the truth is worth to risk

Coinciding with remaining and current political situations in various corners of the world that propagate the actual fact of “changing places, losing the way and the expectations of return”, this inter-disciplinary project appears to aim to create a dynamic structure against/beyond representation by introducing an incomplete open system to static structures. In addressing these matters of concern, however, a far broader issue emerges. Key to this is the processes of “existential territories”, and this requires going beyond the boundaries of dichotomies in search of “possible futures”; allowing for undefined constraints and their far reaching consequences to be transcended.

The exhibition the truth is worth to risk... brings the works that engage an evolving process of producing a pluralistic approaches in its multiplicity provoking an encounter together on a visual and discursive level.

Info on artist:

Libia Castro and Ólafur Ólafsson Caregivers, video

Castro and Ólafsson amalgamate their interest in avant-garde videography/cinematography and documentary practice in the video Caregivers. The viewer is confronted with the unexpected juxtaposition of music, journalism and visual arts, testing the viewers’ own conventional familiarity with those three creative genres. The video portrays the relations between four women: Eastern European migrant care-givers and their elderly clients from the area of Rovereto, during the course of their daily life and work. The narrative content of the video is a newspaper article found by the artists, reflecting on the recent migration phenomenon of Eastern European care-givers in Italy. This article becomes a matrix for Karólína Eiríksdóttir’s contemporary classical music composition, in the form of a Cantata. In the ‘zone’ where creative expression and reality meet, this video work introduces and comments on the complex situation of mutual dependency in a network of the European care-giving system. Both sides of this irreconcilable labour exchange - the care-givers and the care-receivers (including their families) - are caught up in a position of ‘manipulation’ of/by the socio-economical/political system, in order to fulfil their essential human needs. This particular situation illustrates the implications of European national legislations and the inadequacy of the system to offer appropriate solutions for either of those two dependent groups - thereby showing the ‘threshold of the law’ in a direct way.

Ana Hoffner Dramatization of Knowledge, performance

In this performance piece Ana Hofner investigates post-dramatic theatricality and the associated dissolution of the structure of theatre as part of present processes of subjectivication. By questioning theatricality and drama, knowledge of acting and actors and their learned roles, is created. Through that, positions of speaking are being formed, for these subjects, who own knowledge about drama and its occurrences. With the help of this knowledge, the speakers of post-dramatic theatricality create post-dramatic situations, which, located between reality and theatrical fiction, cannot withdraw from being involved in power-relations. This drama tries to dramatize once more the role of the speaker and his forms of knowledge.

Sener Özmen and Cengiz Tekin One Day a "T" and a "K", video

In exploring as well as confronting the cultural norms and de- and re-regulation process(es), Sener Özmen and Cengiz Tekin in their recent video work One Day a "T" and a "K" provide a critique of the historical scene which involves additional dilemmas within the re-enactment of nationalistic element may trivialise the past.

The re-enactment on the T (stands for Turkish) and K (stands for Kurdish) mirrors the society of “necropolitics” and its processes of geopolitical demarcation in relegating them to some other place of existence.

The work may also reference a site, a series of historical events or a discursive space beyond the physical site where there are some important site specific elements which have to do with the geography and historical function of the sites: the East part of Turkey. Yet an additional interest and complexity are heightened by a chosen concept within the contemporary cultural production creating a visual dialogue where objects and past artefacts were placed in proximity to old movie effect. The situation here presents the viewer a focus upon propagating ‘exercise of power’ on the surface of epistemological portrayal.

About us: Open Friday, Saturday 14.00 - 19.00 and open for the rest of the week days by appointment only. Admission free

Open Space Zentrum für Kunstprojekte Lassingleithnerplatz 2 A- 1020 Vienna Austria (+43) 699 115 286 32

for more info: office@openspace-zkp.org http://www.openspace-zkp.org

Open Space - Zentrum für Kunstprojekte aims to create the most vital facilities for art concerned with contributing a model strategy for cross-border and interregional projects on the basis of improving new approach.

This is a project initiated by nomad.theatre in the context of an EU – Project UNDERGROUND CITY 21, in cooperation with: Frankreich und der Tschechischen Republik. L.A.E. (LABIN ART EXPRESS), Croatian / LIBAT, Frankreich / PRAGUE COLLEGE, Tschechische Republik / nomad.theatre, Austria

Venues: LABfactory Wien, Theater Nestroyhof Hamakom, fluc

For more information on the Festival programme: http://nomad-theatre.eu/1191963.0

the truth is worth to risk...
Kurator: Gülsen Bal

Künstler: Castro / Olafsson, Ana Hoffner, Sener Özmen / Cengiz Tekin