⁄S⁄O⁄N⁄I⁄C⁄⁄ ⁄Z⁄O⁄N⁄E⁄⁄S⁄⁄ presenation at Cosmos Hotel, Chisinau/MDA at Mobile Biennale 2, 2017

SonicZones_CosmosHotelpresentation

⁄S⁄O⁄N⁄I⁄C⁄⁄ ⁄Z⁄O⁄N⁄E⁄⁄S⁄⁄  presenation at Cosmos Hotel, Chisinau/MDA at the Mobile Biennale 2 curated by Adrian Bojenoiu and Alexandru Niculescu, 2017

2017 August 5

photo by Dan Vezentan

more info:

The Centre for contemporary art Club Electroputere launches the edition 2017 of the Mobile Biennale (TM7D).

Participants:
Dan Acostioaei, Silvia Amancei, Bogdan Armanu, Matei Bejenaru, Manfredi Beninati, Cristina Bogdan, Adrian Bojenoiu, Andreea Bojenoiu, Miki Braniște, Pavel Brăila, Anna Ceeh, Roberta Curcă, Arantxa Etcheverria&Ada Musat, Tatiana Fiodorova, Cătălin Gheorghe, Lucia Ghegu, Mihai Iepure Gorski, Vasile Leac, Virginia Lupu, Diana Mărgărit, Adi Matei, Dana Maxim, Liliana Mercioiu, Andrei Nacu, Cristi Nae, Alexandru Niculescu, Iulia Nistor, Daniela Pălimariu, Franz Pomassl, Thomas Tsang, Ken Ueno, Vladimir Us, Viktor Vejvoda, Dan Vezentan, Kristin Wenzel, Marian Zidaru, Victoria Zidaru

Initiated in 2012 by Adrian Bojenoiu and Alexandru Niculescu, Mobile Biennial is an art project that aims at expanding and analysing the relational context of contemporary art and culture. Mobile Biennial brings together personalities of the artistic world scene. Each edition is organised starting from a definite strategy and a curatorial plan according to which the entire project is carried on.
Mobile Biennial is a mise-en-oeuvre that inspires mobility and interaction which take place in a well-determined space or emplacement. Movement is the element placed at the core of the Mobile Biennial concept. Envisaged as a poetic materiality, movement acquires a particular shape according to the space-time dimensions that activate it whereas its content is engendered by the interaction and the heterogeneity of the participants who establish a special relation with the surrounding world.

Suggesting a revaluation of the symbolical and conceptual essence of the biennial as an institution, and of its relation to artistic production, Mobile Biennial can be best understood when taking into account the following features:

• Mobile Biennial brings together different types of behaviors. The project focuses on the participants‘ behaviors and on their free movement in relation to otherness and to the configuration and content of a geographically, culturally and historically determined space.
• Movement is understood as an act of going from one place to another within the confines of a territory (space/time), an act which engenders interaction.
• Taking part in the MB is considered as explicit artistic production; a potential exhibition phase of the project is optional and doesn’t constraint the participants to produce works.
• Mobile Biennial is not confined to a national and geographical space but may be carried out anywhere on the globe, in any type of space and time, according to the initial scenario.
• Mobile Biennial does not solely address visual artists but also people coming from other fields of activity, according to the initial plan specifically designed for each edition.

The Tour of Moldavia in 7 Days, this year’s edition of the Mobile Biennial, will take place between 30 July – 5 August and consists of an itinerant coach trip in Moldovia (Romania and the Republic of Moldavia). This edition, as conceived by its organisers, aims at analysing those aspects that render art a space of experience, communication and knowledge. There will be 35 participants in the 2017 edition – not only artists, curators, journalists in the field of visual arts but also personalities coming from other related fields like philosophy and poetry. The participants display different types of temperaments, energies and interests that make up and negotiate, through their various artistic stands, different aspects of contemporary art. This type of artistic microclimate is activated when rendered coherent and symbolically invested by the conventional framework of an Art Biennial.
The process of selecting the participants will result, on a small scale, in creating a climate specific to contemporary art, to be later on challenged through direct confrontation with social, cultural, political, spiritual and environmental realities of a region that lies at the problematic extremity of Eastern Europe.

The itinerary includes objectives such as Iasi (starting point), CUG industrial platform form Iași, Piatra Neamț City, the Dam Bicaz, the Lake Izvorul Muntelui, the Mountain Ceahlau, Bucovina region, Putna Monastery, Balti, Chisinau and many other special places.

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Exhibition at the Gapar Aitiev Fine Arts Museum, Bishkek, Kyrgyzstan, 2017 August 18. – September 3.

Anna Ceeh: Jayloo (wiki pict) DIY-inkjet print, 2017

©AnnaCeeh.Jayloo

„Her anarchic approach to high end inkjet printers is refreshing (to say the least): she is subverting the main reason for the existence of such printers – that of reproducing ad infinitum and with accuracy and consistency any digital file sent to them. Instead, by redefining the whole idea and purpose of the cartridges she is making works that can only exist in their original print form as one-off prints: reproduction can only be by means of photocopying or photographic reproduction. Or, I guess, by scanning in a subverted print and then printing it out on a ‚properly‘ set up printer – a sort of ‚cure‘ for subversion!“ – Richard Noyce (UK)

 

„Ее анархичный подход к высококачественным струйным принтерам освежает, если не сказать большего: Anna Ceeh подрывает основную причину их существования (их функцию) – бесконечное (ad infinitum) и точное репродуцирование любого цифрового файла. Вместо этого, пересматривая всю идею и цель картриджей Anna Ceeh делает работы, являющиеся единственными оригиналами: их репродукция может производиться только с помощью копирования или фотографии. Или же, как мне кажется, таки вновь путем сканирования оригиналов и их распечатки на нормально настроенном принтере – как своего рода удаления данной инверсии“- Ричард Нойс (Великобритания)

VICE Creators (U.S.) feat.our recent perfromance at the 57th Venice Biennale

VICE Creators: Troops in Riot Gear Deliver a Hidden Message in Venice

by DJ Pangburn

In front of the entrance, Giardini (May 11th)

Anti-war performance art invades the Venice Biennale.

The art label FUCKismTC operates under many monikers, including FEMINismTC, FXXX ismTC, XXXXismTMC, and SUCKismTC, which change continuously according to the artists involved and the concepts they focus on. The group has tackled issues like politics, deconstruction of social hierarchies, challenging power structures, peace, and feminism among others. Over the last few years, the Vienna-based trio of Anna Ceeh, Iv Toshain, and Matthias Makowsky, collectively known as XXXXismTMC, have staged an anti-war performance art project, МИР – МИРУ – FRIEDE (Peace).

One woman and nine men dress as soldiers and stand in line like an honor guard with messages of peace written on their protective vests, which can only be seen using night-vision goggles. Under their new museum-meets-artwork initiative, MOTA (Museum On Tour Austria), XXXXismTMC recently staged МИР – МИРУ – FRIEDE outside the Venice Biennale, the world’s largest arts festival, to bring more awareness to their artistic call for peace.

In front of the Italian Pavillion (May 12th). Images courtesy XXXXismTMC.

 

Artists that contributed messages to МИР – МИРУ – FRIEDE include Lawrence Weiner and Olaf Nicolai, among others. South African artist Kendell Geers‘s slogan, “Stealing fire from heaven,” is rather mythological, while Iranian artist Parastou Forouhar’s reads, “He kills me, he kills me not.” Afghan artist Amanullah Mojadidi cut right to the chase with what Toschain describes as the angry, prompting, and incisive message, “Go bomb yourself.” Weiner, on the other hand, offered a more sober and conciliatory slogan with, “Here Today, Here Tomorrow.”

 

 

In 2016, when Ceeh and Toshain invited Makowsky (the only man) to join their artistic duo, XXXXismTMC came into being and their anti-war performance project began to take shape. In recent years, Ceeh and Toshain have hacked Vienna Metro advertisements with their logos, spray painted the FUCKismTC logo on Vienna’s Kunsthalle Wien as a public statement against curators and museum directors copying artist works and concepts, and even enlisted the former Austrian President Heinz Fischer and the First Lady Margit to join and perform in their feminist installation САКРИЛЕГ. All of these works subversively harness the power of branding and mass messaging, and МИР – МИРУ – FRIEDE‘s message of peace is no different.

 

Artist statement seen through infrared night-vision goggles.

 

As Toshain and Makowsky tell Creators, the work essentially came into existence back in 2014, when they staged a theme-based site-specific installation for the World War I centennial at the Ehrenhalle of Burgtor at Heldenplatz in Vienna. This, along with a number of ongoing international crises and political tensions, inspired the trio to send out a message of peace to the world. While the collective created messages for the work, they also invited a number of international artists to create anti-war or peace slogans.

“We asked them hypothetically: ‘When the going gets rough, and you artists go to the barricades to voice your protest, what will you take with you? A work of art, a project, a portfolio?’” say Toschain and Makowsky. “No. No more solo shows, no ego. Create a slogan.”

 

Parastou Forouhar’s artist statement seen through infrared night-vision goggles.

 

The contributing artists created 28 black posters displayed on the walls of the Ehrenhalle. Viewers could only see the messages when using military infrared night-vision goggles. It was here that the trio started engaging with the actual political situation, imagining what artists could do to make things better.

MOTA and МИР – МИРУ – FRIEDE came about because the artists did not want to work in exhibition spaces any longer, in white cubes surrounded by white walls. From that moment on, the trio’s slogans for peace moved into public spaces with human bodies as performers.

 

Orlan looking through the IR Device, Giardini (May 11th)

 

Ceeh, Toshain, and Makowsky say that МИР – МИРУ – FRIEDE confronts not only art fans, but passersby and tourists who unexpectedly encounter it. Venice, with its constant influx of tourists and this year’s Biennale, proved to be fertile ground for their protest for peace.

“Our XXXXismTMC peace-forces are conceived to act everywhere and every time without being announced in advance,” they say. “The [Venice] crowd loved the piece. A lot of people commented that it was one of the best works seen at the Biennale, [and] most of them didn’t know it was guerilla and ‘illegal,’ so to speak.”

 

Ai Weiwei looking through the IR Device, Piazza San Marco (May 10th 2017)

Lawrence Weiner’s artist statement seen through infrared night-vision goggles.

Click here to see more of XXXXismTMC‘s work.

perfromance at Wiener Rathaus, Vienna

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MilanMladenovic © AnnaCeeh 2017

ACeeh_by©MilanMladenovic

Anna Ceeh by ©Milan Mladenovic 2017

performance with The More Ohr Less Brainstorming Orchestra

MOL-ORCHESTER17.pngThe More Ohr Less Brainstorming Orchestra: 

Franz Graf, Anna Ceeh, Carl Michael von Hausswolff, Hans-joachim Roedelius, Chandra Shukla, Christopher James Chaplin, Clementine Gasse Janko Novoselic, Pomassl,  Tim Story 

 

#MoreOhrLess Festival, Baden, Austria

artmagazine: Humor statt Verbissenheit by Werner Rodlauer

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donau festival 2017

doing interview with Actress (UK) for the Belarusian Filet Magazine

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doing interview with Emptyset (UK) for the Belarusian Filet Magazine

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performace at donau festival, Krems

photo © F.Pomassl