<br><br><div class="gmail_quote">---------- Forwarded message ----------<br>From: <b class="gmail_sendername">e-artnow</b> <<a href="mailto:info@e-artnow.org">info@e-artnow.org</a>><br>Date: 2008/4/24<br>Subject: WORLD-EX-POSITION 08WORLD-EX-POSITION 08, April 26 – Mai 15 2008<br>
To: <a href="mailto:suhebator@gmail.com">suhebator@gmail.com</a><br><br><br>
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<p style="margin: 5px 20px 15px; font-family: verdana; font-size: 12px; text-align: justify;"><b>e-artnow</b>: 24.04.2008<br><br></p>
<h1 style="margin: 0pt 0pt 0pt 20px; text-align: left;">WORLD-EX-POSITION 08WORLD-EX-POSITION 08, April 26 – Mai 15 2008</h1>
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<p style="margin: 5px 20px 15px; font-family: verdana; font-size: 12px; text-align: justify;"><a style="color: blue; text-decoration: none; font-weight: bold;" href="http://openspace-zkp.org" target="_blank"><img src="cid:d99b957d0d.jpg" alt="" border="0"></a></p>
<p style="margin: 5px 20px 15px; font-family: verdana; font-size: 12px; text-align: justify;"><i>Shazalakazoo</i></p>
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<h2 style="margin: 0pt 0pt 5px; text-align: left;">WORLD-EX-POSITION</h2>
<h2 style="margin: 0pt 0pt 5px; text-align: left;">Erotic Union, Open Space and LAB factory</h2>
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Open Space<br>Zentrum für Kunstprojekte<br>Lassingleithnerplatz 2<br>Schwedenplatz<br>1020 Wien <br><a href="http://www.openspace-zkp.org" target="_blank">www.openspace-zkp.org</a><br>(+43) 699 115 286 32<br>
Phone: +43 699 115 286 32<br>
Fax: <br>
Contact: Alexander Nikolic<br>
<a style="color: blue; text-decoration: none; font-weight: bold;" href="mailto:world-expo@eroticunion.org" target="_blank">world-expo@eroticunion.org</a><br><br>
<a style="color: blue; text-decoration: none; font-weight: bold;" href="http://openspace-zkp.org" target="_blank">openspace-zkp.org</a><br><br>
April 26 – Mai 15 2008 <br><br>Parallel Opening in Open Space|| LABfactory <br>25.04.2008, 19.00 – 21.00<br> <br>Press Launch 24.04.2008, 11.00 – 12.00<br>Open Space – Zentrum für Kunstprojekte
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<div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1">Program:<br>
<br>25.04.2008 19.00 LABfactory<br>film/lecture/performance<br>sister0 "My First Burial" <br>Jessie Darlin" "I was a teenage porn star" <br>Moderation: Alexander Nikolić / Thomas Jelinek<br>Live: shazalakazoo<br>
DJ: White Girl<br></font><font><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"> </font></font></font><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1"><span style="font-weight: bold;"><br>
</span> <b>26.04.2008. </b>19:00 <b>LAB</b>factory<b><br> audio/talk performance<br> </b>Johannes Grenzfurthner / monochrom "The innermost Unifier" <br> Moderation: Alexander </font>Nikolić<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1"> / Thomas Jelinek<br>
DJ: Gudrun Brüll (SCHWESTERN BRÜLL)<br> <br> <b>30.04.2008 </b>21:30<b> LAB</b>factory<b><br> lecture performance<br> </b>Dr.<b> </b>Richard Barbrook "Imaginary futures"<b><br> </b>Moderation:<b> </b>Stefan Lutschinger<br>
DJ: Ohrgasmus<br> <br> <b>10.05.2008 </b>20:00<b> LAB</b>factory<b><br> streaming Laboratory<br> </b>XLTerrestrials "Transmigration Of the Telepresent" <br> In Kooperation mit theSCREEN.tv, sonance.artistic.network und Press/Play in Detroit <br>
Moderation: Alexander </font>Nikolić<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1"> / Ppod Yvol<br>
DJ: Alexander </font>Nikolić<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1">+ Ppod Yvol<br>
</font><font style="font-family: Verdana; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Verdana" size="1"><br> </font></div>
<div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Paricipating</b> <b>Artists || Open Space & LABfactory</b></font></div>
<div style="margin: 0px; min-height: 11px;"><br></div><div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Jesper Alvaer</b> <i>the banana tree stereoscope</i> <b>Dr. Richard Barbrook</b> <i>Imaginary futures</i> <b>cuntstun</b>t <i>Take it as a Gift! </i><b>Jesse Darlin"</b> <i>I was a teenage porn star</i> <b>Lukas Pusch </b><i>Vienna Vodoo"</i> <b>Johannes Grenzfurthner - monochrom</b> <i>The Innermost Unifier</i> <b>Mario Grubisic</b> <i>utopia-expo</i> <b>Ira Hadzic</b> <i>Visoko-Flying High</i><font style="font-family: Times New Roman; font-style: normal; font-variant: normal; font-weight: normal; font-size: 12px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Times New Roman" size="3"> </font><b>Rudi Hübl</b> <i>Art&Culture Sausages </i><b>Stefan Lutschinger</b> <i>Performer, Blogger and</i> <i>author</i> <b>Kazimir Malevic</b> <i>black cross -sketch 1985 </i><b>Stefan Rusu </b><i>Lazo | Sars Opera | Jeres </i><b>sister0</b> <i>My first Burial </i><b>societé réaliste</b> <i>Minist?¨re de l'Architecture. MA: Temporary Free Zones</i> <b>Shazalakazoo</b> - <b>live! </b><i>breakbeat/folk/electronica</i>. <b>Christoph Theiler</b> -<b>wechselstrom</b> <i>Reply</i> <b>Tanya Ury</b> <i>Whos Boss | Boss Rune </i><b>XLTerrestrials</b>‚ <i>Transmigration Of the Telepresent </i><b>Zampa di Leone</b> <i>selections <br>
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</b>The proposed WORLD- EXPO in 1991 for Vienna did not succeed due to a poll result asking the citizens of the city for consent. We don't ask. Not at all. We even wouldn't, not that we would know whom to ask. Yet, did you know the eldest pyramids in the world to be built in Bosnia-Herzegovina? If the mummies would suddenly awake and appear, what would they think? In Balkan regions you will hear a running joke frequently: "Here, still nothing has changed" or a variation: "Who turned back the time?"<br>
<br> The buzz of World-Exposition was conceived in 1995 and considered to be conduit breaking. An epoch making first one to be planned, arranged and carried out of two Countries. First World-Exposition in Vienna took place in 1873 - its former office, today is premise of LABfactory. <br>
<br> A parallel to 1995 was that to 1873, the Balkan Peninsula countries freed themselves of Ottoman Empire. They fought for and presented themselves as newly independent states - the planned World Fair 1995 should open a similar perspective. Man in charge agreed to theme their master plan "bridges into the future" - a metaphoric overkill concealing a profitable concept: to subordinate former eastern regions economically through a Utopia of "democratisation" for those who found their self finally at liberty from Real Socialism.<br>
<br> Today, time stands still - still for too many. Opposing this we will cross those bridges to future – marching. "world-ex-position" exhibit will guide us where to go, and how to proceed from here, everyone is free to decide on their behalf. </font></font><br>
<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b><br><br>ARTISTS | Guide</b></font></div>
<div style="margin: 0px; min-height: 11px;"><br></div><div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Sister0 </b>is performer working with experimental media concerned with disorientated, ostracized, banished or imperilled bodies of knowledge and interested in the transmission and retrieving of them. <b>Jesse Darlin"</b> works across the platforms of performance, live music, literature, collage, illustration and "experimental living," moving into and becoming the spectacle in order to transcend it. In her performance lecture,<i> I was a teenage porn star</i>, she will go through why she"s against the sex industry but pro-porn; take the gaze back from the hands of Grosse Kapital. <b>XLTerrestrials - Popd Yvol </b>employs strategy for reversing engineering phallic-centric rocket-style science and industry. By using art-portal, they wish look inward and face-to-face to illuminate the dubious dual enterprise that is taking place.<b> </b></font></div>
<div style="margin: 0px; min-height: 11px;"><br></div><div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Johannes Grenzfurthner - monochrom </b>uses different historical and current examples (especially from the area of the hardware/software-industry). Johannes Grenzfurthner gives a theoretical and applied overview on the musical genre of corporate anthems by taking the issues, such as the advancement of pre-capitalism to post-capitalism (ie. the form of organisation for all social relations in a particular economical ideology), the most dominant type of organisation of the post-capitalist endeavour. Yet this is where contradictions within, and indeed clashes of interest take a step back behind the curtain of the "community". The return to old ideas of community also brings with it certain forms of rituals, like the usage of a corporate anthem. </font></div>
<div style="margin: 0px; min-height: 11px;"><br></div><div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Dr. Richard Barbrook </b>traces the early days of the Internet, beginning from a pivotal point at the 1964 World"s Fair, in what critics are saying is the most well-researched and original account of cyber-technology among contemporary works. Crucially, he argues that had the past been different, our technological and political present would not be what it is today. <b>Stefan Lutschinger </b>is a proletarian bohemian and a departed on holiday. He works in the fields of digital art, recreational robotics, mass agitation art and anthropology of the post-human.<b> </b></font></div>
<div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Jaesper Alvar</b> focuses on our living conditions.<b> Société Réaliste</b> proposed to show an extract from its ongoing project <i>Minist?¨re de l'Architecture</i>. The production takes the form of an administration devoted to work on various aspects of the politics of the space. In Vienna, Société Réaliste shows the second chapter of a <i>Minist?¨re de l'Architecture</i>'s research project about territorial membranes. This partition specifically concerns the possibility of reshaping European autonomous territories in a more ergonomic way than now. </font></div>
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<b>cuntstunt </b>is a zine, which we like to understand as a feminist "Handapparat", a subjective compilation of texts, drawings and collages, coming from the fields of feminism, anarchism, sexuality, queer theory and music, somewhere in between. <font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1">Its something like a "best of" of collected material.</font></font></div>
<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><p style="margin: 14px 0px;">
<font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Zampa di Leone </b>works within the parameters of cultural activism in the Balkan region. Their first fanzine, "In the Arse of the Balkans", which parodies an entire movement of balkanization of art practices. Their experiment of aesthetic reformulation of the Balkans created its anti-history of sorts.<i> </i>Whereas <b>Lukas Pusch </b>brings together realities which are usually separated by border fences and restricted areas. <b>Ira Hadzic </b>brings euphoric plans for the future in a region of Europe where globalisation is only just starting to take effect into fore. <b>Ira</b> introduces the newly discovered pyramids that fulfil multiple functions: they act as a beacon of hope, a source of inspiration and not least of all as an important economic catalyst. </font></p>
<div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Stefan Rusu</b> <font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 9px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="1">explores how images were used in the construction of the Moldavian identity during soviet era.<b> </b></font>The construction of myths and legends ends with the appropriation of fairy-tales that overturn the meanings of good and evil and by replacing the real facts with fiction. Then<b> </b>moves to the history and the present of the Moldavia, his home country, and the deep-going cultural connections between it and Mongolia, then we land in Soviet Moldova with a striking story about the creation of an identity as a "brand" which is an artificial. <b>Rudi Hübl</b> produces fluxus-like sausages made of posters from Austrian culture-personalities: Mozart, Klimt, Schiele, Falco… He works with different techniques and methods, but always posters are subject and material of his urban folxart. <br>
<b><br> Mario Grubisic</b> creates experiments for the future of utopia derived from the normal and an-normal situation from the past experience. And when we come to a special contribution, <b>Kazimir Malevič</b>, confronts us with a question: "[…] I know, this letter is sort of a surprise for most of you, for the general assumption is, I deceased in 1935. Many of you supposed I"m dead and gone. But: is this really true?" </font></div>
<div style="margin: 0px; min-height: 11px;"><br></div><div style="margin: 0px;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2"><b>Tanya Ury </b>engages with contemporary trends that still conform to an average uniformity with the idea that a costume doesn't just provide a protective layer but can also be a form of disguise. <b>Christoph Theiler </b>works in cross disciplinary approach that covers media art and electronic music, leads to tape compositions and multimedia sound installations where everything was in motion.</font></div>
<div style="margin: 0px; text-align: justify; min-height: 11px;"><br></div><div style="margin: 0px; text-align: justify;"><font style="font-family: Arial; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10px; line-height: normal; font-size-adjust: none; font-stretch: normal;" face="Arial" size="2">The intention of the <b>Shazalakazoo - Balkan Breakz</b> is simple: it is not meant to be art; it is simple entertainment like the music of its countless predecessors - an important pastime, faithfully accompanying the inhabitants of the Balkan Peninsula throughout its turbulent history, in good or bad times alike. This music only kept changing its outer shell, embracing the ongoing evolution of popular instruments, harmonic and rhythmical influences of any current era. Its essence, however, remained the same: less talking, more dancing, and tomorrow is a new day.</font></div>
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