[spectre] Territory Disrupt

[AGF]

hi, forwarding an event in Berlin, via friends ... hugs from a far
agee



Territory Disrupt
25 & 26 November 2022 at SOMA Art Space Berlin

Discussions and music sessions examining cultural imperialism 
and artistic production in times of war: 
on identity, sound, and language as tools of resistance.

With live sets from: Bint Mbareh (PS/UK), Cluster Lizard (UA/DE), 
Kamilya Jubran & Werner Hasler (FR/CH), Khyam Allami (IQ/UK), Poly Chain (UA)

And panels: 
Cultural Imperialism: Music, sound and language as tools of resistance
Music and Identity in Post-Soviet Countries - in the context of the war on 
Ukraine
Artistic Production and Creativity in Times of War

Programe & Tickets: https://territorydisrupt.org/ 


Follow on IG @territorydisrupt__
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[spectre] follow-up from Riga Syndicate encounter

[sally jane norman]

Kia ora friends, colleagues

For the Deep Europe Symposium Andreas and Rasa Smite organised in the
context of the "Splintered Realities" conference held in Riga last June, I
contributed a text which seemed, for me, to be the only way to contribute
to this reflection on a community that means/ meant much for so many of us.
In multiple ways.  Following the conference online - scattershot, given
time zone differences - for me was heartening, memorable, and eminently
humanising. It was great to re-encounter thoughts and friends from long
ago, long missed, but still clearly driven by the values we shared 25 years
ago. Andreas asked if I would share my text, which is below. There's an
irony here - I seem to have unsubscribed from Spectre a few months ago,
because I was finding it hard to relate to a list essentially publishing
announcements of faraway events.  Yet the "Deep Europe Symposium"
re-awakened the sense of closeness founding and longstanding Spectre
members always represented for me. So hopefully this will make it to the
list, without being too out of kilter as an Antipodean's reflections on
Deep Europe.  I'm prefacing the text with comments I sent when forwarding
this to Andreas after the conference/ symposium.

warm wishes to all, stay strong, kia kaha

Sally Jane

*It's awkward for me to place so much emphasis on Indigenous culture here
as I haven't been able to devote enough time to respectfully do so - then
again, so much that I'm learning feels immensely important. And often
conveys values not unrelated to those I felt we shared from Syndicate
times. **The attached text feels inadequate in many ways - I'd written
screeds that required serious cutting down, and was/ am acutely aware of
burning politics and neighbouring warfare for Riga and East Europe-based
friends. As during 90s Kosovo events that impacted our community, input not
directly related to urgent conflict matters felt/  feels both blithe and
oddly necessary.*



Syndicate goals and contexts then and now: spatial and temporal links and
gaps

How to reflect on Deep Europe in a rear-view mirror? A mirror’s reflections
depend on where you’re placed: your position determines what you can see.
Our interdependency with these reflections is even more complex with
rear-view mirrors, used in situations where we are mobile, and where what
we see depends on our position in a moving vehicle, and it depends on the
environment the vehicle is moving through. Rear-view mirrors let us safely
move forwards, as well as backwards: knowing what’s behind us, or what
we’re leaving behind as we travel ahead, helps us negotiate our path. In te
reo, the indigenous Māori language of Aotearoa New Zealand, the place I’m
speaking from, this is encapsulated by concepts of time encountered
throughout Polynesian cultures: kei muri, designating the future, crudely
translates as ‘behind’, while reference to the past: ‘i-ngā-rā-o-mua’
translates as ‘the days in front’. We move forward towards our ancestors –
human and more-than-human - recognising our genealogy, our origins.
Indebtedness to the past underpins our duty to the future, so it drives
current actions.

Earlier discussions about this «Syndicate Session» compared today’s
uncertainty about our planet, politics, and futures, with the sense of
shared values, goals, and horizons of possibility that brought us together
in 1996. It was suggested that we may have to start from scratch in
conversations about Deep Europe, about art and media. But starting from
scratch means discarding events that shaped us, including those that
brought us together over 25 years ago. It means doing away with “the
rear-view mirror of history” that helps us move forwards, knowing what
we’ve traversed. I can’t do this, but am interested in leveraging our
shared history to renew the drive to open things up that characterised
Syndicate: how to reflect on cultural encounters in the widest sense of the
term, to collectively build new horizons of possibility in this radically
transformed context.

It's odd participating from the Antipodes as a Kiwi and “deep European”,
committed to the diversity Deep Europe represents. But I’m grateful for
recognition of this group as «a messy formation that should be cherished
and cultivated – in Europe, and elsewhere».  Particularly given the fraught
geopolitics dominating Eastern Europe, cascading across and beyond the
continent. Distance doesn’t diminish the sense of connectedness: sometimes
bigger gaps generate a stronger sense of links. Despite advantages and
relative safety of being so far away, this isn’t a “comfortable” country or
situation in many ways. As Luchezar has said, there are problems everywhere
(there’s racism and terrorism, socio-economic disparities). So please bear
with my subjective account of Syndicate goals and contexts, across gaps and
links of twenty thousand kilometers and twenty five years. My first
Syndicate encounter at the Dutch Electronic Arts Festival in Rotterdam in
1996 – it 

Re: [spectre] follow-up from Riga Syndicate encounter, symposium online

[Andreas Broeckmann]

Dear friends,

Sally-Jane, thank you for forwarding the manuscript of your beautiful 
presentation, to the Spectre list.


In the meantime, the RIXC team have put the video documentation of the 
Deep Europe Symposium online in the programme section of the festival 
website:


https://festival2022.rixc.org/

(What is not recorded here are the meetings that we had before and after 
the symposium sessions, reinstating the Syndicate in a new disguise 
whose form we will yet have to await as it takes shape...)


Best regards,
-a


Deep Europe Symposium
Thursday, October 6, 2022

14:00  Rasa SMITE. Introduction "Deep Europe"
14:15 Luchezar BOYADJIEV. Overlapping Identities Revisited or “The 
Greatest Love of My Life was a non-human'"
14:40  Miklos PETERNAK. "omnipresence or omnivoyance? the dialectics of 
vision(s) in the real and rear world."
15:05  Sally Jane NORMAN. Syndicate goals and contexts then and now: 
spatial and temporal links and gaps"

15:30  Nina CZEGLEDY. Beyond the walled borders

16:30  Kathy Rae HUFFMAN. About networking in, before and after the 90s
16:55  Ryszard W. KLUSZCZYNSKI. Syndicate and the so called “East 
European art” concept
17:20  Violeta Vojvodic BALAZ. The Seminar 'Moral and Mythology in 
Contemporary Art' (Novi Sad, 1995) in the conjuncture of New Europe 
(1989-2022)
17:45  Raivo KELOMEES. Collisions on the Eastern-Western Art Axis: The 
Domestication of Eastern Europe as „Close Other“ in the 1990s


18:30  Diana KNĚŽÍNKOVÁ: "In-between peripheral: Latvian artists of the 
Millennial generation versus the phenomenon of Post-Soviet nostalgia"
18:55  Geert LOVINK: "From SCCA to Ukraine Support Campaigns: Unfinished 
Histories"

19:20  Stephen KOVATS: "Deeper than Fake"



Am 06.11.22 um 02:34 schrieb sally jane norman:

Kia ora friends, colleagues

For the Deep Europe Symposium Andreas and Rasa Smite organised in the 
context of the "Splintered Realities" conference held in Riga last June, 
I contributed a text which seemed, for me, to be the only way to 
contribute to this reflection on a community that means/ meant much for 
so many of us. In multiple ways.  Following the conference online - 
scattershot, given time zone differences - for me was heartening, 
memorable, and eminently humanising. It was great to re-encounter 
thoughts and friends from long ago, long missed, but still clearly 
driven by the values we shared 25 years ago. Andreas asked if I would 
share my text, which is below. There's an irony here - I seem to have 
unsubscribed from Spectre a few months ago, because I was finding it 
hard to relate to a list essentially publishing announcements of faraway 
events.  Yet the "Deep Europe Symposium" re-awakened the sense of 
closeness founding and longstanding Spectre members always represented 
for me. So hopefully this will make it to the list, without being too 
out of kilter as an Antipodean's reflections on Deep Europe.  I'm 
prefacing the text with comments I sent when forwarding this to Andreas 
after the conference/ symposium.


warm wishes to all, stay strong, kia kaha

Sally Jane

__
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Info, archive and help:
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[spectre] Fwd: LECT: École des modernités | Les artistes polonaises à Paris | Mardi 22 novembre

[Andreas Broeckmann]

 Weitergeleitete Nachricht 
Betreff: 	École des modernités | Nouvelle conférence - La modernité 
passa-t-elle par les femmes ? Les artistes polonaises à Paris | Mardi 22 
novembre

Datum:  Mon, 7 Nov 2022 06:44:29 +
Von:Institut Giacometti 

(Extended French version below)


Did modernity pass through women? Polish artists in Paris.

Tuesday, November 22, 6:30 pm
At the Giacometti Lab and live on Youtube

Lecture in French, by Ewa Bobrowska

For Polish artists, Paris was an essential step in the development of 
their careers from the 1880s. Between 1910 and 1940, more than one 
hundred and fifty of them came to the French capital. This stay allowed 
them to experiment with new artistic trends and to take advantage of the 
diversity of its international community.


Olga Boznańska, Mela Muter, Alice Halicka, Sarah Lipska, Stefania 
Łazarska or Tamara de Lempicka, to name but a few, made their 
contribution to modernity in the field of fine arts, but also in the 
applied and decorative arts.


The place of these artists in modernity questions the roles assigned to 
the "modern woman," who are not only creators, but also sometimes 
entrepreneurs.


Booking info: 
https://www.fondation-giacometti.fr/newsletter/Newsletter-EDM-Nov-22-EN.html



École des modernités

La modernité passa-t-elle par les femmes ? Les artistes polonaises à Paris.

Mardi 22 novembre, à 18h30
Au Giacometti Lab et en direct sur Youtube
Conférence en français, par Ewa Bobrowska

Pour les artistes polonaises, Paris apparaît comme une étape essentielle 
pour le développement de leur carrière dès les années 1880. Elles seront 
plus de cent-cinquante entre 1910 et 1940 à venir dans la capitale 
française. Ce séjour leur permet d’expérimenter de nouvelles tendances 
artistiques et de profiter de la diversité de sa communauté internationale.


Olga Boznańska, Mela Muter, Alice Halicka, Sarah Lipska, Stefania 
Łazarska ou Tamara de Lempicka, pour n’en citer que quelques-unes, 
apportent leur contribution à la modernité dans le domaine des 
beaux-arts, mais aussi dans les arts appliqués et décoratifs.


La place de ces artistes dans la modernité interroge les rôles assignés 
à la « femme moderne », elles qui sont non seulement des créatrices, 
mais aussi parfois des entrepreneuses.


» RÉSERVATION (SUR PLACE) 

» RÉSERVATION (EN LIGNE) 




*Ewa Bobrowska*, historienne de l’art (Université Paris 
Panthéon-Sorbonne) et psychologue (Université Jagellonne), est 
spécialiste des artistes polonais actifs à l’étranger et de l’art 
polonais des XIXe et XXe siècles. Sa thèse de doctorat/ Les artistes 
polonais en France 1890-1918. Communautés et individualités/ (Université 
Paris 1, 2001) a été publiée en polonais.


Autrice et commissaire d’expositions sur la culture, l’histoire et l’art 
polonais en France, en Pologne et aux États-Unis, on lui doit aussi de 
nombreux articles, contributions aux catalogues d’exposition, chapitres 
et ouvrages.


Ancienne cheffe des collections artistiques de la Bibliothèque Polonaise 
de Paris, elle s’occupe des programmes universitaires à la Terra 
Foundation for American Art à Paris. Elle est membre de la rédaction de 
la revue /Archiwum Emigracji. Studia – Szkice – Dokumenty. ///


Lieu d'exposition à Paris
5, rue Victor Schœlcher
75014 Paris

Métro Raspail
ou Denfert-Rochereau

Ouvert du mardi au dimanche
de 10h à 18h

Billetterie sur place et en ligne: https://www.fondation-giacometti.fr


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Info, archive and help:
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