www.PerpetualMobile.org

This website is an ARCHIVE.

For our up-to-date site, please go to

http://www.PerpetualMobile.org

Good-bye old site, you’ve served us well in black and red!

New RE-ALIGNED WEBSITE: www.Re-Aligned.net

Perpetuum Mobilε launched an e-flux (http://www.e-flux.com/announcements/hi-2/) to announce its new RE-ALIGNED PROJECT and website.

http://www.Re-Aligned.net

 

 

Open Call: PERPETUUM LABS/BAC Part 1 – Curating the Political

Open Call: PERPETUUM LABS/BAC Part 1 – Curating the Political

Venue: Baltic Art Center (BAC), Visby
Date: June 13-15, 2013

In our times of systemic economic and political crises, rising public indignation and anxiety, artistic projects and exhibitions addressing political issues are once again at the forefront of critical attention.

The objective of Curating the Political, the first in the new series of PERPETUUM LABS / BAC, is to engage in a sanguine comparative debate on prominent professional curatorial and artistic projects addressing the relation of art and politics. The next instance in this series will be Curating the Social, PERPETUUM LABS / BAC 2 at Kallio Kunsthalle, Helsinki.

PERPETUUM LABS / BAC 1 – Curating the Political is a 3-day event consisting of professional debate and criticism, presenting constructive and dissenting opinions on curatorial practices. The LAB will use prominent case-studies in curatorial practice as starting points, while
 drawing on theoretical texts, academic research and activist practice. Each LAB will also develop new approaches and potentials for future
 projects. (For example, it may be possible to develop a case study with young curators based around the events at the political week Almedalsveckan, that takes place in Visby every July.)

Bringing together established curators and artists by invitation and younger-generation Nordic and Baltic-resident participants by open call, PERPETUUM LABS / BAC Part 1 – Curating the Political seeks to develop analytical and nuanced positions starting from diverse set of
 well-informed standpoints.

The topics of the 3-day Curatorial Peer-to-Peer are the following:

• What are contemporary “political” artistic and curatorial strategies, their pitfalls (e.g. appropriation by the institutions being critiqued)
 and successes? What is critical art, radical art, subversive art, provocative art, activist art, etc.? Is this current language of the
 intersection of politics and art appropriate and sufficient?

• How are politics, art and political action related? Is “art for the sake of politics” legitimate? Is the demand for “autonomy” only 
tactical, is it strategic, or truly a philosophical position? What is the relation of art, its “laboratories” and Realpolitik? Is political
 art living up to its self-conception of being ahead – or at least abreast – of our times?

• What role can/does contemporary art play in examining and articulating the current political state of affairs? How do large-format exhibition projects approach, present, and reflect on acute political and social conflicts? What complications emerge?

• Discussions will be based both on recent projects of the invited international experts and a selection of recent exhibitions, biennials
and projects. These will include projects like dOCUMENTA (13), Berlin Biennale 7, Truth Is Concrete (Steirischer Herbst, Graz) and Meeting 
Points 6.

The activities include individual presentations of participants-projects, tutoring in working groups and collective discussion formats – both traditional and innovative, such as the Valuation Chamber format developed by The Arts Assembly. The maximum number of participants will be 10. The working language is English.

LAB Mentors (in alphabetical order)



Bassam el Baroni, Curator, Alexandria/London. Co-founder of the Alexandria Contemporary Arts Forum (ACAF); co-curator of Manifesta 8, Murcia, Spain; co-curater of the Lofoten International Art Festival (LIAF), Norway; curator of the 36th eva International Biennial, Limerick City, Ireland, 2014.

Nicoline van Harskamp, Artist, Amsterdam, addresses the function and power of the spoken word, and its ability to influence perception and shape thought, both of which are instrumental to politics. Her most recent and ongoing project,Yours in Solidarity, addresses the contemporary history of anarchism through a correspondence archive.

Vladan Jeremic, Curator, Artist and Activist, Belgrade. Co-creator with Chto Delat/What is to be Done? of Partisan Songspiel. A Belgrade Story ; Curator, I Will Never Talk About the War Again, Färgfabriken in Stockholm (2011) and Kibla, Maribor (2012); co-initiator of Call the Witness – 2nd Roma Pavilion at the 54th Venice Biennial.

Marita Muukkonen, Curator, Helsinki. Co-founder of Perpetuum Mobile; previously Curator at HIAP – The Helsinki International Artists-in-Residence Programme; Curator at FRAME – The Finnish Fund for Art Exchange; Editor of FRAMEWORK – The  Finnish Art Review; 2001-2005 at NIFCA The Nordic Institute for Contemporary Art.

Livia Paldi, Curator,Visby. Director of BAC. Curator and chief curator at the Műcsarnok / Kunsthalle Budapest (2005-2011). Curatorial agent of dOCUMENTA (13).

Ivor Stodolsky, Curator and Theorist, Helsinki/Berlin. Co-founder of Perpetuum Mobile and The Arts Assembly and co-initiator of the Perpetual Pavilion at the Venice Biennale 2009;  Currently curating the RE-ALIGNED ART project (Helsinki, Berlin, Tromso and Stockholm). Relevant recent publications include “A Multilectic Anatomy of Stiob‘ and Poshlost‘”, Laboratorium vol. 3, 2011.

Please see full bios on BAC’s website at
http://www.balticartcenter.com/perpetuum-labs-bac/

Eligibility

Applicants must be resident in one of the Nordic or Baltic countries. They should have considerable experience and/or education in curatorship or exhibition practice.

Application procedure

Applicants are asked to include the following documents:
1. A short c.v.
2. A statement of motivation explaining how PERPETUUM LABS / BAC could support your curatorial interests and projects, and how you intend to structure your contribution (approximately 2 pages)
3. Specification of whether support for travels and/or accommodation will be required to attend the seminar. Only very limited funds are available for students. We recommend you apply to funding bodies at the national, regional or university levels as soon as possible. If a letter of acceptance is needed in advance, please let us know the relevant deadlines.

Please send the files in PDF format. All questions should be directed to
 application@balticartcenter.com

Important dates

Deadline for submitting applications: March 25, 2013.
Notification of acceptance: March 31, 2013.

PERPETUUM LABS /BAC is a cooperation between BAC and Perpetuum Mobilε,
 2012-13.
http://www.balticartcenter.com
http://www.PerpetualMobile.org

The project is supported by

Nordisk Kulturfond / The Nordic Culture Fund

Riksutstallningar / The Swedish Exhibition Agency

PAST THE ‘POST-’ : From Non-Aligned to Re-Aligned

PAST THE ‘POST-’ / GENERATION ‘PRE-‘

From Non-Aligned to Re-Aligned Art and Politics

A Conference

at Tensta Konsthall, Sweden

January 2014

This conference and the below discussion paper is an integral part of

RE-ALIGNED


From ‘Post-‘ to ‘Pre-‘

a thematic conference and exhibition project

including workshops, conferences, residences, publications and exhibitions

Confirmed venues so far:

Kiasma Theatre, Urb Festival, Helsinki, Finland;

Another Vacant Space, Berlin, Germany;

Tromso Kunstforening, Norway

and Tensta Konsthall, Stockholm, Sweden

PAST THE ‘POST-’ / GENERATION ‘PRE-‘

From Non-Aligned to Re-Aligned

The PAST THE ‘POST-’ conference looks into conditions, agencies and subjectivities provoking a new alignment of art, thought and politics in the twenty-first century. It addresses the lack of concepts for describing the shift away from the “identity politics” of the late twentieth century and its (post-)ideological ambiguity. The “postmodern moment” has passed. Contemporary currents show a new alignment of intellectual allegiances based on ideals and ideas held in common. A shared language for our very different times, however, remains undeveloped.

The symptoms of the shift we are describing is seen in the revolts shaking the Arab world as much as in the desire for a fundamental restructuring of the global political-economic system. In particular, it is seen in the rejection of the intellectually discredited corporate-led neoliberal hegemony of the post-Bretton Woods era. Comparable dissenting views are expressed in new forms of resistance and even rebellion in China and Russia, or in western Europe, in Spain and Greece. The internet and internet-media is another, highly significant site of these struggles. Many of these movements are also picking up long-standing global concerns, including those of the vocal ecological and peace movements. Responses to the current predicament are multiple. Nevertheless, across multiple continents, they share commonly recognisable positionalities, subjectivities and agencies – and in the world of contemporary art – artistic strategies.

From Particulars to Universals

As a period, the postmodern saw a sustained focus on cultural-ethnic issues, post-colonial national-independence narratives, post-communist nation building and religious revivals, gender-related liberation movements and also numerous new ways of reading popular and commercial culture and society. While subverting and superimposing and making these configurations clash, their identity-political particularisms were nevertheless frequently reproduced.

We will say that the current predicament of contemporary art and intellectual consciousness is one of thoroughly multilectic hybridity. This term invokes the proposition to envision the ‘multiple reading in one’ of the very diverse intellectual and artistic positionalities of our time: a way of reading which focusses on common structures and common narratives. This way of thinking avoids reproducing the particularisms of different genealogies, or homogenising differences in one ‘melting pot’ of identities. Rather, it gathers singularities within an increasingly (although never absolutely) universal, comparative and dynamic multi-lectic (“many-readings”) perspective.

A multilectic agency – and here empirical case-studies are important to forgo pure metaphysical speculation – will refuse integration of its difference into one single discourse. Yet, at the same time, such an agency equally rejects its separation from other agencies with isomorphically similar structural positions and ideals. Mutatis mutandis, Chilean and Arab uprisings, Chinese and Russian protest movements, Spanish and US indignatos, etc. have very much in common. A dynamic and comparative multilectic analysis envisions and encourages a ‘multiple reading in one’, with increasingly universal insights.

It should be noted that, instead of exalting one particular positionality, politics or strategy at the expense of all others – including that of their own local genealogy or heritage – multilectic agencies will tend to refuse domination from any single force on the geographical, cultural or ideological compass.

From Non-Alignment to Re-Alignment

What is being described in the above is in fact the double or multiple refusal of two or more mainstream positions. In Russia, for example, many reject the renewed national authoritarianism, while simultaneously maintaining a critical stance vis-a-vis western neoliberal solutions, both past and present. This provides this conference with a second core concept: the notion of a non-aligned positionality. This non-alignment, indeed, has been the position of many intellectual currents for the past decades. We are, however, on the cusp of a new development. For the rejections of multiple mainstreams carries with it the potential and necessity for the formation of re-aligned positionalities vis-a-vis dominant or hegemonic powers and ideologies. These re-alignments very much take place within as much as across state, gender, race, class and other categories. In this way, the postmodern manner of analysis is finally being superseded by what might be thought of as premondial.

Practices of Alignment

It is clear that every real-world instance of alignment is structured by a particular history. In many (but not all) cases there is a historical experience of former binarity. In Russia and Eastern Europe, for example, the experience of radical ideological choice of the Soviet condition was between either communism or capitalism. Following an early post-Soviet naivete, a stance of non-alignment was more clearly visiable: a stance of neither laissez-faire capitalism nor Soviet communism; neither Slavophile nationalism nor idealization of ‘the West’, etc. Similarly, in the early Arab Spring of 2011, the oppositional forces aligned their rebellions neither with Muslim fundamentalism nor pro-US/Western ideologies. The Arab uprisings were an inspiration to the Spanish and later the “Occupy” movement worldwide, which likewise rejected both old-fashioned authoritarian leftist traditions just as much as the failed capitalist status quo, giving new impetus to a roots-level movement.

Past the ‘Post-’: A Re-Aligned “Generation Pre-”

If voting “against all” (which incidentally was an art action by the Russian group Radek in the 1990s) seemed the only choice of a disillusioned postmodernist generation, the question clearly arises: What comes after the multiple negatives? Contrary to the fin de siècle pessimism of what one might call the non-alignedgeneration of the post-s”, today there is an increasingly visible proliferation of common initiatives. One could call it the re-alignedgeneration pre-”.

This newly aligned movement – for it is not, of course, restricted to a generation defined by age – seeks to create a new commons. Its strategies include participatory art and actions, principles of inclusion, and often sustainable forms of development. At best, these movements are built on p2p networks independent of both state and business (Wikipedia and Open Source software being only the best known). Across all continents guarantees of freedom of speech and from arbitrary imprisonment are sought and fought for (from Pussy Riot to Wikileaks). In terms of systematic global change, at the very least this generation imagines ‘Robin Hood’ taxes on transnational corporations. A new distribution of wealth through ‘Citizen’s Salaries’ is one version of re-inventing the welfare state. Importantly in these times of dire economic crises and rising extreme nationalism, it harbours notions of post-national, or rather, pre-mondial citizenship. In short, the proposition is that our time combines the multiple negative with a multiple set of commonly desirable futures.

Which configuration of these multiple alternatives might become the épistémè, the horizon of the future? Art, often a bell-weather of change, is a place for contesting, investigating and developing imaginative horizons. PAST THE ‘POST-’: A RE-ALIGNED ART opens up this field of questions to art practitioners, theorists, curators, critics, academics, researchers and the wider public – to present, discuss and manifest their art and ideas.

Conference Conveners:

Ivor Stodolsky and Marita Muukkonen

Co-curators of the RE-ALIGNED ART thematic exhibition and conference series.

For the project in development see the website of their curatorial vehicle Perpetuum Mobile (soon to be updated): www.PerpetualMobile.org

Upcoming Venues:

Kiasma Museum of Contemporary Art, Helsinki, Finland

Murmansk Events with MediaImpact (Moscow) and YesLab (New York)

Arkhangelsk Workshop

Tromso Konstforening & Tromso Art Academy, Tromso, Norway

Tensta Konsthall with Maria Lind, Stockholm, Sweden

Past Venues:

Another Vacant Space, Berlin

Street Art Assembly, 2nd Urals Industrial Biennale

Paths Crossing Workshop, HIAP Suomenlinna, Helsinki

CONCEPTUAL COOKING with the PERPETUAL GYPSY PAVILION at FITTJA OPEN / BOTYRKA ART HALL

Inside Outsiders :

CONCEPTUAL COOKING with the PERPETUAL GYPSY PAVILION

at FITTJA OPEN / BOTYRKA ART HALL

The Inside Outsiders project focusses with a new clarity on universal questions concerning the ‘cultural other’ and the integration/assimilation debate. It works with the unique situation of Gypsy-Romani artists in the field of contemporary arts. Drawing on the familiar issues surrounding multiculturalism, it goes beyond them, “making them strange” by literally bringing them home. At Fittja Open, together with Botyrka Art Hall, the Inside Outsiders project invites Gabi Jiminez, a renowned Gypsy-Gitano artist from France to COOK in the CONCEPTUAL COOKING series. To share bread, they say, is to share life.

 

SESSION II. The COOK: Gabi Jiménez

Hedgehog (‘Niglo’ in Romanes) is a typical dish of Gypsies in France.

“There was a time, a long time ago, when Gitans would halt their wagons at the border of the forest out of fear that the Gadjos would do them harm. To eat they would gather mushrooms, roots and herbs and fruits. Meat was more difficult: birds and other animals had to be hunted. Rabbits, they realised, ran very fast and were hard to catch. It was also difficult to lay traps, for often you had to leave in great haste in your wagons.

One day, a dog returned home with a hedgehog. The Gitans had the thought to cook it like a rabbit. The taste and the texture of the meat reminded them of a rabbit or a hare. From that time on, the Gitans were never lacking in meat. Niglos (hedgehogs) were always hunted with dogs. They were trained to bring back the hedgehogs directly to the feet of the hunter. Very practical!

The recipe I propose [for the Conceptual Cooking Session II] is directly inspired by the traditional dish made with hedgehogs. In France, however, the species is now protected, and we will substitute the hedgehog with rabbit (‘chochoï’ in Romanes) which is very similar in taste.”

The Inside Outsiders project is an initiative of the Perpetual Gypsy Pavillion, a nomadic pavilion for a New ‘Gypsy Art’ in the Contemporary Condition.

The Perpetual Gypsy Pavilionwas officially inaugurated during the 53rd Venice Biennale
in 2009, sparking debates and heightened awareness in the world of contemporary art. It was launched as an immediate response to emergencies facing Romani-Gypsies in Italy and Europe in general, and Gypsy artists in particular – with the unfortunate ‘no-show’ of the OSI-organised
Roma Pavilion at the Biennale in 2009, which had debuted to such success in 2007. Despite such setbacks, however, we are currently witnessing an exciting dynamic in contemporary art of Gypsy origin. There is an ongoing revolution in aesthetics. There are a growing number of artists joining the contemporary art world, inventing new styles and re-developing traditional motifs for the 21st century. The absurdist-radical notion of ‘Gypsy Dada’ was first conceived in recent exhibitions by artists close to the Perpetual Gypsy Pavilion and has developed rapidly with half-ironic talk of ‘Gypsy Situationism’ and further appropriations. This re-invention of received art forms as ‘Gypsy Art’ is inspired, the artists say, by the likes of Django Reinhardt’s appropriation of jazz for ‘Gypsy Jazz’. As it happens, for Fittja Open, Gabi Jiminez sent us a little Gypsy ‘Dada’ poem!

The Niglo*

One day, a niglo farted in the water.
But that is not a niglo, said Frédo, that’s Sarko !
But who is Sarko ? answered Patcho.
That’s a gadjo king! said Toto.
Ah, I see ! So, said Frédo, why’s he talking bad about the Bobos?
So’t goes ! Said Bimbo
And so, niglos fart in the water
and the gadjos fart in the air, and it stinks !

*Hedgehog

As a nomadic pavilion of contemporary art, the Perpetual Gypsy Pavilionbuilds on the centuries-long reality of Gypsies as an artistic well-spring of European culture. Gypsies – a recently re-appropriated word for Romani peoples of all kinds including Roma, Gitanos, Sinti, Khale, Romanichals, Manush, certain Travellers and so on – are a long-excluded, populous and remarkably creative citizenry of approximately 10-14 million Europeans. The focus of the Perpetual Gypsy Pavilion is on artistic innovation, professional excellence and a new politics of inclusion. As the diverse origins of the curators and participants in the Perpetual Gypsy Pavilion illustrate, it is not a ethnically exclusive pavilion. In its practice, however, it expresses the demand and need for a perpetual representation of Gypsies in all established art forms of our time, and in particular, the field of contemporary art.

The INSIDE OUTSIDERS project is initiated by

The Perpetual Gypsy Pavilion www.PerpetualPavilion.org

a perpetuum mobilεzation by marita muukkonen and ivor stodolsky

www.perpetualmobile.org

2012

Truth is Concrete – Steirischer Herbst

At TRUTH IS CONCRETE, Steirischer Herbst, Graz. See

http://www.TheArtsAssembly.org

STREET ART ASSEMBLY, URALS INDUSTRIAL BIENNALE

Friends of the Arts Assembly (AA)

We are experimenting with a new format – the Street AA – at the Urals Industrial Biennale in Eburg.
For more information see WWW.THEARTSASSEMBLY.ORG

Non-Aligned / Re-Aligned. Lost Notes from the Underground

UPDATE: FINISSAGE JUNE 2

MANY FRIENDS WHO WERE NOT ABLE TO MAKE IT TO THE VERNISSAGE ARE COMING!


RE-ALIGNED ART DISCUSSION PAPER PUBLISHED:

Past the Post- 35 IS

another
vacant
space.

NON-ALIGNED
Lost Notes from the Underground

RE-ALIGNED
…and into the fire.

Curated by Ivor Stodolsky and Marita Muukkonen
of Perpetuum Mobile

Vernissage April 27that 17.00

another vacant space.
(event on facebook)

NON-ALIGNED
Lost Notes from the Underground

Locked in a wardrobe behind the artist Vladimir Semenov’s kitchen table for nearly twenty years, The Archive of Leningrad Conceptual Artwas discovered by Ivor Stodolsky and Marita Muukkonen during curatorial research for the retrospective survey exhibition The Raw, The Cooked and The Packaged – The Archive of Perestroika Artat the Museum of Contemporary Art, Kiasma, 2007-2008.

another vacant space.is a warranted way-station for these lost notes from the Russian underground.

Leningrad Conceptualism,unlike its famous and distant Moscow relation, was virtually unknown at the height of its activity. The Archive’s documentary evidence is like a report from the scene of the crime. Composed on crisp rice-paper, meticulously collected in numbered, Soviet-order folders, are the precise typewritten instructions for performances carried out in near anonymity by the group “Seminar” between 1986 and 1988. These exacting descriptions are accompanied by photographs, textual and graphic relics and traces. It is a unique work of Soviet bureaucraticism: all that survived of this ephemeral group of “non-aligned” marginals, save a few precious minutes of crumbling 8mm films, screened here at another vacant space for the first time.

RE-ALIGNED
..and into the fire.

The voice of the youngest generation of Russian non-conformist artists stands its ground in dialogue with both illustrious and newly discovered predecessors. In the large-format photograph which documents the street art work eternal flame, T-Radya, 23, paints with Molotov cocktails. His subject is memory. This surprisingly versatile artist’s work is exhibited here as a taster, a pre-launch of the forthcoming thematic exhibition project A RE-ALIGNED ART. This project commences at the Tromsø Kunstforening, Norway, in Autumn 2013. The work’s clear historical stance, its striking aesthetics, its arresting methods, all speak of a newly “re-aligned” art in our era.

PIRATE TV

For a little comic relief, bridging the era of the non-aligned and the re-aligned, lies the madness of 1990s post-modernism. This will be represented at the opening of NON-ALIGNED / RE-ALIGNED, by a screening of Yuris Lesnik, Vladislav Mamyshev “Monroe” and Timur Novikov’s unbearably amusing Pirate TV. Reporting from the Leningrad-St. Petersburg art scene at the height of the USSR’s catastrophic collapse, this mock television news show, which legend says hijacked the public airwaves, had the Soviet Union’s first public transvestite, Vladik “Monroe”, as its anchor news-woman..

About the Curators

Ivor Stodolsky and Marita Muukkonen are the co-founders of PERPETUUM MOBILE, a curatorial vehicle and means of mobilization. They describe it as a “conduit and engine to bring together art, practice and inquiry”. The current international RE-ALIGNED project brings their work on Russian non-conformist art at Kiasma into the present, and is projected to broaden its scope at further exhibition venues. Further ongoing processes, among others, are the Perpetual Gypsy Pavilion (Venice 2009) and The Arts Assembly (Manifesta 8). Ivor Stodolsky is a curator, writer and editor, whose theoretical practice is a background to much of Perpetuum Mobile’s investigations. Marita Muukkonen is a curator, known internationally for her work at NIFCA, FRAME and FRAMEWORK and HIAP TALKS.

www.PerpetualMobile.org

Press images, and further information please contact

anvaspace@gmail.com

Vernissage April 27that 17.00

another vacant space.

anothervacantspace.blogspot.com

Biesentalerstraße 16

Berlin D-13359

Germany

Deutschland

(U8 Pankstrasse, S-Bahn Bornholmerstrasse, Tram M23 Osloer Str./Prinzenallee)

              

Creation of the INTERNATIONAL ROMANI FILM COMMISSION

Members of Perpetuum Mobilɛ assisted in co-organising the SEEKING: ROMA* FILM-MAKERS! event

http://www.facebook.com/events/266409603427891/

Which resulted in the following vital Declaration:

Creation of the
INTERNATIONAL ROMANI FILM COMMISSION
Berlin, 15 February 2012

DECLARATION

To make it possible for more Romani (Gypsy) Filmmakers to realize their projects and to generate more recognition of Romani film professionals in their states, in Europe and around the world, we hereby agree to establish an International Romani Film Commission.

The tasks of the International Romani Film Commission (hereinafter “The Commission”) will be:

• To identify Romani film professionals and facilitate alliances between them;
• To advise, promote, advocate for and empower Romani filmmakers in all aspects of film and
audiovisual production;
• To establish a Fund of The Commission to support the production of films by Romani filmmakers;
• To lobby for better recognition of Romani filmmakers in national and international film
commissions and film industry forums;
• To set up an International Association of Romani Filmmakers (IARF).

Key Procedural Rules
(To be detailed and enshrined in the Constitution of The Commission)

To guarantee the full independence of The Commission’s decision-making process, there must be a minimum of three major sources of funding for the Commission.

Romani decision-making power within the Commission will be guaranteed by stipulating that The Commission’s Board will have a minimum of two thirds of Romani members.

Tony Gatlif ________________________
Katalin Barsony_____________________
Hamze Bytyci______________________
Damian James Le Bas_______________
Dejan Markovic_____________________
Lidija Mirkovic _____________________
Sami Mustafa _____________________
Judit Stalter_______________________
Ivor Stodolsky_____________________
================================

A revised version of this Declaration will be made publicly available online. To express your support, please visit the new facebook page of the International Romani Film Commission:
http://www.facebook.com/International.Romani.Film.Commission

This above link will also be posted on the Facebook page of
Cinema Total at Collegium Hungaricum, Berlin.

Background to the Platform for the creation of a Romani Film Commission

A group of independent Romani filmmakers from five different countries and their fellows have united to create a platform for the representation of the common interests of Romani filmmakers worldwide after meeting in the context of the Berlinale 2012.

We have decided to create the International Romani Film Commission based on the following common concerns:

While films are among the most useful tools for promoting understanding and debate between majority and minority cultures, unfortunately, when it comes to the representation of Roma, they still reproduce centuries-old prejudices via a static conception of culture.

Romani filmmakers are in a unique position to revolutionize perceptions of Roma around the world but face many difficulties beyond those encountered by most independent filmmakers. Romani film professionals are overwhelmingly under-represented in the film industry. We need Romani people to be present and represented in all aspects of film making, from pre-production to distribution and beyond, in front of and behind the camera.

Due to centuries of exclusion and forced assimilation, the Roma have never had the opportunity to show their real face, to communicate an understandable message about themselves.

In these circumstances, Romani filmmakers in particular are called upon to examine the influence of their work and to mould their effects in positive and constructive ways, especially in terms of how we deal with cultural, ethnic, sexual, religious and other forms of diversity. This is crucial in confronting racism, xenophobia and nationalist extremism.

We are a new generation of artists who are already at work. We seek a new interpretation of our world, one that is created by Romani artists themselves. The envisioned alternative representation highlights our strengths; our capacity for fusion; our sense of glamour, humor and irony; our adaptability, mobility and
trans-nationalism.

The old representation of Roma-Gypsies is dead, the new and real one is now born.

ATENEUM event with PERPETUAL PAVILION

PERPETUUM MOBILƐ‘s PERPETUAL PAVILION (www.PerpetualPavilion.org) is a supporter of the UNDER THE BRIDGE – HELSINKI, a project concerning the situation of the Romani-Gypsy people in Finland.

Currently, it is contributing to a series of events at the central ATENEUM MUSEUM in Helsinki:

 

The Housing Agenda / Under the Bridge – Helsinki

For information see:

http://www.ateneum.fi/default.asp?docId=12546&showInfo=14972

http://www.hiap.fi/event/housing-agenda-under-bridge-helsinki

http://www.facebook.com/event.php?eid=182882058450012

The Perpetual Pavilion is a a Perpetual MobilƐzation.

The event resulted in the

The Helsinki Housing Manifesto

which was presented to a high-level EU conference on Roma issues in Brussels in November 2011.

The Trans-Arab Parallel Pavilion launched

The Arts Assembly (TheArtsAssembly.org) is a co-founder of

The Trans-Arab Parallel Pavilion at the 54 th Venice Biennale

‘Like’ the Facebook page to receive updates: https://www.facebook.com/TransArab

TheArtsAssembly is a Perpetuum Mobilεzation

54th Venice Biennale

PERPETUUM MOBILƐ was invited to be part of the official selection of the LEBANESE PAVILION at the 54th Venice Biennale.

.. until the LEBANESE GOVERNMENT cancelled the Pavilion.

In this historic moment, due to the current state of affairs in the Middle East and North Africa, Perpetuum MobilƐ is working together with an Arab-led collective to establish a presence for numerous anti-authoritarian, pro-democracy artists and curators whose work cannot be shown in the pavilions of their own countries.

More detailed information will follow.

The ARTS ASSEMBLY goes LIVE and SOCIAL MEDIA

TALK TO THE CHATTER !

on our new website

www.TheArtsAssembly.org

Become a friend

Arts Assembly

The AA at Manifesta 8, Spain

Arts Assembly – CPS

A Reflexive Organ of CPS, Curators of Manifesta 8

A Perpetuum Mobilεzation

The Arts Assembly – CPS is a programme of critical evaluations of the Chamber of Public Secrets (CPS), in its capacity as a curatorial team of Manifesta 8.

An Arts Assembly (AA) is a reflexive model for cooperation in the creative field. It unites a diversity of actors in a new genre of formats based on participatory action through peer-to-peer platforms. One can imagine it as a self-constituting parliament. Each AA is structured and tailored to develop a unique modus vivendi for each unique context. In its work for CPS-M8 the AA will operate as a reflexive and critical organ. The membership of  AAs includes artists, philosophers, writers, curators and other intellectuals and art-actors. The CPS AA at Manifesta 8 will include experienced members of the first Helsinki AA. It will “constitute” Charters to evaluate works and processes in public Assemblies.

The early-stage list of participants includes: CPS (Curators at Manifesta 8 ), Perpetuum Mobilε, Parfyme (www.parfyme.dk, Copenhagen), S.a.L.E. (Venice) and Damian Le Bas (London)..

A documentary film by Perpetuum Mobilε for CPS-M8 will be co-produced by the AA with the Finnish-Iranian director Hamy Ramezan.

WE ARE ACTIVELY SEEKING PARTICIPANTS
for certain Chambers of the AA-CPS at M8.

If you would like to be part of the process in Spain please contact

Ivor Stodolsky and Marita Muukkonen at perpetualmobile@gmail.com

www.perpetualmobile.org

A preliminary map of the project (click to enlarge):

Arts Assembly - CPS at Manifesta 8

The Arts Assembly

A Reflexive Organ of the CPS

Perpetuum Mobilε

Manifesta 8, 2010-2011

    The overall goal of the Arts Assembly – CPS is to reflect, analyse, reformulate and critically represent the CPS process at Manifesta 8 through procedures which are both analytical and performative as new works and evaluations.

The Arts Assembly – CPS is a programme of critical evaluations of the Chamber of Public Secrets (CPS) in the context of Manifesta 8. It is piloted by Perpetuum Mobilε.

An Arts Assembly (AA) is a reflexive model for cooperation in the creative field. It unites a diversity of actors in a new genre of formats based on participatory action through peer-to-peer platforms. Each AA is structured and tailored to develop a unique modus vivendi for each unique context. In its work for CPS – in its capacity as a curatorial team for Manifesta 8 – the AA will operate as a reflexive and critical organ.

FRAMEWORK 8 – PATHS NOT TAKEN AVAILABLE ONLINE

Framework 8 was commissioned under the title of “PATHS NOT TAKEN” but appeared as “IN NEED OF OPENNESS” (it really needed it).

We still managed to get a lot of ideas in.. And it has high quality images from the trash-art Archival Section of “The Raw, The Cooked and The Packaged ” our exhibition in Kiasma 2007-8 (https://perpetualmobile.wordpress.com/exhibitions/).  It is now available online again.

It now can be DOWNLOADED (9 MB) here or from our Publications Page. You can

FLIP THROUGH IT HERE
.

Extra prize for finding the original title…