Living today seems to be defined by a constant state of alert and anxiety. Our phones interrupt us with minute-by-minute announcements of bad news, while totalitarian governments weaponize social media feeds to turn public discourse into a site of frenzy and panic. As a growing number of people fall to extremist, reactionary rhetoric, the idea of countering racism and xenophobia with facts or the "truth" seems increasingly useless.
Just Say "No" will contextualize our present crisis of discourse by looking at a variety of writers who have sought to examine the ways that language and speech becomes co-opted and manipulated by oppressive regimes. German psychoanalyst Wilhelm Reich, in his work Mass Psychology of Fascism, wondered why the masses of workers in his contemporaneous Germany failed to revolt against capitalist institutions, instead aligning themselves with the fascist ideology of the Nazis. Nearly a century later, Franco 'Bifo' Berardi, in The Uprising, highlights how language—and in turn, social thought—has become totally subsumed by a capitalist machine, leading to a state in which the traditional ideals of progressive politics are un-achievable. Bifo suggests that poetry, which refuses capitalism's emphasis on language's utility, offers a means of resistance. This suggestion becomes echoed by poet Lyn Hejinian's essay "Barbarism", in which she calls on poetry to refuse to speak the same language that produced such horrors as Auschwitz. Anne Boyer's prose poem "No" offers a meditation on strategies for saying "no" and refusing a society that asks us to choose amongst several bad outcomes.
Using these writers as a basis, the workshop will follow in the form of an open discussion to consider what possibility we hold to resist participating further in a society that seems to be rapidly careening towards social collapse. Can language still be used to register resistance?
Cripta747 is delight to present the results of the ongoing researches developed by the artists Andrew Wagner (New York, 1992) and Gernot Wieland (Horn, 1968) during their time in residence over the past two months.
Their investigations have brought them throughout some important institutions, museums, archives and libraries of Turin as, among others, the Lombroso‘s Archive located in the same name university's museum, where both the artists have been able to study some handwritten notes and sketches, a selection of photos and unofficial documents. Then the Library of the Gramsci Institute and the historical complex of the former psychiatric hospital right outside of town, in Collegno. They have also had the opportunity to confront each other and with local and international scholars, curators, artists and editors. Following these encounters their research path has taken on new directions and it has been enriched by reflections and intuitions.
The open studio is the most significant moment of residency. It condenses and return the research - both material and conceptual - developed during the months of residence. It offers to the public, and the artists involved, the chance to see, discuss and test topics and processes related to the works shown, whether the outcome is a work-in-progress, a paper, an event or an exhibition.
In Andrew Wagner’s practice, disparate histories and discourses entangle into narratives humorous and pathetic. In inter-connected works that span video, drawing, sculpture, writing, and sound, threads of narratives pick-up and leave-off, tracing the ways in which desire and everyday emotion both do and don’t coalesce into political yearnings. Drawing upon the logic and language of animation and cartoons, Wagner’s works picture a world both hysterically extra-ordinary and mundanely realist.
While in residence, Wagner continued work on “Victory over the Sun!”, an episodic video work that takes loose inspiration from the 1913 Russian Futurist opera of the same name. The work follows a cast of semi-animate, non-human characters assembled from discarded clothing, bits of paper, and other refuse. The videos dip in-and-out of the everyday half-lives of these characters as they navigate a world buckling from toxins, violence, and other bad news.
At Cripta747, Wagner’s research revolved around the psychology of both reactionary and revolutionary political movements, driven by the question of the role that emotions and the unconscious play in forming people’s often contradictory political attitudes. Such research considered Wilhelm Reich’s book On the Mass Psychology of Fascism, an attempt to explain Nazi Germany’s turn to fascism through psychoanalytic concepts. Wagner also looked into the history of Italian social movements, including Gramsci and the resistance to fascism in the twenties as well as the Autonomía movement in the seventies. Additionally, Wagner conducted research in Turin’s Cesare Lombroso archives, looking specifically at Lombroso’s studies of tattoos and spiritualism in the nineteenth century, to consider the ways in which vernacular forms of pictorial languages express unconscious sentiments.
Since a long time one of Wieland’s main interest has been psychological conditions. On this topic he addressed also the research started in residency at Cripta747.
Until the late 1970s psychiatric patients were locked up under inhumane situations. Under the influence of modern psychiatrists, an extensive reform of the homes began. Actors, writers, artists and musicians were invited to collaborate together with patients. His study starts from one institution in Turin which, in the early 80ties, wanted to perform "The Birds" by Alfred Hitchcock, based on the book of the same name by Daphne du Maurier, with actors from both outside and inside the institution. The theatrical performances should have the character of a catharsis for the society. They planned also a tour with performances in other psychiatric hospitals in Italy . Unfortunately, the play has never been performed, because the institution was closed down before the debut., The artist plans to re-enact the theater piece for a film, based on the letter archives and on documentary images. He is interested in the psychological dimension of the piece. Slavoj Zizek interpreted the birds as the incarnation of the Lacanian "real": a traumatic phenomenon that comes from outside into reality which is beyond that of causality and not conceivable through thought and language.
For the open studio Gernot Wieland will show some stills of the project he has worked on during the residency, accompany by an unpublished text, and the video “Thievery and Songs”, already presented in 2016 and based on a thoroughly research including stories of animals and psychotherapists, memories of Wieland´s catholic education, the religious-like indoctrination of the Viennese actionists in Austrian culture, a transformation into a snail, which by the turns of narrative, bears a relationship to landscapes, the notion of memory and hierarchy and a therapeutic session.
“What are we looking at? And who is looking?” workshop by Gernot Wieland will consist of practical exercises - e.g. the making of several potato prints – and it will include personal stories, psychoanalysis, imagination and concentration. It will draw attention to where artistic research can lead, and will hopefully be a mess and fun. No previous artistic experience or knowledge necessary, maybe an interest or lust to fabulate, to tinker, to daydream.
When: 27 October 2018 h. 3:30pmWhere: CRIPTA747, Turin ITDuration: approx. 2 - 3 hoursN. max participants: 14Language: English, Italian
The participants will be provided of brushes, watercolour, pencil and paper.
Please bring: the interest mentioned above, clothes which can get dirty, and, if you want, your own painting materials.“What are we looking at? And who is looking?” is part of Cripta747 Residency Programme, a process-based residency open to artists, curator and researchers from any field of contemporary culture run by Cripta747.
̶I̶n̶f̶o̶ ̶a̶n̶d̶ ̶r̶e̶g̶i̶s̶t̶r̶a̶t̶i̶o̶n̶s̶ ̶a̶t̶ ̶i̶n̶f̶o̶@̶c̶r̶i̶p̶t̶a̶7̶4̶7̶.̶i̶t̶ Registrations are closed: the maximum number of participants has been reached.
Cripta747 is pleased to announce the fellows of the second edition of Cripta747 Residency Programme selected between more than 560 candidates.
The 18 finalists, shortlisted by Cripta747, have demonstrated a strong, coherent and recognisable research in both material and conceptual production and their keen critical spirit has provided direct reflections and personal point of view regarding issues about art, environment, religion and spirituality, gender studies, science, technology and socio-economical problems. The finalists' researches have reflected the profound insights into contemporary society and the re-examination of history and the art system in recent years.
Among them the scientific board, composed by Alessio Antoniolli (Director of Gasworks, London), Giovanni Carmine (Director of Kunst Halle Sankt Gallen) and Eva Fabbris (member of the Curatorial and Research Department of Fondazione Prada, Milan), selected Andrew Wagner (New York, 1992) and Gernot Wieland (Horn, 1968).We can't wait to welcome Andrew and Gernot to Turin, furthermore we would like to thank all the partecipants for their interest in our project and the scientific board for the precious collaboration.
Cripta747 Residency Programme is a project by Cripta747 Realized with the support of Compagnia di San Paolo and Regione Piemonte.
Wagner’s research revolves around the role that desire — flowing, productive and libidinal — plays in forming politicized collectivities. Spanning video, sculpture, drawing, and writing, his practice is invested in the struggle of envisioning political futures. The characters that populate his works are faced with an unbearable present: cartoonish half-alive beings, assembled from discarded clothing, slouch under the weight of a toxic society. His practice turns to the logic and imagery of cartoons and animation as a format uniquely suited for picturing our increasingly precarious present. Wagner's exhibitions and screenings: A Guiding Dog for a Blind Dog, FUTURA, Prague (2018); Yeah Maybe #15: Maddie Butler and Andrew Wagner, Yeah Maybe, Minneapolis (2017); Body Doubles, NoPop, New Haven, CT (2016); Cosmic Crystals, MIXNYC, Brooklyn, NY (2015); Post-Internet is Dead, Exhibition Initiative, Oberlin, OH (2015). He lives and works in Frankfurt.
Wieland’s works are based on research, memory and narration and he work mainly with film and lecture performance. His practice brings together historical reports with personal recollections and scientific facts, fictional and real elements and thereby develop stories between exciting sobriety and tragicomic incidents with a sense of the uncanny, mostly in ironic and absurd forms. The works follow associative narrative structures, which can include stories about a parrot, a dancer, psychoanalytic sessions, the history of poverty, drones, depression in animals, political events and childhood memories. He has recently participated in Superdeals, Brussels (2018); Ideal Types, HE.RO, Amsterdam (2018); Survival Kit 9, LCCA – Latvian Centre for Contemporary Art, Riga (2017); 9th Norwegian Sculpture Biennial, Vigeland Museum, Oslo(2017); 34. Kasseler Dokumentar, Film und Videofest, Kassel 33 (2017); International Short Film Festival, Hamburg (2017); Body Luggage – Migration of Gestures at Kunsthaus Graz, Graz (2016/17). He lives and works in Berlin.
Alessio Antoniolli is the Director of Gasworks, London, where he leads a programme of artists residencies, exhibitions and educational projects, working primarily with emerging UK and international artists. Alessio is also the Director of Triangle Network, a global network of artists and grass-roots organisations. He is involved in managing, fundraising and strategic planning for the Network, as well as working with new partners on developing projects such as residencies and artists' workshops.
He is since 2007 director of the Kunst Halle Sankt Gallen, where he curated – among others – shows by David Lamelas, Ryan Gander, Mariana Castillo Deball, Hassan Khan, Petrit Halilaj, Sylvia Sleigh, Dani Gal, Lawrence Abu Hamdan, Jill Magid, Andrea Büttner or the group exhibition «The Darknet». In 2011 he was artistic coordinator of ILLUMInations, the 54th edition of the Biennale di Venezia and co-editor of the catalogue and in 2013 he curated the Swiss Pavillion at the same biennial. He contributed to various magazines (Kunst-Bulletin, Frieze, Art-Review, Parkett), published in catalogues and edited several publications like PSYOP Post 9/11 Leaflets and CEAU (both with Christoph Büchel). He is President of of the Swiss Federal Art Commission and member of the board of the Istituto Svizzero in Rome. He currently lives and works between Zurich and St.Gallen.
Eva Fabbris is a curator and art historian. She obtained a Ph.D. in Humanities from the Universita’ degli Studi di Trento. She's member of the Curatorial and Research Department of Fondazione Prada in Milan. From 2013 to 2016 she coordinated Back to the Future, a section of Artissima fair in Turin. She curated solo and group exhibitions for international institutions, among which the Nouveau Musée National de Monaco in Montecarlo, la galerie de l’erg in Brussels, Triennale di Milano and Fondazione Morra in Naples. Previously, she was curatorial assistant at Museion in Bolzano, adjunct curator at Galleria Civica in Trento, co-curator at Kaleidoscope Project Space, with Michele D’Aurizio. She contributes to Mousse Magazine, L'Officiel and Flash Art.