Oliver Ressler

http://www.ressler.at/category/projects/

http://www.ressler.at/alternative_economics/

Yukarıdaki "Alternative Economies" enstallasyonu 2005'te Garanti Sanat'ta "An Ideal Society Creates Itself" adlı sergide yer almış. Altta J.Ranciere'den yaptığım alıntıda da aynı işten bahsediliyor.

"..The project presents alternative social and economic models such as “Inclusive Democracy” from Takis Fotopoulos (GB/GR), “Participatory Economy” from Michael Albert (U.S.A.) and “Anarchist Consensual Democracy” from Ralf Burnicki (D). Chaia Heller (U.S.A.) presents “Libertarian Municipalism”, Paul Cockshott (GB) “Towards a New Socialism”, Heinz Dieterich (MX) “The Socialism of the 21st Century”, Marge Piercy (U.S.A.) the feminist-anarchist utopias of her social fantasies, and the underground author p.m. (CH), the ideas of his concept “bolo’bolo.”

Oliver Ressler (b. 1970 in Knittelfeld in Austria) lives and works in Vienna. He produces theme-specific exhibitions, projects in the public space and videos on issues such as global capitalism, forms of resistance, social alternatives, racism and global warming. His work constantly tries to blur boundaries between art and activism.

from Jacques Ranciere, Misadventures of Universality,
taken from the report, 2.Moscow Bienialle, 2007.

"...The struggle against the “society of the spectacle” and the practice of “détournement” are still put on many artistic and curatorial agendas and they are still supposed to be implemented in standard forms such as : parodies of promotional films, reprocessed disco sounds, media stars modelled in wax figures, Disney animals turned to polymorphous perverts, montages of “vernacular” photographs showing us standardized petty-bourgeois living-rooms, or overloaded supermarket trolleys , huge installations of pipes and machines representing the bowels of the social machine, swallowing everything and turning everything into shit. Those dispositifs keep occupying many of our galleries and museums, with a rhetoric assuming that they make us discover the power of the commodity, the reign of the spectacle or the pornography of power. But, as it will be hard to find anybody who would still ignore them, the mechanism ends up spinning around itself and playing on the very undecidability of its effect.
At the beginning of my talk I referred to Kozui Enwezor’s project for the biennale in Seville. The project of giving art an integral and no more peripheral role in the task of unmasking the machineries of the global world. It comes as no surprise that this enlightened project was dedicated to the production of ‘phantom scenes’. Unmasking the ghosts has turned to be an affair of ghosts. The ghost is a figure of the equivalence between the functioning of the machinery and the functioning of the unmasking the machinery. It has the power of “unmasking” turned to impotence, become itself a ghost, the voice of the ventriloquist.
This is probably why at the end of the space of the exhibition of the Biennale in Seville, there was an installation of a very different kind. In two rooms, the Austrian artist Oliver Ressler had set up a lot of monitors. On those monitors, there was no ghost. Nor collage. There were real persons, standing in front of us, speaking to us. One of them spoke about the Paris Commune, another about feminist perspectives, another one about zapatist movement, other one about alternative economy, alternative forms of production, exchange and life. So, it transpired as though the politics involved in the production of the “phantom scenes”, the politics of “unmasking” had to be supplemented by a politics of real scenes, where real people spoke about the state of the world, the sense of their struggle and the way to envision a new world - a supplement of “central” politics which precisely was “peripheral” in the space of exhibition."

Radical Philosophy 149, Art and Immaterial Labour

Radical Philosophy'nin 149. sayısında "Art and Immaterial Labour" diye bir dosya var. Eric Alliez'in giriş makalesi üzerine;

"Dosyanın adının İtalyan Marxist Lazzarato’nun kavramı olan “gayrimaddi emek” ile sanat olması, bugün güncel sanat alanında hala güçlü bir etkisi olan “kavramsal sanat” anlayışının sanatın material olandan kavramsallığa doğru bir geçiş yaptığı görüşü ile bağlantılı. Marx’ın önemli makalesi “Ücretli Emek ve Sermaye” de kavramsallaştırdığı üretken emeğin, II.Dünya Savaşı sonrası kapitalizm’de artık ücretlendirilmeyen aktivitelere uzandığı, kapitalizmin artı-değer üretimi adına içerdiği ilişkilerin fabrikadan veya işyerinden evlere, düşüncelere, iletişim biçimlerine, günlük aktivitelere uzandığına dair temel bir kavramsallaştırma Lazzarato’nun bahsettiği. Sadece material üretimin değil, bilgi-iletişim-yaratıcılık gibi alanların kapitalizm için ne kadar önemli olduğunu biliyoruz. Bu dosya soruyor; peki sanat bu ilişkide nerede duruyor?"

Jodi Dean, Theory and Event 12.1

Zizek üzerine çalışan Siyaset Kuramcılarından Jodi Dean, co-editörü olduğu yayının son sayısında anlaşılabilir bir review hazırlamış. Metinin tamamı link'te.

http://jdeanicite.typepad.com/i_cite/2009/05/theory-and-event-121.html