79.89.09 | Slavs and Tatars

Das Format der Ausstellung in der zeitgenössischen Kunst rückt stark in den Mittelpunkt künstlerischer Praxis. Dabei wird nicht nur das Ausstellungsmachen sondern auch das Kuratorische als Werkzeug eingeführt, mit denen Künstler_innen Öffentlichkeiten herstellen und Wissensproduktion erarbeiten. Das Kuratorische wird hierbei als Handlungsmöglichkeit zwischen kultureller Produktion, Reflexion und Kommunikation verstanden.

In der Vortragsreihe Komplizenschaft: Künstlerisch-kuratorische Praxis sprechen Künstler_innen, Kurator_innen, Ausstellungsmacher_innen, Theoretiker_innen und Wissenschaftler_innen über die jeweils angeeigneten Handlungsformen in ihrer Praxis.

Den Beginn der Votragsreihe machen das Künstler_innen Kollektiv Slavs and Tatars

79.89.09 looks at two key modern moments - the Iranian Revolution of 1979 and Poland's Solidarnosc movement in the 1980s - as bookends to the two major geopolitical narratives of the last and current century - the communist project in the 20th and revolutionary Islam in the 21st - in an attempt to study the unlikely shared genealogy of Poland and Iran in their drive to self-determination. Originally a contribution to Berlin-based bi-annual 032c , 79.89.09 looks at issues as disparate as the monobrow, modernity, and the Beach Boys as the first installment in Slavs and Tatars' second cycle of work, Friendship of Nations: Polish Shi'ite Showbiz , exhibited at the 10th Sharjah Biennial and Kiosk Gallery Gent in 2011. 79.89.09 has been presented at the Museum of Modern Art, Warsaw; Columbia University, NY;  the Rietveld Academy, Amsterdam; the Bruce High Quality Foundation University, New York; Nordic Embassies, Berlin; ARGOS centre for art and media, Brussels; NAK, Aachen.

Slavs and Tatars is a faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China known as Eurasia. The collective's work spans several media, disciplines, and a broad spectrum of cultural registers (high and low). Slavs and Tatars has published Kidnapping Mountains (Book Works, 2009), Love Me, Love Me Not: Changed Names (onestar press, 2010), and Molla Nasreddin: the magazine that would've, could've, should've (JRP-Ringier, 2011). Their work has been exhibited at Salt, Istanbul, Tate Modern, the 10th Sharjah, 8th Mercosul, and 3rd Thessaloniki Biennials. After devoting the past five years primarily to two cycles of work, namely, a celebration of complexity in the Caucasus  ( Kidnapping Mountains , Molla Nasreddin , Hymns of No Resistance ) and the unlikely heritage between Poland and Iran ( Friendship of Nations: Polish Shi'ite Showbiz, 79.89.09 , A Monobrow Manifesto ), Slavs and Tatars have begun work on their third cycle, The Faculty of Substitution , on mystical protest and the revolutionary role of the sacred and syncretic. The new cycle of work includes contributions to group exhibitions- Reverse Joy at the GfZK, Leipzig, PrayWay at the New Museum Triennial and Régions d'Être at the Asia Pacific Triennial-as well as solo engagements with Not Moscow Not Mecca at the Secession, Vienna, Khhhhhhh at Moravia Gallery, Brno, Beyonsense at MoMA, NY and Künstlerhaus Stuttgart.

Am 2. Mai 2012 eröffnet ihre Ausstellung in der Secession mit dem Titel Not Moscow Not Mecca . Die Ausstellung läuft von 3. Mai - 17. Juni 2012.

Weitere Vortragstermine werden gesondert bekannt gegeben. Kontakt: Miriam Kathrein m.kathrein@akbild.ac.at und Christoph Urwalek c.urwalek@akbild.ac.at