucharest contemporary art scene. By using them as venues, BB4 wishes to encourage the emergence of new spaces and the development of an active cultural scene in Bucharest. Înființat de Claudiu Cobilanschi și Ștefan Tiron, ParadisGaraj, singurul artist-run space din București, este un spațiu de auto-educare, care accesează și antrenează publicul printr-o invitație deschisă dezbaterii și dialogului. Ocupând un garaj din centrul Bucureștiului, în ciuda dimensiunilor reduse, ParadisGaraj a devenit un spațiu de producție și distribuție culturală foarte activ, cu o contribuție considerabilă adusă scenei locale. <strong>PAVILION</strong> UNICREDIT, Centrul de Introspecție Vizuală și ParadisGaraj sunt printre puținele entități independente care activează pe scena artei contemporane din București. Prin ocuparea lor, BB4 își dorește să încurajeze apariția a noi spații și dezvoltarea unei scene culturale active în București. [427]
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PAVILION journal for politics and c
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COLUMN HANDLUNG. ON PRODUCING POSSI
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Handlung. On Producing Possibilitie
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ally occurred) can impossibly be re
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Handlung. Despre producţia posibil
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de ansamblu s-a intensificat iară
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“Better Dead than Communist!”.
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esis of a new political identity ca
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formed political party claiming con
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nizing hope.” In Octavian Paler
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goals were never fully attained”
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1999) References - “Alianţa Civi
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Universităţii, precum şi de repe
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mai proeminent purtător de cuvînt
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tece au creat o continuitate spirit
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lui Piaţa Universităţii, a fost
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Referinţe critice: - „Alianţa C
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meetings and the factory square mee
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din fabrică (obicei comunist de a
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materials; the simplification of th
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tion of life which destroys all of
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ile, iar evoluţia luptei proletari
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exces creativ. În al doilea rînd,
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gives the migrants long enough to m
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dwelling place for several families
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Notes: 1. NA. A previous version of
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periferie la alta, de la un adăpos
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spaţiile neocupate. În ciuda necu
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Exploring the Return of Repression
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Explorând întoarcerea represiunii
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Imaginary Radicalisms Notes on the
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to derive its historical intelligib
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hence art’s affirmative function
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ackward-looking conception of isms
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Radicalisme imaginare - însemnări
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modelul avangardist al istoriei art
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obiectul readymade. De fapt în ace
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erne asupra artei în sine, în cad
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Aesthetic realism, fictional docume
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far as Auerbach, in the first chapt
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the one presented by France Dimanch
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Realism estetic, documente ficţion
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ătălii (des étapes d’une lutte
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documentară), ci un instrument ce
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the self. Architecture thus not onl
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tage of a semicircular hall, by con
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the Assemblée fédérative des Ami
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etrageri şi tenacitate. Nu include
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şi a distanţărilor. Mai mult, or
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organizate în circul de la Palais-
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so many issues - bound all of us in
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Our notions of politics have been t
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lows always drifted sideways. For t
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as humans are through opinion polls
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This is exactly what happened when
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degree of realism that is injected
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De la Realpolitik la Dingpolitik sa
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va imagini înceţoşate ce “dove
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cu pasiune, adică ştiinţa, tehno
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întîi asupra politicienilor înş
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ar putea fi o problemă mult mai de
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sale experienţa trăită odată cu
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spectacol. Note: 1. Ron Suskind,
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we are better able to understand wh
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Democraţia agonistică şi politic
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nism agonistic: Hannah Arendt şi p
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including the politics embedded the
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oper and the rise of the signature
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money economy, and especially, the
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the building’s pulsating shell ha
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[278] cunoaştere, incluzînd şi p
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eligiozitate ascunsă, pe care arhi
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înlocuită de un set de reprezent
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[290] pînze de corabie umflate de
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sify, categorise, fix, and identify
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extent take over their politics. As
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deoarece conţine o rămăşiţă d
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parte încă dispersate şi teribil
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[310] the reality you are only reme
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Notes for a Declaration of the Righ
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EXTENT PARTICIPANTS AND VENUES OF B
Page 163 and 164: Magnus Bärtås Madame & Little Boy
Page 165 and 166: Kaucyila Brooke Tit for Twat: putem
Page 167 and 168: Cabello/Carceller ARCHIVE: DRAG MOD
Page 169 and 170: Elena Ciobanu Oda Bucuriei Ode to j
Page 171 and 172: Cláudia Cristóvão Standing Still
Page 173 and 174: Ângela Ferreira Abandoned Settler'
Page 175 and 176: Field Work/Lise Skou & Nis Rømer W
Page 177 and 178: Andrea Geyer Criminal Case 40/61: R
Page 179 and 180: Charlotte Ginsborg The Mirroring Cu
Page 181 and 182: Ion Grigorescu Electoral meeting Ma
Page 183 and 184: Bucharest and its Utopia I feel it'
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Page 187 and 188: omului în colectivitate. Multe au
Page 189 and 190: Stina Östberg Floating Island Floa
Page 191 and 192: Emily Roysdon A Motion Picture My w
Page 193 and 194: Fia-Stina Sandlund Julie The artist
Page 195 and 196: Lina Selander When the sun sets it
Page 197 and 198: Åsa Sonjasdotter Small Potatoes Ma
Page 199 and 200: Pilvi Takala Players In the past te
Page 201: Lan Tuazon Riot City/ Parking Lot L
Page 204 and 205: Kalle Brolin Gorgeousaurus, foundin
Page 206 and 207: Pablo Bronstein & Eleanor Vonne Bro
Page 208 and 209: Ștefan Constantinescu An Infinite
Page 210 and 211: Nicoline van Harskamp Any other Bus
Page 212 and 213: Alexander Kluge News from ideologic
Page 216 and 217: The Otolith Group Otolith Otolith i
Page 218 and 219: CENTRE FOR VISUAL INTROSPECTION CEN
Page 221 and 222: Maryam Jafri Independence Day 1936-
Page 223 and 224: Mona Vătămanu & Florin Tudor Poem
Page 225 and 226: PAVILION UNICREDIT center of contem
Page 227 and 228: Zachary Formwalt: In Place of Capit
Page 229 and 230: Sabrina Gschwandtner Wartime Knitti
Page 231 and 232: Christine Meisner Recovery of an Im
Page 233 and 234: Asier Mendizabal Otxarkoaga (M-L)/U
Page 235 and 236: Olivia Plender & Unnar Örn Table R
Page 237 and 238: Société Réaliste Spectral Aerosi
Page 239 and 240: Judi Werthein Brinco Brinco, 2005,
Page 241 and 242: laBOMBA Rahova-Uranus Community Cen
Page 243 and 244: Curator Felix Vogel Felix Vogel (b.
Page 245 and 246: Derrida, Michel Foucault and Gilles
Page 247 and 248: Londra și Viena. Expozițiile ei p
Page 249 and 250: London, the Jeu de Paume, Paris and
Page 251 and 252: Sweden în 2006 și a absolvit Acad
Page 253 and 254: Mellon School of Art. Printre expoz
Page 255 and 256: sions and debates connected to the
Page 257 and 258: Simultaneus parallel events Narrati
Page 259 and 260: ory, oral archive - testimony, writ
Page 261 and 262: 2009-2010 Parallel Events Free Acad
Page 263 and 264: “Chestiunea realismului” are ca
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Media Partners: Official Coffee: Pr
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Felix Vogel - Handlung. On Producin
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