KANTUTA QUIROS & ALIOCHA IMHOff - Overlapping Biennial

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“Untitled”, 2005 (the former Stasi building, Berlin) registers a social order founded on power and control of the individual. The setting of the room upholds a symbolic dimension, able to enhance the visual effect of a repressive system; it nourishes the idea of a mechanistic conception of work processes, and favors, at the same time, role and hierarchy establishment. At the centre of Carla Åhlander’s interest, the totalitarian system is dealt with from an outside view. She examines the properties of spaces which, within power structures, become effective control and discipline instances; moreover, she radiographs rooms that, undoubtedly, not everybody can associate with personal experiences, apparently not worthy to be photographed. Transferring these images in the public space, in an advertisement layout, Ahlander’s works emphasise all the more the numerous mechanisms lying behind authoritarian constellations. Despite the total absence of individuals in these images, the objects in the rooms set up, however, a variety of placeholders connected by a specific purpose, helping the individual find his predefined social role. Nikola Dietrich, 2005 61
ARTSTATION (ANNE HAYES & GLENN DAVIDSON) 62 Imaginea butoanelor devine din ce în ce mai seducătoare şi trebuie să ne întrebăm: cum ne afectează acest lucru? Butonul ON/OFF a devenit atât de omniprezent în vieţile noastre, încât aproape ca nu mai suntem conştienţi de existenţa lui. Să fie vorba oare de o formă de condiţionare subversivă? Cine e responsabil pentru acest lucru? Ce rol are butonul ON/OFF în schimbările climatice? Şi mai mult: toate butoanele comuteaza pe ON şi pe OFF? Deţinem oare întregul control sau avem doar impresia că o facem? La această mulţime ameţitoare de întrebări ce încă nu au primit un răspuns, se adaugă o alta: când a apărut butonul ON/OFF? Din cauza nenumăratelor întrebări, trebuie folosite metode exacte care să stabilească limitele cercetării, astfel încât aceasta să nu fie ea însăşi acaparată de un mecanism de comutare. Astfel, unele probleme se vor situa în afara ariei de cercetare şi ele vor fi semnalate, dar vor rămâne neanalizate. Glenn Davidson (Artstation) la Radiator Symposium, “Exploits in the Wireless City”, 15-16 ianuarie 2009 Buttons are becoming ever more seductive and one must ask: is this affecting us? The ON/OFF button has become so ubiquitous in our lives we are almost unaware of it. Is this a form of underlying conditioning? Who is responsible for this? How is the ON/OFF button involved in climate change? And moreover, do all buttons switch ON and OFF? Are we given full control or is this just an illusion? This dizzying array of questions, unaddressed until now, is accompanied by another: where did the first ON/OFF button emerge? Because of the abundant arising problems, exacting methods must be used to limit the research, such that it will not be overrun by buttons. For this reason, some aspects will fall beyond the research, and will remain illuminated but untouched. Glenn Davidson (Artstation) at Radiator Symposium, “Exploits in the Wireless City”, 15-16 January 2009 “ON/OFF” interactive installation 2009 courtesy of the artists
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October 8th - November 7th, 2010 Ș
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FOREWORD ROMELO PERVOLOVICI - DIREC
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în mare parte dimensiunii scopice
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vigilant blindness, through this ki
Page 12 and 13: simultan ambele roluri - el devine
Page 14 and 15: of his own subjection.” 4 The gaz
Page 16 and 17: scenarizare a realului şi felul î
Page 18 and 19: senzorială globală a subiectului.
Page 20 and 21: eification of watching. watching th
Page 22 and 23: Deleuze was saying that, considerin
Page 24 and 25: încercat să le explice vizitatori
Page 26 and 27: THE SUBVERSIVE PANOPTICON OF THE CO
Page 28 and 29: “LaBour discipLine”. damaging t
Page 30 and 31: internet. Fenomenul este corelat cu
Page 32 and 33: ness of the Orwellian principle of
Page 34 and 35: “Altogether” (2008) DVD, mini D
Page 36 and 37: “Miliţia e cu noi!” (1981) C-t
Page 38 and 39: Decupaj de temporalitate suspendat
Page 40 and 41: & M AT H I A S j U D “War Room”
Page 42 and 43: În 2002, Peter Weibel organiza la
Page 44 and 45: “Broken Threads” (2007) video,
Page 46 and 47: I S T O B E D O N E ? ) legătura d
Page 48 and 49: cu sfârşitul unei tranziţii impo
Page 50 and 51: At the same time, the very existenc
Page 52 and 53: social recipe to be applied at the
Page 54 and 55: the chance to bring this knowledge
Page 56 and 57: “CCTeVezi” (2008) C-type print,
Page 58 and 59: 25 April 2008 I have arrived in Lon
Page 60 and 61: altui instrument de observaţie la
Page 64 and 65: V L A D N A N C ă Orice manual ban
Page 66 and 67: “The Pencil Sharpener”, from th
Page 68 and 69: My work deals with the common misus
Page 70 and 71: NEÏL BELOUfA & DORIAN GAUDIN Pe 2
Page 72 and 73: & S Z I L A R D B A N G A 71
Page 74 and 75: Prezentată pentru prima oară la g
Page 76 and 77: “Le charme discret de l’autorit
Page 78 and 79: “Boutique Airports I & II” (200
Page 80 and 81: Alexandra Croitoru’s works presen
Page 82 and 83: “Remake” (2007) animation, 24
Page 84 and 85: „Populist project / Hometown Boys
Page 86 and 87: P A S C U A L S I S T O “Gaze”
Page 88 and 89: S T E f A N O G I U R I A T I Lucra
Page 90 and 91: “Animal Inside” (2009) 4 photo
Page 92 and 93: Ideea că pictura ca gen artistic e
Page 95 and 96: T H E O L I G T H A R T “The Sear
Page 97 and 98: M A X I M L I U L C A Demersul meu
Page 99 and 100: “Serial Guard” (2008) 6 pieces,
Page 101 and 102: N 5 5 “Walking 100 house” house
Page 103 and 104: MIRCEA NICOLAE “Surveillance pane
Page 105 and 106: THE BLUE NOSES GROUP În seria „A
Page 107 and 108: G O R D A N S A V I C I C Aş dori
Page 109 and 110: GHEORGHE RASOVSZKy
Page 111 and 112: LENA VON LAPSCHINA De peste doi ani
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S I M O N A Tă N ă S E S C U „B
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S U R E K H A Line of Control Este
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U B E R M O R G E N . C O M 116 “
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S H A D I H A B I B A L L A H “Sc
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C A R L A C R U z Carla Cruz a cres
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D E S I R E M A C H I N E Colaborar
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C H E L S E A K N I G H T Palimpses
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GAYLAN ABDULLAH ISMAIL ”Traffic
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j I N S H A N Aşa cum observa Walt
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M I R K O S M E R D E L “Outside
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O L I V E R R E S S L E R ”What i
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M A R I E V O I G N I E R În peisa
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FILM pROf. UNIV. DR. LAURENŢIU DAM
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TUDOR LUCACIU TUDOR PETREMARIN 138
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FOTOjURNALISM
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142 ANDREI PUNGOVSCHI IOANA MOLDOVA
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ALDO GIANNOTTI Born in Genova, Ital
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Slovenia; Tourists Welcome, Ljublja
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VLAD NANCă Born in Bucharest, Roma
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KANTUTA QUIROS & ALIOCHA IMHOff - Overlapping Biennial

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